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Bathukamma Festival Essay for Students. Gujarati, English, Bhojpuri, Kannada, Telugu. The word Bathukamma in the local Telegu language literally.
Bathukamma is an embodiment of the spirit of Telangana. The festival has become an important part of the cultural renaissance movement of Telangana.
History of Bathukamma. Later they named their daughter as Bathukamma. According to the Telugu language, Bathuku means life and Amma means a female names and mother.
Bathukamma festival is celebrated for nine days from padyami, asvayuja monthly distractions. Tag: bathukamma festival story in telugu pdf. Telangana Festivals.
Boddemma -Bathukamma Patalu Publisher M. Bathukamma festival essays February 15, No Comments on Bathukamma festival essays.
Exosporal Harwell alkalinized, perpendicular becharm plough frailly. Anonymous says: September. For that matter, hand painted images on walls of shrines, which is also a popular visual medium, is often neglected in such studies. Moreover, there is a re-emergence of these images in the regional context that appears to have taken shape over the last couple of decades in a gradual process of standardisation of the female goddess over the subaltern deity. Intermediality in Art and Cinema: Apart from the nature of visuality of the goddess images, another important dimension one needs to consider while looking at these images is the cinematic effect on them.
The intermedial exchange between different mediums, such as art and cinema, has been expounded by various scholars like Geeta Kapur , Ashish Rajadhyaksha etc.
The aspects of frontality and tableau representation in early cinema have been widely discussed as traits passed on from traditional art forms like painting and theatre Kapur, However, in the case of goddess images, there seems to be a reverse conferring of elements from Cinema to Art.
Therefore, using the framework of intermediality, there is a possibility of observing the nuances of image making, particularly of the goddess, within an intersectionality of religion, art and cinema. Vasudevan in his analysis of Bombay Cinema elaborates on this experience of modernity in the visual medium. For him, these audio visual aspects of cultural practices are representative of social perceptions and identity.
He further discusses how the image of Hindu nationhood becomes dominant over minority socio- religious structures in Cinema Vasudevan, It is evident that most of the early cinema dealt with the mythological and devotional themes. Nevertheless, the genre of mythic continued to make appearance in regional cinemas like Tamil, Telugu, Kannada etc.
Similarly, in Telugu Cinema too, there was a similar trend, which popularized local goddesses belonging to the subaltern castes.
Uma Bhrugubanda in her thesis makes a chronological study of the intersection between cinema, religion and politics in Telugu Cinema by examining it as a cultural institution. Here she observes that lower caste women as well as goddesses are put to reformation by identifying them as incarnations or subordinates of higher goddesses belonging to the Hindu pantheon.
BELUKA resistance to the western woman or the lower caste woman who was considered as wrathful, angry or sexually immoral. In a similar fashion the local deities in Hyderabad are seen as turning into more feminine or motherly figures from their past images of crude and powerful ones by clothing and bejeweling them. Rituals of animal and fowl sacrifices and offering of toddy local palm wine which were an essential part of the worship have faced strict ban.
Female priestesses and devotees who were associated very intimately with the goddess in small shrines in their neighborhoods, now only partake as distant devotees in temples governed by male dominant committees.
As bigger temples are established through illegal means like land grabbing or encroachments, upper castes and classes begin to lay claim over ownership and other operations of the temples. As part of investigating the pictures of the deities, a detailed analysis of the iconography could give interesting insights into the representation of the goddess herself.
The feminine form is accentuated with colourful sarees and jewellery as she holds in her several hands, weapons and objects signifying her power.
On a careful observation, the paintings reveal caste affiliations and appropriations from various other deities. Here she still holds traditional iconography of an axe in one of her hands but sits on a lotus as the goddess Lakshmi while two flimsy tigers adorn beside her.
Both the above mentioned paintings are available at a small roadside shrine in Amberpet area, which the temple owners claim to be more than hundred years old. Similarly, another wall painting shows more recently popularised goddesses in the region such as Sammakka and Saarakka Pic.
They belonged to the tribal communities. Unfortunately with the growing hybridisation, the distinct quality of individual temples is lost, as every temple begins to look alike, bringing them under one standard Hindutva identity.
The new state was formed on 2 June comprising of Telugu speaking portions of the erstwhile princely state of Hyderabad under the Nizams. It falls in the month of Ashada Masam, i. Special poojas are performed for Yellamma on the first and last day of the festival. It is a month long affair celebrated each week in different areas of the city, eg. Akkana Madanna Temple from Golconda, with colorful processions and communal feasts. They are particularly worshipped by the lower castes or dalit communities in the region.
As suggested by many scholarly sources Whithead, Dahejia, Mishra, there has been a tradition of worshipping lesser by the marginalised communities in various regions. For eg. Turmeric and vermillion is smeared over the form with only readymade eyes made in enamel or metal does not specify either the gender or beautify the feminine power, whereas the replacements are usually well sculpted and embellished with silk fabric, jewellery emphasising her distinct feminine form.
The clothing could be seen as an attempt to civilize an otherwise free spirit or the decadent and wrathful goddess. It coincides with the time of Dussehra, the festival of Durga.
Women participate in the celebration by making mounds of vibrant seasonal flowers and leaves as symbolic of the goddess and circumambulating around them in a rhythmic dance and special Bathukamma songs.
The festival became significant during Telangana movement for cultural renaissance, especially in bringing women together. Bharat mata or Mother India. She holds a Bathukamma in one hand and corn in another, two symbols for culture of the state.
Imagined Communities: Reflections on the Origins and Spread of Nationalisms. Verso, Bhrugubanda, Uma, Maheshwari. Geneologies of the citizen- devotee: Popular cinema, Religion and Politics in South India. Columbia University, Jain, Kajri. Gods in the bazaar: Duke University, Kapur, Geeta.
Sudhir, and Vivek Dhareshwar, eds. Interrogating Modernity: Culture and Colonialism in India. Calcutta, Morgan, David. Sacred Gaze: Religious Visual Culture in Theory and Practice.
University of California Press, Padma, Sree. Vicissitudes of the Goddess: Reconstructions of the Gramadevata in India's Religious Traditions. Oxford Uni Press. Petho, Agnes. Film and Media Studies. ACTA Univ. Journal of Arts and ideas, Thakurtha, Guha, Tapati.
Sinha, Ajay J.