CULTURE & LIFESTYLE
Madhushravani: A festival celebrated by women of Mithila
The festival is believed to have started during ancient times to ease newly married women into their married life.
- Nityanand Mandal
Purainik patta, jhilmil latta, tahi chade baisali Bishari mata Haath supari khoicha paan Bishari karti shubh kalyan
Goddess Bishari, seated on a lotus leaf, holding a betel nut in hand and paan in her sari, showers us with her blessings
The song is dedicated to Bishari, the snake goddess who is believed to save people bitten by a snake. These days the whole of the Mithila region is vibrant with echoes of songs like the one above. Moreover, nachari (a type of folk music) and folklore are performed on the streets, in gardens and in people’s homes. The lives of newly married women are agog with excitement, curiosity and enjoyment.
Mithila culture is diverse in terms of tradition, rituals and lifestyle. One such unique festival is Madhushravani, a 15-day ritual that newlywed women participate in. The festival is celebrated throughout the Madhesh Province and some neighbouring parts of India, like northern Bihar.
This year too, the Madhushravani festival is poised to be celebrated with great enthusiasm. This year, it started on July 7 and will conclude on August 19. Additional days to the festival have been added because of the leap year.
During the ritual, women of Brahmin, Kayastha, Sonar and Dev castes fast throughout the day for around two weeks. On the final day of the ritual—which has largely been a subject of debate—the knees of the women are brought in contact in a practice called ‘temi.’ This sometimes leads to burning on the skin and results in a wound.
Historically, it is believed that the bigger the wound on a woman’s knee, the longer her husband’s life will be.
However, this is being contested these days. Women’s rights activists have been raising their voices, saying it is wrong to continue such painful practices. They argue that human beings should not be pushed into enduring such cruel rituals in the name of tradition. Many believe the festival as a whole needs to be abolished.
There are also many women who want the festival to evolve in a way that doesn’t result in women going through pain. They say that it is best to transform some parts of the rituals in a pragmatic way so that the festival could be even more meaningful for its followers.
Thus, it has now become more common to practice ‘shital temi,’ where the ritual is practised without fire. Even if fire is used, they just bring an oil lamp close to women’s knees before quickly moving it away.
Besides the ‘temi’ ritual, many Maithil women have a positive view of the festival. Bharati Choudhary, a member of Sakhi-Bahinapa, a women-lead organisation, argues, “In other cultures, they have a honeymoon, but in ours, we have Madhushravani.”
Adding to Choudhary’s views, writer Poonam Jha says, “Along with justifying traditional and religious values, this festival also brings forth human values. Celebrating this festival means preserving our people’s cultural heritage and identity.”
Madhushravani is believed to have been established during ancient times to ease newly married women into their married life. Women dress up in bridal clothes, collect seasonal flowers and leaves of trees, and put them in baskets made of bamboo. They also worship Lord Shiva with his consort Gauri daily, and the senior-most woman in the family—called bidkari—narrates stories daily during the period.
A distinctive feature of this festival is that women have to read different holy stories and sing hymns daily. Similarly, they also have to worship Naga (serpent) gods, Gauri, Surya (the sun), Chandrama (the moon) and Navagrah (the nine planets).
The festival also aims to build awareness about the environment. Plants such as juhi (jasmine) and maina (taro) are used in the rituals to signify their importance in sustaining the culture.
The stories told throughout the festival make Madhushavani all the more fun. Of the many stories relating to Shiva narrated during the festival, one goes: Once, Shiva and Parvati, deeply in love, were playing in the water. In a fit of excitement, Shiva placed his semen on the leaves of five lotuses. Out of the leaves, five Nagakanyas (female serpent deities) were born. Shiva often stepped out to spend time with his daughters. Once, Parvati, unaware of the situation, spotted him playing with the girls, became angry and raised her foot to crush them. That’s when Shiva revealed the truth.
Another version says that the girls were created from Shiva’s hair that fell into the water of Sonada Lake when he was having a bath. They were born as lotuses, and he wanted to see them in their human form. Thus, his daughters Jaya Bishari, Dhothila Bhavani, Padmavathi, Mynah Bishari and Manasa Bishari emerged from the water.
Another folk story of intrigue from the Shiva Puran (a Sanskrit text) is that of Behula, the devout wife who travelled to the heavens on a raft to successfully save her husband, Lakhindar, after a snake bite. This story is also performed as a play to appease the serpent goddess Manasa.
Many of the folktales of Mithila also impart knowledge about the importance of nature for human survival. Thus, the festival is an amalgamation of kala, katha and vrat (art, stories and fasting).
The Madhushravani festival underlines the importance of relationships and the respect a new entrant to the family—the bride or the groom—deserves. The bride stays with her parents and, in some communities, even the husband goes and stays with his in-laws.
Mandal is a journalist and Maithili cultural expert based in Janakpur.
CULTURE & LIFESTYLE
Amid a Bollywood wave, Maithili films offer new perspective on societal issues, but lack exposure
They are raising concerns of ordinary citizens’ day-to-day life, blurring the linguistic and aesthetic divide.
- Arvind Das
There are nearly 50 languages in which films are made in India, but films produced from Bollywood in Hindi are invariably discussed and debated in the mainstream media. They hog the limelight. We seldom get to know about movies made in North-Eastern languages or other regional cinema.
Recently, during the 76th Cannes Film Festival, a Manipuri film, ‘Ishanou’, directed by renowned filmmaker and musician Aribam Syam Sharma, was screened under the Cannes Classics category, but it didn’t get the attention from the film fraternity it rightly deserved. Manipur has a 50-year-long cinema history. The truth is, many people still don’t know about the movies of Sharma or young Manipuri filmmakers like Haobam Paban Kumar and Romi Meitei.
The same is the situation with some other regional cinemas, for example, in Maithili.
But now, it can be hoped that things are changing. In the last two decades, films made by new independent directors have created waves at national and international festivals. With the digitalisation and coming of online media platforms (OTT), there has been a phenomenal rise of regional cinema in India. New media and digital technologies have propelled regional cinema to conquer new territories. Films made in Marathi, Punjabi, Malayalam, Telugu, etc, have been popular beyond their language markets. Could this also happen with Maithili cinema?
Last year, during the San Sebastian International Film Festival, young film director Parth Saurabh’s ‘Pokhar Ke Dunu Paar’ (On both sides of the pond) got the ‘Special Mention New Directors award.’ Based in Darbhanga, it has not been released yet in cinema halls or on any OTT platform, but it’s being discussed in the festival circuit. Next month, it will be screened at the Indian Film Festival of Melbourne along with Anurag Kashyap’s ‘Kennedy.’
The history of Maithili films
Maithili film history is more than 50 years old. ‘Kanyadan’, based on famous Maithili writer Harimohan Jha’s novel of the same name (1933), directed by Phani Mazumdar and released in 1971, is credited with being the first Maithili film. It depicts the problem of mismatched marriage through language problems in pre-independent India. Nabendu Ghosh wrote its script,
while famous Hindi writer Phanishwar Nath “Renu” wrote the dialogue for ‘Kanyadan.’
Before ‘Kanyadan’, a Maithili-speaking filmmaker, C Parmanand, was trying to direct the first Maithili film in 1964, named ‘Naihar Bhel Mor Sasur.’ It was delayed and released in 1982 as ‘Mamta Gabay Geet’ (Mamta sings the song). Both movies are still remembered for their sonorous songs.
In the last five decades or so, more than 50 Maithili films have been released but only a few, like ‘Jai Baba Vaidyanath’, ‘Sasta Jingi Mahag Senur’ (Life is cheap, marriage is expensive), ‘Kakhan Harab Dukh Mor’ (When will my sorrow go away), and ‘Mithila Makhaan’, are known and talked about. Most of the films follow the narrative of mainstream Hindi cinema, and a few have worked at the box office.
A lack of exposure
Maithili and Bhojpuri cinema production started around the same time in the 1960s. While Bhojpuri cinema has a market and industry, Maithili cinema has failed to develop a market. A reason for this could be the lack of support and distribution network for Maithili films all these years, which is true even in the age of OTT.
In an interview, well-known film director Girish Kasaravalli told me: “When the idea of online platforms came, we thought it would help the small filmmakers, but our expectations did not come true. OTT is more concerned about returns, profits, and so on. Kerala recently started a government-owned OTT platform to screen off-beat Malayalam films that have received critical acclaim and national and international attention.”
Perhaps, the Bihar government will take the lead.
Maithili was included in the Eighth Schedule of the Indian Constitution in 2004. The Mithila region, which encompasses parts of North Bihar and Nepal, is known for its rich language, literature, and culture. And yet, it is Bhojpuri, the language spoken in Uttar Pradesh, Bihar, and Jharkhand, that has produced a more vibrant and sustainable cinema. Any discussion of the cinema of Bihar begins and ends with Bhojpuri films. It’s true that Bhojpuri films have a vast catchment area which makes them commercially viable, but unlike Bhojpuri films, contemporary Maithili cinema is set in realism.
With the critical acclaim of movies like ‘Gamak Ghar’ (Village Home) and ‘Dhuin’ (Fog), directed by Achal Mishra, people have begun noticing Maithili cinema in film festival circuits. Last year, ‘Dhuin’ was screened at the Cannes Film Festival along with five other movies. Besides Cannes, they were shown at the Museum of Modern Art, New York and other international festivals, too.
Both the Maithili films deal with the issues of migration and unemployment and the aspirations of small town youth in a globalising India.
Partha Saurabh’s film, ‘Pokhar ke Dunu Paar’ (On either side of the pond) is also set in Darbhanga against the backdrop of the Covid-19 lockdown. Although the language of the film is Hindi, the lilt of Maithili is heard in every frame.
In all three films, we notice a certain minimalism and visual quality unheard of in the history of both Bhojpuri and commercial Maithili cinema.
In this era of blockbusters and nationalistic Bollywood films, these movies are raising issues which concern day-to-day life of ordinary citizens, blurring the linguistic and aesthetic divide. But they need to get exposure which, given the recognition in film festivals, will, it is hoped, come sooner than later.
Published in special arrangement with thewire.in
CULTURE & LIFESTYLE
Young artists shine at Gallery MCube show
The exhibition features a unique body of works by 12 up-and-coming artists.
- Post Report
Kathmandu
Gallery MCube is currently displaying artworks by 12 young artists—eleven Nepali artists and one from the UK—for this year’s iteration of the ‘Young Artists Show.’ The featured artists are Annabelle Keyes, Momin Pradhan, Nilesh Shakya, Nirvita Shakya, Rahul Maharjan, Rasik Rai, Rubi Maharjan, Samana Rai, Sanod Maharjan, Shailesh Rajbhandari, Suraj Shilpakar and Suresh Maharjan.
The exhibition opened on July 14 and was visited by Naradmani Hartamchhali, the chancellor of the Nepal Academy of Fine Arts (NAFA). According to Manish Lal Shrestha, artist and curator of the show, the group exhibition aims to bring forward young talents and give them an opportunity to interact with senior artists and art enthusiasts in the valley.
The selection for the young artists began with an ‘open call’ where art students were encouraged to submit their best artworks. “The submissions received undergo a meticulous review and evaluation process by a panel of experts to ensure that only the most outstanding and promising artists are chosen,” says curator Shrestha.
As part of its commitment to promoting new talent, the gallery will also award two participants—one female and one male—with a residency programme for the upcoming year. Shrestha says
that awardees can use the gallery’s studio space to create new artwork and receive mentorship and guidance from established artists, which will help them refine their artistic vision, expand their creative horizons, and develop a proper conceptual framework.
The exhibition will continue till August 6.