'Rakhi' means Love, Affection, Sweets & presents!

According to www.raksha-bandhan.com/ - “Raksha Bandhan’ or the ‘Rakhi’ festival is a sacred thread embellished with sister's love and affection for her brother. On the day of ‘Raksha Bandhan’ sisters tie a ‘Rakhi’ on their brother's wrist and express their love for him. By accepting a ‘Rakhi’ from a sister a brother gladly takes on the responsibility of protecting her sister. In Indian tradition the frail thread of Rakhi is considered stronger than iron chains as it binds brothers and sisters in an inseparable bond of love and trust. Rakhi holds immense significance in Indian cultural ethos. The custom of celebrating Rakhi started in Vedic times and even today brothers and sisters consider it must to celebrate the occasion in traditional manner. When brothers are away sisters send Rakhi to them and express their love. Accepting the Rakhi with grace brothers send Return gifts to their sister. This loving gesture goes a long way in strengthening brother sister relationship and building stronger family ties. The importance of Raksha Bandhan is same as Diwali festival in India.”



Those are the facts about ‘Rakhi’ but if you speak to regular people, each one will have a special anecdote, a special feeling and a special brother to talk about. India is a largely family oriented country and brothers are valued as much for their participation in family as they are for the sex they belong to. An Indian family is not considered complete without a son who is a brother for the daughter and an heir for the family name. Sadly this results in many socially and ethically untoward practices but this is not a forum to discuss those issues. This is a forum to talk about a lovely festival called ‘Rakhi’. For me it is especially exciting because I have a wonderful brother and 16 male first cousins. Rakhi as a day has been the same all my life, each and every ritual is carefully planned and executed, even now, when my aunts are way into their 70’s.



The festival celebrations are held in one of the home of the four sons my paternal grandfather had. We all gather there at noon and some of us meet only on these occasions. We would love to meet more often but life’s constraints don’t always make it easy. My father’s sisters abstain from eating till they have tied a ‘Rakhi’ on their brother’s wrists. The kids (us) on the other hand aren’t all that conscious, there are way too many sweets and snacks going around to keep this kind of familial discipline. Our 86 year old family cook (fondly called ‘Maharaj’) is still engaged to cook for this day. The fare is vegetarian but the variety is exceptional. Maharaj claims a cup of ‘ghee’ (clarified butter) gives him the strength to cook for over 40 people. In fact we have a dessert served every year called ‘Moong Dal Halva’. It's made of soaked and ground ‘Mung’ lentils, roasted in clarified butter and finally finished with sugar syrup. This needs to be constantly stirred for almost an hour and Maharaj can sit on his haunches and do this with 2-3 kilos of ground lentils. Thats one reason I spend a lot of time in the kitchen during such occasions; it’s the best place to learn nuances not available in cook books.



The ceremony lasts a while because we are so many of us. Beautiful, colorful threads are tied on our brother’s arms, the younger ones look adorable with their wrists full of garish sequin and paisley designs. The ‘Rakhi’ is tied, a vermillion ‘tika’ is applied to the forward with a touch of rice grains for auspicious reasons and a wide array of sweets are offered, all in return for a promise of TLC from our brothers and of course, a gift. When we were kids the gifts would range from books to shoes and gorgeous Indian salwar kameez’s picked by my aunts. Now that we are older, it’s even better, it’s cash! Fortunately for me, my brothers are successful, generous souls and the novelty in gift money is always there. Over the years I have stopped planning for this loot; it’s for me to waste. So this year I am off to malls right after lunch, I need to splurge and I believe Guess and Body Shop are on sale. Yippee!!

Goddess of the Arts - Saraswati

Saraswati, the Goddess of the Arts. A bearer of wisdom, a beacon of knowledge and an aficionado of music, she is a Goddess that has alternative blessings. Ones that don’t scream wealth and power, her blessings are subtle and unique. She is the one who protects the skilled, the talented and the gifted. She exudes confidence in every idol she is sanctified in. She is the one to turn to if you want to clear those nasty entrance examinations, she is the one who resides in the homes of accomplished musicians and artists, she is the embodiment of learning.

Saraswati is depicted as a woman with four arms. In one she carries the sacred book of Hindu principles, the ‘vedas’. In another she carries a rosary, a symbol of spirituality as a means of higher consciousness. Her two other accessories are a stringed instrument called the ‘veena’ and a pail of sacred water. The ‘veena’ she plays is the song of love, feelings and emotions. The water she carries symbolizes purity. Saraswati is a benevolent Goddess who is appeased by the worship of arts and sciences. A commitment to one’s talent is prayer enough for Saraswati is the one who has bestowed those creative gifts. By respecting and nurturing those gifts we are respecting and nurturing her.

Not many people are aware of the hidden nuances in the depiction of gods and goddesses in Hindu mythology. Whether it is an idol or a painting, there are teachings even in the surroundings of the Gods. Saraswati is often accompanied by a white swan mythology says that when a mix of water and milk was offered to the swan, it would drink only the milk from it. Symbolically, she could distinguish between the good and the bad, pure and impure. Some artwork also depicts Saraswati in the company of a peacock, a bird known for its proud and flamboyant nature. Since the peacock is depicted as Saraswati’s mount, she in one sense conquers the pride and her teachings are simple, don’t be concerned with external appearances. The soul is the keeper of all goodness.

Diwali – A time to give!

View Diwali 2007 Stock Photos by PhotosIndia.com



Diwali, the festival of lights. Such a cliché simply because it means so much more than that. Everyone has a different take on Diwali and everyone has different expectations. It’s like the Hindu equivalent to Christmas. Gifts and giving, sweets and generosity. We don’t light up a tree, we light up the whole house, every nook, cranny and corner. The frenzy starts about a month ahead, malls are packed with anxious shoppers and everyone has long lists. Since Indian’s are bestowed with large families, there is a whole lot of shopping to do. For me the similarities are amazing, not at a religious level but at a ‘faith’ and ‘celebration’ level. Everyone eats and shares. The age old myth of ‘give and you will get’ is in full motion at this time of the year.

Businessmen get busy making their partners happy, companies get busy calculating bonuses, shop owners can see the money flowing in and the everyday shopper scans the dailies for ‘sales’ news. You can see bold advertisements claiming “0% discount” followed by a coy “on quality” … 20% discount on all goods. The shopper sits back feeling like the king of the world.

This is the time for some serious consumer wooing. Everybody spends on Diwali, it is practically a ‘have to’. 15 years ago the gifts revolved around exquisite dry fruits and heavenly Indian sweets we call ‘mithai’. The winter months kept everything fresh for weeks and Diwali seemed to extend all the way to the new year. Usually falling in the months of October or November, this season seems to go on and on. Over the years, the dry fruits got mediocre, not just in gifting but in quality as well. The ‘mithai’ eaters became nouveau ‘conscious’, about their weight, cholesterol, sugar levels and all the new age misery. I think ‘Archies’ was the first company to realize this paradigm shift, they started churning out cards by the hundreds, they sourced designer ‘diya’s’ (little oil or wax lamps that are ceremoniously lit for Diwali), they put a greeting card on every box of sweets. The change was slow to happen but once it did, the frenzy was unbelievable. Corelle launched new designs for Diwali, their crockery was always found in sets of 4 (the typical western family). Here in india they were marketing sets of 6 with little bowls we call ‘katori’s, we use them for all the gravies and curries our cuisine is famous for. China exported crates of bowls, trays, curios and the like in a variety of materials, colours and shapes, to satisfy the Indian Diwali shopping madness. Suddenly, people were gifting corporate style, beautiful things for the home, the office, the kitchen. It became okay to gift a DVD set of ‘Friends’ for Diwali if that’s what your friends were into, it had to be personal at the end of the day. Hundreds of websites sprung up, selling all things related to Diwali, you could ship from the US to India (like we need more ‘diyas’) or you could ship from India to the world (that makes more sense).

This year the craze seems to be more opulent. Singapore holidays, shopping bonanza’s and Frazer & Haws silver diya’s are all passé. People are gifting not for material pleasure but for the soul. Books on spirituality like the ‘Speaking Tree’ are supposedly a favourite. Another great campaign is by the MMTC, promoting gold in a more organic way, the World Gold Council seems to make the whole thing Uber chic and beyond the middle class. Diamonds are being marketed as a special high end gift as well, in fact there is a marked conversion in women buying diamonds instead of the customary gold during ‘dhanteras’. ‘Dhanteras’ is celebrated on the 13th day of the dark fortnight of Diwali and it falls a day or two before Diwali. It is marked as the day of eternal good fortune and people celebrate it by buying something new for their home or indulge in a new investment. I wonder if anyone is marketing investment schemes this year, sounds like a good idea to me! Anyone listening?

Eyes open wider

I took me a couple of weeks to get over the whole ‘Bharatanatyam’ shoot. I don’t know why, it never takes me this long to absorb something extraordinary and I tend to produce very varied stock for my brand - Photosindia.com. It was probably some latent disappointment regarding my own experience with ‘Bharatanatyam’ that did it, I wasn’t great at it but I am sure I could have pursued it longer such to let the grace and discipline seep into my everyday life. Anyway, I kind of obsessed with the idea of exploring the various dance forms our country had to offer. And if you are still gaping at the number of languages, cuisines and cultures we actually have, then this topic will surely amaze you. Almost every state of India and we have 28, has a dance form they call their own. That meant I needed to get cracking, book my studio space with our Creative Director and get a hold of all these lovely artists. My endeavours were well rewarded within weeks. I found just the right person for one of India’s most awe inspiring dances – Kathakali. Certain elements remain common to all dances of India, they are storytelling personified and they are all extremely graceful, vibrant and emotional. But ‘Kathakali’ is just a wee bit more of all the adjectives I have used. Kathakali is the traditional dance-drama of Kerala, the way ‘Bharatanatyam’ traces its roots to Tamil Nadu and it is sheer, raw ‘power’. That’s the best word to describe it.



The day of the shoot started early. Our model was a veteran performer very keen to enlighten us about the nuances of Kathakali. He had prepared us for a 3 hour makeup session and we all thought he was exaggerating, apparently …. He was not. The first hour he lay motionless on the floor, while his team prepared colored pastes in little bowls made of coconut shells. It’s this kind of quaintness that always gets me. I mean, this man has a mobile phone, he probably downloads his performances from the video camera to DVD and yet they didn’t start getting him ready till the traditional brass lamp was lit and a little prayer was said. I always knew that most of the south Indian dance forms were rooted in Hindu mythology but this was true devotion. The base coats on his face took longer than a fashion model's makeup, then came the colors – rich parrot green, bleeding orange and the stark yellow of the ‘tilaka’. The makeup itself that transformed this man into a living caricature, a living, breathing mythical creature from way back into our past. He seemed to loom larger than he was when he came in. One by one, ornaments came out of an old, dented trunk (there was the quaintness again).



I noticed him change from an ordinary person to a revered character, his team was all over him, cajoling him like he was a child, adoring him like they were his mothers and keeping his comfort our utmost priority. There were steel talons on one hand, headgear that rose a foot in the air and solid gold arm bands that I had never noticed before. In a way it saddened me, I had seen quite a few performances in the last 15 years and I never stopped to notice these fantastic details. Sure enough, it took him 3 hours to get ready and all I could think of was how an Amazonian state like Kerala could have a dance form that requires a thermal costume weighing over 8 kilos?? This had to be true devotion! I remained mesmerized for the next few hours. Not just by the movements and expressions but by the subtleties. Our model’s team had a different attitude towards him once he was in costume, they were short of worshipping him and we all felt it. It was like being in the presence of God, or at least the closest thing to it. After a few frames we noticed that his eyes were very blood shot, so we asked if the atmosphere was bothering him. He gently informed us that he needed to portray the angst, the power, the menace and the megalomania of his character, thus the red eyes. He had applied a powder derived from a 'brinjal' like vegetable (which I suspect is the chili family, don't the seeds look alike?) in his eyes and thats what made them burn red this way.

Before we knew it … the shoot was over. I felt awful, there was still so much to explore, so many questions to ask. All I could the end the day with was an apology to our model, I apologized for being just the ‘audience’ all these years. I apologized for not recognizing the immense talent and fervour that goes into being a performer of Indian classical arts. And finally I thanked him, thanked him for showing me the essence of ‘Kathakali’. Apart from the makeup, the costume, the élan and the rich history, it was the devotion, the discipline and the traditional grounding that I will never forget. So next time you go to see any Indian classical dance, remember to feel the history and appreciate the entirety of what you see.

Dance Therapy

“She is the embodiment of grace. She flows like water, she glows like fire and has the earthiness of a mortal goddess. She has flowers in her hair, jewelled hands and kohl dark eyes. Her eyes speak a language that her hands will translate, her feet move in tandem to make the story complete. She is a danseuse, she is a performer, she is almost ethereal.” – These were my thoughts when we were producing the ‘Dances of India’ images at the newly built Photosindia.com studio. Our model was unique, she wasn’t here to strut her stuff or pout and be pretty, she was here to blow our minds. I learnt ‘Bharatanatyam’ for seven years as a child but even I didn’t remember this kind of magical aura and splendour. It wasn’t the costume or the jewellery, it was the motion, the fluidity, I could go on and on.



Dance in India symbolizes more than just entertainment; it actually serves as a communication tool. Dances were mainly performed in temples as offering to the Gods, these dances relayed messages of community living, fictional plays depicting an ideal way of life and mythological tales of people and places. Most classical dance forms still remain physical manifestations of the music they are performed with. In Indian culture, song and dance are inseparable companions of classical arts. One compliments the other and neither can survive on its own. A typical example would be Bharatanatyam and Carnatic Music. Bharatanatyam is a dance form supposedly created by Bharata Muni, the sage who wrote the ‘Natya Shastra’, ancient text dealing with dance, performance and theatre. Bharatanatyam was performed by ‘Devadasis’ in ’ancient times, dancers that appeased the Gods, much like the mythical ‘Apsara’s', Hindu equivalents of angels or celestial dancers. The entire performance is actually a play, with stunning costumes and feline grace. The emphasis lies in the movement and expressiveness of the eyes, intricate hand gestures that speak volumes and most essentially an attitude that emotes confidence and beauty. ‘Karanas’ are classical postures in Bharatanatyam, these are 108 and 125 positions in the classical Indian dance. The word ‘Karanam’ means conscious and systematic action in Tamil. Another distinctive feature of Bharatanatyam is expressive hand gestures as a way of communication. Hasta Mudras refers to the varieties of hand symbols that a dancer uses to convey the story they are performing.



Bharatanatyam evolved as a dance form of the deities and went on to be performed across Tamil Nadu at festivals, in temples and in palaces. It had a mystical aura that spoke of eternal wisdom, enlightenment and purity. It I still considered a ‘fire dance’ as compared to Odissi being a ‘water dance’, the inclusion of elements adds a more metaphysical aspect to dance performances in India. All the technicalities aside what is most striking is the colors and the movements. The costume is elaborate and physically flattering to the female form, the hairdo is accented with fresh fragrant flowers, the hands and feet are adorned with a red paste and the jewelery too is loud and expressive. All these elements are essential to make the impact that this dance is all about. After all it is a story told with no words, the music is an accompaniment not the storyteller, the dancer is the only medium truly communicating with the audience.

View Bharatanatyam Stock Photos by PhotosIndia.com

About the famous ‘BINDI’

View Stock Photo Gallery by PhotosIndia.com

Indian women are famed for their bright clothes and traditional jewelry. Added to this burst of color are a host of other adornments in the form body art and piercings. One strong symbol of body art is the ‘bindi’ or ‘bindiya’. It is usually a red dot worn in the center of the forehead, just between the brows.

A powder of dried turmeric and lead produces ‘kumkum’ or ‘sindoor’ used to apply the traditional red bindi. In southern India vermillion is used to apply a ‘bindi’, it is made of powdered red mercuric sulphide. Now bindi’s are available in a variety of colors and materials. Married women wear it as a norm, while younger women prefer to wear it as an accessory.

Several theories explain the tradition of this ornamental dot. Those of a scientific bent of mind say the 'bindi’ is applied on an integral nerve point. This center point is considered an integration of higher wisdom and inner strength. The ‘bindi’ is thus applied to retain energy. The traditionalists believe it brings good fortune and luck. It is auspicious and a symbol of marriage, the most sacred of all ties. Mystics have always argued that the ‘bindi’ is the third eye, the seat of all Hindu goddesses and their powers. Ultimately it is the Fashionista’s that have brought the ‘bindi’ into the limelight by wearing it simply for its stark presence and mystery.

‘Bindi’s’ are now tradition and trendy. They come in intricate patterns with gems and sequins adding to the vibrancy. They are worn with both ethnic and western clothes, making a global statement in fashion.


Not only women, but Hindu men also wear a dot on the forehead, indicating their third eye. The 'bindi’ for men can also be called a ‘Tika’ or 'Tilak', it is usually longer and applied with the thumb. The ‘Tika’ is an auspicious symbol for men too, it reminds them of their spiritual heritage. In terms of history this ‘Tika’ helps to identify a Hindu among the members of other religions. Christians wear a cross, the Jewish wear a ‘yarmulke’, the Sikhs wear a turban and so on.


Ulitmately its women that identify most with the 'bindi', it signifies female energy or ‘shakti’. This red dot has gone from a symbol of marriage into patterns that go with a woman’s moods and the occasions in her life. It is all about empowerment and femininity.