What is being told in the Kerala Story is a fact as clear as day not just in Kerala but in the rest of India too. It takes a monumental act of falsifying truth to deny it. But that is what happened in last century.
2. Women are not complete human beings in the Religion of Peace. They are ‘Awrat’ – reduced to their sexual parts which becomes a synonym in a society obsessed with the fair sex. When it comes to numbers, they are just wombs to produce children.
3. When it comes to women of other religion it is many benefits rolled into one if Hindu women convert to RoP and then produce children for RoP. And nothing is better than them being the ISIS or any other branch of RoP terrorist organization.
4. They are many benefits rolled into one: one Hindu less, one Hindu womb less, adds many children to RoP, by aiding ISIS or such organization they actively help in reducing the numbers of non-Muslims and terrorizing and converting them to one true religion.
5. Only a society completely drunk on the Kool Aid of Sarva-dharma-samabhava, and completely devoid of #Shatrubodha will not fail to see what is happening in Kerala: that they are making a conquest of our women, and we are rationalizing it.
6. May this movie wake us up from the deep civilizational slumber that we have been put in; which has blunted our viveka, our discrimination, which has dulled our Shatrubodha to a point that not are we blind to what they do, we aid and abet it.
7. May this situation change soon. I see a great trend of movies depicting truth about Hindu dharma on one hand and the RoP on the other in Bharatavarsha. May this become a tsunami which will wash away all untruth.
Jai Maa!
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2. Hindu art is always created in a context, with a story, and a motive. Almost all of ancient sculpture and painting were in temples or sacred places. Murals and reliefs were meant to be worshipped or at least viewed in a sacred context.
3. Most of the vigrahas (sculptures) are placed in a sacred direction appropriate for their divine attributes, as ordained in shastras (scriptures). Even the sculpture not meant for worship (erotic sculpture) has a context for the temple shows the entire universe.
1. Today is #Devthaan. Not many of the new generation remember this festival except for a vague murmur that the marriage season starts with this day. It is one of the most different of the festivals we celebrated, for Devthan had a very pristine feel.
2. In my part of the country, this would be a really exciting festival. We would buy sugarcanes, (5 or 7) during the day. We would go for the best looking ones, the smoothest and the longest. As the night fell and shubha muhurta arrived, we will get on the terrace or the garden.
3. We would stand the sugarcanes by balancing them against each other. They would stand tall. On the ground under the sugarcanes, there would be an image of Chandra or the Moon drawn in a paste of rice or sometimes of other grains.
Kantara appeals in two ways: 1. Its authentic depiction of South Canara culture. 2. Its invocation of overtly Hindu themes and gods.
But is that cultural experience transferable? If yes then what?
2. It is obvious just by Kantara being true to its depiction of regional society that Bhootha Kola ritual is specific to the region. Entire set & setting; the weight of tradition; daivas depicted dwelling in that region for millennia; means that it is particular to the region.
3. But does that mean that the movie is meaningful only to the Tulus and meaningless to everyone else? That is obviously wrong as Hindus all over the world are being ecstatic about it, able to catch its emotion, becoming ‘sahrdaya’ with the bhava depicted.
Fireworks are ancient. In one form or another, they have always been present to signal our enthusiasm to the big wide world on a happy occasion. We have industry made fireworks now but in one way or another they have always been with us.
2. Fireworks is my first memory of Diwali. It is what I used to wait for. We did not have a tradition for buying new clothes on Diwali and children as young as me were seldom interested in clothes. Food was also something in which I was hardly interested. Fireworks were my focus.
3. In those days, the cracker shops would open almost a month before Diwali. And we would gather them over the period of the month. It was scarcely possible for buying them in one go. The excitement was palpable all over the colony.
Tradition is more easily destroyed than understood. Understanding tradition needs deep humility and time, which sadly we don’t invest anymore. In case of Dhanteras, the ritual of buying gold is quite social but significant.
2. While buying gold and silver on #Dhanteras might not have been the original tradition, it has been going on for a while now and it has resulted in a state in which Indian women individually possess a sizable amount of all the gold reserves in the world.
3. This tradition alone has helped India to weather global economic recessions better than other cultures and nations. Even a poor woman with barely a roof over her head in India will often fish out some ornament for an emergency.
1. The Paradigm Shift that #Kantara is Ushering into Hindu Society
Kantara like any civilizational moment unites & divides. Any such moment produces a universal emotion in population, which in this case is Hindus. And so it unites. But it also divides, for an important purpose.
2. Its reactions are so sharp that it is impossible to be neutral. You are either for it or against it. And so it divides its own people in two camps and that division is for a reason.
3. Any such civilizational moment is on the cusp of next paradigmatic shift. And that comes after a great internal struggle. What was gray until yesterday is no longer possible. Most choose to cross the boundary and to reach where they had never ventured before.