#Punjabi folklore

[kesarijournal]

Eternal Wanderer: A Quest for Unseen Love

In twilight’s gentle caress, where secrets merge and shadows bless,A lone soul wanders, veiled in grace, a quest in heart, no time, no place.His path, a canvas of the night, under stars that guide with ancient light,Where moon’s soft lullabies entwine with sun’s farewell, a dance divine. Across the verdant Punjab plains, where love’s saga echoes, remains,He searches for a spark undying, in a…

[dont-look-me-in-the-eye]

sahiban's brothers dni

[shemakesmefeellikeprey]

Too Deep

I knew from the moment I saw you;

I was in too deep.

I know from the moment you

came through the doors

at 24,

That I wanted more;

And more.

One letter for the woman I adored,

then,

one lifetime of memories

from what was in store.

I could hardly believe this apartment was yours;

Part nerve wracking; part dance floor.

In a carnivore's lap, an herbivore;

Lips met; and I would've eaten you there on the floor.

My birthday;

you left me wanting more.

More; and more.

Encore, encore.

Until,

Two hands on my chest;

then

I was in too deep.

And I wanted more.

I was in too deep.

You couldn't handle more.

[rrcraft-and-lore]

So, this thread is for @Spirited_Gal , who is a wonderful person & author. She reached out curious about Asian storytelling structures and techniques, then links to South Asian ones. This became a convo about native/common/historical structures/styles/techniques from South Asia. 

So, let's get into some loosely (just to make y'all aware, without turning this into an academic essay because it easily can - but I do not have time for that, and am not being paid for that writing, and it could be a lot when fully fully fleshed out). 

Katha | Kathya: this is an Indian style of storytelling rooted in religious stories (mythology) - the performances are ritual events in Hindiusm. Sikhism holds a different take on it but somewhat related in that there is a focus on religious discourse, taking things apart, - 

questioning meaning/interpretations, & then using this to teach scriptures for a moral/religious education - directing beliefs & practices. But the purpose regardless when reduced to the simplest is the same: the moral/religious education & impartation of societal good values to people through the stories.

Usually the stories and this style are performed with a class of people who are both priests and narrators (narrators/storytellers have a massively important role in South Asian culture that they cannot be understated and undervalued, especially- 

considering so much of the religious history | myths, epics/stories were orally performed and passed down. Aural (listening/hearing) pleasure are just as important as music and song and dance accompany these performances, and couplets, hymns are common as well. 

Anyways, Katha is its own style focused on the religious epics like Ramayama. These stories as mentioned feature a storyteller proficient in classic music, oration, accompanied by dance/song at times, and involve story digression points - if that sounds familiar :throws copy of The First Binding at your face (lovingly).

This particular style is called: Kathakalakshepa.

Another style of Katha is: Purana-Pravachan - built on/around expounding the Puranas, a vast collection of folklore, stories, poems, legends, and more. They are heavily layered with- 

deep symbolism, diverse, incorporation tales of all sorts including sciences and topics like cosmology and cosmogony (not the same). This style focuses on the spiritual interpretation of these stories while reciting them. 

Folk Narratives (and I have another thread on specific ones such as Panchatantra and Jataka tales which I have talked about and have been argued by some experts to contribute | inspired to 30-50 percent of western nursery tales, ballads, "fairy" tales, as well as some (some not all, not many) middle eastern ones. Some. These are usually narrated with drumming and bow-string instruments. You might see more of these in future Tremaine novels. Perhaps even book two <.<

One of the most common type of story within the folk narrative is particularly - the heroic ballad.

Another specific style here is the Burra Katha - an oral storytelling technique that comes from the Jangam Katha (an order of religious monks associated with Shiva). It incorporates many of things I've mentioned before: prayer, drama, dance, songs, poems, humor (lewd and tame), and usually focuses on mythological stories, or interpretations to focus on modern social issues. Interesting fact, Burra refers to tambura - a stringed instrument with a hollow shell. In Telegu, the word Burra means brain. The shell of the instrument so resembles a human skull (metal! or...gothic. w.e.), it's made of baked clay, pumpkins, or soft metals like brass/copper. In this style, the narrator doesn't just narrate, they play the instrument and dances to the music. South Asia has very little just tell a story traditions. 

They're all performances. You will move, you will dance, you will evoke, sing, riddles, lessons, so on. :Gestures to Ari:

Okay - that's it that I want to talk about Katha (yep one tradition/style with varied structures). Just one...see how diverse it gets.

NOW, CLASS: 

Kirtan | Keertan: It's narrating, reciting, telling or describing a story or an idea. Wait isn't that the same? No. Because it's a genre of religious performance arts but you're not necessarily breaking down a religious epic/myth a certain way. Instead, you are focused on the 

performance of them, many times in a group, with multiple singers, each of whom recite/focus on the name of a specific deity, or a legend, and then you perform that part, very heavy on emoting, evoking that aspect to the audience, the romance, the heroism, and then use multiple singers to discuss that. This particular style is built to engage the audience.

You bring the audience in on the chanting, on the songs, or reply to the singers. You're not lecturing and teaching a moral/spiritual education here. You're performing them and involving the crowd 

That IS different. This is a collective performance. Just because you might cover similar topics as Katha, for example, doesn't mean it's the same thing.

That's like saying anything involving a four chord progression is the same (I know someone musicy will bring up a joke about how...yeah they're all the same. I KNOW WHERE YOU'RE GOING WITH THAT BUT YOU KNOW WHAT I MEAN. CHILLLLL). 

Anyways, what specifically makes Kirtan different is the fact that it's not required to be educational, and it's focused on shared performances. Katha can be performed by ONE person. 

Kirtan again is commonly a call-and-response style performance.

I've already talked about Puranas and Jatka Tales and Panchatantra before (you can look those up in my other thread). Also styles of storytelling because of what they entail in their collections, diversity of topics, and varied styles between them in the presentation. They're not just "works" but it's how they're collected/presented and what they cover. That matters. 

Hitopadesha: Beneficial Advice. This is an Indian text, written in, as you can imagine, Sanskrit. It's compromised of fables with human and animal characters and focuses on, you guessed it, imparting advice - maxims, so on. Things involving political affairs, life advice, and is delivered in simple and elegant language. It is said in fact to actually predate the Panchatantra (which I've shared is already one of the oldest things out of there. This is said at times to be the Panchatantra before Panchatantra ) 

The argued point of this particularly story and its structure of being four books, really, is to both encourage the proficiency of people reading it in Sanskrit expression (writing, poetry, more), and imparting wisdom/good behavior. Note, this is not focused on religious/ mythological connections. These are some of the oldest folklore/folktale/fable style stories. You can convey lessons/wisdom/life advice without a religious epic. Though, note, religious figures DO appear and can in this style. Some examples from within: 

Book one: (Translated title) How to gain a friend (some of y'all might need this with how you behave online). It begins with a statement on how the wise and sincere friends might often appear poor or destitute, however, they are the ones who more often/earnestly help one achieve true success in life. It focuses on finding friends of good quality, doing this through many particular animal stories such as: The traveler and the tiger. Or, the deer, the jackal, and the crow. The old man & his young wife. The huntsman, deer, the boar, & the serpent & jackal. 

Frame Narrative: I think I've talked about this one so much it'll be mildly depressing if I have to really break this one down. But, ahem. Sandwich narrative, kind of self explanatory. Story (or stories) within a story. You have a main narrative and or narrator (hi Ari) set the stage for more emphasized and secondary narratives within (going as deeply layered as you want). The legendary South Asian epic, Mahabharta is the earliest example of Frame Narratives we have, along with Ramayama, Panchatantra, The Seven Wise Masters, and Vikram Vetala (or Vikram the Vampire oh yes, Indian Vampire - technically flesh eating demon, long story. HA. GEDDIT?). Anyways some other examples from other cultures are: 1,001 Nights, The Decameron, and Canterbury Tales. Parts of the Odyssey employ this too, the beginning, where Odysseus tells of his time in the court of King Alcinous.

Mary Shelley's, Frankenstein, has multiple framed narratives in it. Neil Gaiman's used it in parts of Sandman. But we're getting away from the South Asian history/roots.

Next: 

Qissa | Kisse | Kissa (NOTE: This is not solely an Indian origin, but a fusion that comes out of Islamic/Persian heritage that developed a different localized form to Punjabi and Bangladeshi people once introduced and changed for them through migration). The word Qissa is Arabic for epic legend or folk tale. It's regularly common in Indo-Aryan languages like Punjabi, Hindi, Urdu, so on. 

You can also translate it as: interesting story (which is a whole own genre - something that has led me to butting some heads with people in the biz when I explain YOU DO NOT NEED TO HAVE A STANDARD PLOT STRUCTURE FROM THE WEST. SCREAMS. :Jabs at one piece, an epic adventure fiction with a numinous goal still in the distance after 20 years, but strung together with tightly woven character driven and location arcs - it quite literally follows the history of great, grand, ADVENTURE fiction, promising more than anything, a great adventure story in pursuit of a goal. The end).

Anyways, I digress.

Punjabi Qisse/Kisse focuses on stories of love, passion, betrayal, and sometimes a common man's revolt against a larger system. Stories of friendship, loyalty, love. These are usually sung and performed. Poetry forms of this are VERY common (through all the mentioned cultures above, not just Punjabi). The Bengali style is similar (as obvy both evolved out of the Arabic tradition), just focusing more on Bengali culture and stories. They are all UTTERLY beautiful. 

If you've read Tales of Tremaine (and wait for book two) you will catch these themes and notes as well.

It's almost like that series is trying to smash and share every freaking kind of storytelling technique and tradition I can from along the silk road because...there isn't one of those (golden road) in the book. Oh, wait. :blinks:

Kavya: This is a particular style of utterly beautiful poetry performed by court poets. It's a blend of prose and poetry focusing specifically on the flowery/hyperbolic uses of figures of speech, metaphors, and similes. 

Sometimes you'll have pieces flowing through normalized prose and poetry in and out. That is NOT required in that specific way. It's just something that happens/can be done. 

There is a very specific intentional use of that in the chapter, Brahm, in The First Binding, in where there is a creation/cosmogony story, performed in normalized prose, rhyming couplets and quatrains, with a mini section in verse. 

That section is not actually Kavya, just inspired, as it is not a court epic, more drawing from the other requirement of a "short" lyrical work with those aspects I mentioned above. 

There is Bhakti poetry: a specific poetic tradition from the 6th century focusing on celebrating the love and devotion for Hindu gods - showing one's mystical devotion to a god. It's devotional and religious, also focusing on condemning evils, promoting egalitarian values, transcending ideas of caste, gender, and restrictions. It hinges upon message of love.

Dastan: Is an Urdu storytelling tradition focused on epic tales of adventure, romance, chivalry (note, not only pakistani/urdu, other islamic cultures use this style). It is performed both orally and in written format.

This whole thread is JUST A PRIMER.

If you are interested, please take the time to go do a proper deep dive.

[kasargods-blog]

#shorts #video#viral

[teaah-art]

Desi LGBT Fest 2023 (hosted by @desi-lgbt-fest)

Day 7 : Faith/Rituals of Love

Definitely geared heavily towards the 'Faith' part of this prompt as soon as I read it!

If being Queer is defying conventions and if being a part of the Queer community means going against heteronormativity and gender conformity, is it not Queer to forego materialistic ties and the love of a human partner and embrace the love of a greater being you have only heard about in stories?

All four individuals featured here were integral part of the Bhakti Movement and/or Sufism in South Asia. None were married other than Meerabai.

(Panel order from top to bottom)

Chaitanya Mahaprabhu (1486-1534) : A key name of the Bhakti Movement and the Gauriya Vaishnav tradition in 15th Century Bengal, Chaitanya Mahaprabhu was believed to have been a vessel for both Radha and Krishna. Bengali doesn't use pronouns or gendered language and we may never know what they would have preferred to be identified as in a language they didn't know (English), I will simply resort to using They/Them for them. Their written teachings are few and far between but the verse mentioned here is the seventh verse of the only written record of their teachings, the Shikshastakam - a collection of 8 total verses. The translation here is my own and quite literal so that the interpretation is left to the reader.

Meerabai (1498-1597) : [CW : IMPLIED QUEERPHOBIA/APHOBIA] Meerabai was born into Rajput royalty and was married off, also to Rajput royalty, in likely an arranged marriage. While most of the stories surrounding her are folklore whose historicity is yet to be confirmed, her marital status can be confirmed, and so can her devotion and affection for Krishna and the divine, which she has herself penned in numerous poems and songs. Folklore does strongly imply that she was non-committal to her marriage and that her in-laws tried to poison her to death multiple times for it.

Kabir (1398–1448 or 1440–1518) : Found as an orphan by a Muslim weaver couple, Kabir's religion grew to become somewhat of an enigma for future generations. His stance, however, on the topic romance and marital relationships is quite clear - he looked down upon them and a huge chunk of his couplets strongly imply that romantic and sexual relations simply obstruct spiritual enlightenment.

Bulleh Shah (1680-1757) : Bulleh Shah, though an ardent proponent of loving the divine, was declared a Kafir, a non-believer/non-Muslim by a quite a few Muslim clerics of the time. He was known for speaking up against existing power hierarchies of the time and used vernacular speech for his writings (Punjabi, Sindhi) which not only served to popularize his works, but also let people connect to his words.

A personal note on my motivations under the cut.

A while back when I was actively going through the anxiety of finding out that I am ace and that I will never fit into the current South Asian society that the wedding industry has a chokehold on, I desperately wanted to see people from my own culture living happily without a partner. During one of my history rabbit hole escapedes, I restumbled upon the story of Meerabai, how she always insisted on loving and devoting herself towards Krishna, despite being married into a normative and wealthy household and despite her in-laws repeatedly attempting to poison her for not committing to her husband. Most of us from India grow up hearing about Meerabai, her spiritual connections to Krishna, and her struggles. The moral of those stories is always framed as 'believe in god, he will help you through tough times'. But this was the first time I was making a different connection, I was drawing different morals. And when I took Meerabai's non-conformity to her married life and started looking for more examples like hers, I was overwhelmed by how many more individuals existed without a partner, condemned being in a normative, married relationship, admitted to having lost human connections and faced resistance even, and yet stayed true to their orientation and sounded HAPPY! It was extremely hard to narrow it down to these four, but these do make my point! Labels are hard to transpose across cultures and history. But if being queer means being nonconforming of marital structures and being aspec/arospec implies neutrality, indifference, or aversion to romance and intercourse, then no one fits the label if they don't.

[delicatetaysversion]

pretend i did not send the prev ask ANYWAYS how was your day 🧘‍♀️

it was better today for a change

i sat with this girl and we listened to songs all day she said she's getting into taylor swift and i kinda got overexcited and told her about the folklore triangle because she had listened to a lot of august of reels and she likes it and she was like oh damn that's awesome and when i played her betty and she sang im only 17 i don't know anything but i know i miss you she rolled her eyes and made a face and was like ugh every playboy ever WHICH MADE ME SO HAPPY and then she made me listen to some punjabi songs and i liked them and we finally settled on MY bollywood playlist and she liked it i was so proud and we were talking about how awesome taylor is cause she writes all her own songs and i told her do yk she has a 10 min song and she was like omg really send me so yes ill send her the mv today and i hope she likes it

[desthebolt]

HIIIII! Hope you are doing well! I saw art of your characters, and I want to hear about them! I am specifically talking about the autistic vampire, because I saw that in the reference art and got so excited!!! You don’t have to reply, but as an autistic vampire enthusiast and lover of monsters in general, I would LOVE to hear more!

Sincerely, your local lurker

I AM SO SORRY im answering this like, um (checks calendar)… almost 7 months later… but hey!!! I am SO TOUCHED you wanna hear about my ocs :,) i will proceed to info dump and not shut up about them! I actually have multiple autistic vampire ocs, but im gonna assume you’re talking about Bhala! (Her ref is the only one i think that actually says she’s autistic) Anyway, ramble under read more :3c

I have a graphic novel im working on behind the scenes, and Bhala is one of the two main protagonists. She’s a cosmic witch that was freshly turned into a vetaala vampire. (Vetaal/Vetaala are a possessive ghost in indian folklore, they are restless spirits that can manifest as blood sucking ghosts or possess dead bodies). For the story, i made a pseudo hybrid between vetaal and regular flavor vampire. Bhala’s body is actually a shell/physical ghost form of what her body looked like (only now with fangs). Her real physical body is dead and buried. In folklore, the only way to banish/kill a vetaala creature is by taking the original body and performing a ritual to put the restless soul/spirit at ease. This is the same for my story, so vetaala vampires are almost completely un-killable. Most in the story hide their bodies in different countries to almost guarantee eternal life. They still need to feed off blood and souls to keep up their vitality, otherwise they become ravenous and beastly.

Bhala literally doesn’t care about any of that, she didn’t want to be this way. She tries her best to not feed off people, but she has to. She gets used to it further and further into the story, and a lot of that is thanks to her gf that she meets in the beginning of the story; Fiona (thats another ramble if anyone cares /j)

Anyway a lil more about Bhala- She’s a ray of sunshine and very sweet and compassionate, with a lil layer of sass and cleverness. She loves to tease Fiona (affectionately) and isn’t afraid to speak her mind (and throw hands if necessary). Her hyper fixation is woodland animals, specifically skunks. She owns a skunk plush that her mother made for her when she was a toddler. It is her snuggle buddy when she’s not snuggling Fiona. She even learned how to sew specifically to keep her plush, named Flower, together. If you ask her what her favorite animal is, she will talk about skunks for hours (Fiona will do this sometimes just to hear her talk)

Bhala loves jewelry and always has it on (she doesn’t really feel pain, so why not?). She also grew up playing the cello and acoustic bass. Normally, she resents most activities she had to take a part of growing up with her father, but she genuinely loves music. It helps her calm down and focus.

She fidgets A LOT, mostly with her claws, but sometimes with her jewelry and even her magical cosmic hair (which leads into a baby astral plane… which she uses as storage instead of a backpack). She does have real hair, it’s just hidden underneath the cosmic magic (she has long thick black box-braids :3)

Her powers at the start of the story aren’t that great, her father was keeping her from learning real cosmic magic. After leaving and moving in with Fiona, they find Bhala’s mother, who properly trains her in magic. By the end of the story, she’s not a master, but she’s still extremely powerful (cosmic magic is some powerful shit in this story)

She is unapologetically black/punjabi/kashmiri and a powerful trans woman, and oh boy she is a BIG lesbian. she likes them short

I think thats it for the ramble, feel free to ask me anything else! I am more than happy to info dump about my ocs :3 !!!!

[imperfectorange]

Celebrating Makar Sankranti in India

Every year Makar Sankranti falls on the 14th or 15th of January, and there’s a good reason for that too. The term “Sankranti” refers to the movement of the Sun from one Zodiac to another, so there are a grand total of 12 Sankrantis. What makes Makar Sankranti special? During Makar Sankranti, the Sun moves from Sagittarius or Dhanu Rashi to Capricorn or Makar Rashi, in numerous ways this signifies a new beginning. The Sun which moves into the Northern Hemisphere leads to longer days and the end of the Indian Winter. It falls during the harvest season, with freshly cut crops offered to gods and subsequently eaten. The period signifies “fertility” and bursting into action after the slow and delirious winter season. It ushers in the “auspicious” part of the year which lasts until Karkata Sankranti which falls somewhere in July. It is also the only festival celebrated going by the solar calendar. The contrast between the cozy western holiday season and the vibrant onset of Hindu fertility is an abrupt transition but goes perfectly with the hopeful nature of the new year. 

All over India, Makar Sankranti is celebrated in different ways with each one doing their own thing. 14th/15th January signifies not one or two but many festivals.

In Tamil Nadu, the festival is known as Pongal, which translates to “to boil, overflow” and freshly cut rice is cooked with milk and jaggery. The Tamil version can be traced back to the Chola empire, so roughly around the 9th to 13th century. Spread over three days (and a lesser-known fourth day), each day has its own significance. The first day is known as Bhogi Pongal or Indran and focuses on cleaning the house, as each member dusts and scrubs until every surface is squeaky clean. The second day is called Thai Pongal or Surya Pongal and is the most important day, the Pongal is made and first offered to the gods, then the cattle, and only after that are the family members allowed to have it. The third day is spent grooming and worshipping the cattle.

Uttayaran in Gujarat can only be defined by one word, “vibrant”. Strewn across skies are kites that made for a tapestry. There is an industry revolving around this particular time of the year, as kite sales skyrocket (pun intended) and officials from different countries come to participate in kite competitions. The reason behind flying kites is that being out in the Sun after the winter helps kill germs and be more exposed to Vitamin D. Dishes like Undhiyo that are nearing the end of their season are relished for the last time.

If we go farther North, we come across Lohri, the Punjabi variant of Makar Sankranti. The folklore attached to Lohri is of a man known as Dulla Bhat, who lived during the reign of Emperor Akbar. He used to steal from the rich and distribute it among the poor. In his honor, people sing “Sundar Mundriye” during Lohri. This story is different than the religious and godly myths surrounding the other festivals, and it’s fascinating how a festival honors a man who worked for the needy. Punjab is a largely agrarian state, so the festivities are rooted in harvesting crops. People get together around huge bonfires and eat everything from Chikki to Saro ka Saag. 

There are tons of other festivals on this day, in Assam it's called Magh Bihu with games like tekeli-bhonga (pot-breaking) and buffalo fighting taking place. In Bihar, locals have chuda-dahi (beaten rice and yogurt) and a portion of gur (jaggery), and in Bengal, it’s called Poush Sankranti and have sweets like pithe, patishapta, etc. with rice and palm jaggery.

- Priyanshu

Painting Credits: Ladies on a Terrace Kite-fighting, circa 1775.

[consolidations-of-a-dream]

//Assorted doodles while I was out. Couldn't find my sketchbook, had to use lined paper.

The three down below are dropped characters from Devil's Eye, as they were originally demons/fallen angels associated with the Master. As we dropped lore that involved actual religious/folklore spirits, the three are repurposed as tulpas in this blog, as they serve similar creative purposes, just not as beings that aren't religious in origin.

Featured:

Valentine "Val" Wu: Brand spanking new tulpa, formed to be a lover but was rejected because he took on the form of a dead beloved for the person he was manifested for. Now without a purpose, he diverts his attention to just learning and experiencing humanity until he finds love elsewhere, and thus, a new purpose in existence. If this does not happen, there is a chance he will turn rogue, which may cause disorder and chaos in whichever reality he is in unless he returns to the Cosmos and ceases to keep on existing.

Val has the appearance of a Westernized Chinese man in his mid-twenties.

Harpreet Jee: Veteran tulpa, once created out of entertainment from an existing tulpamancer as general stage (boxing ring?) magic, now given his own life and humanity as the husband of Kyung Hee Jee (@thegravecartel ). Tries to watch over Val to make sure he doesn't go rogue and be his mentor on how to be human, all while maintaining the masquerade that Val is not real in whichever reality they're in.

Harpreet has the appearance of a late-20s Punjabi Indian man in traditional Indian clothing. His tulpamancer was Sikh, but Harpreet is not, so sometimes he will wear a pagri, sometimes he will not.

Parachai: Another older tulpa, created by accident by Harpreet's tulpamancer when that tulpamancer was undergoing an emotional crisis. Generally is Harpreet's energy opposite, with Harpreet being positive and Parachai negative. Nowadays is generally a meta manifestation of a 'troll' and peanut gallery-style of commentary, as he has outlived his initial "purpose" (be an outlet of anger) but still sticks around as a rogue tulpa.

Parachai looks identical to Harpreet but styles his facial hair differently. He wears just a dhoti and assorted traditional Indian jewelry.

Urameil: An example of a tulpa who was created out of a collective consciousness instead of a single dreamer or tulpamancer. He comes from a pocket of reality where other rogue tulpas threaten the fabric of that reality by taking people who are suffering into their own epiphanic prisons. At current, Urameil is focused on an incident of such taking place in 1821, Austria-occupied Venice.

Urameil appears like a giant man of European descent in his 50s-60s, with long red hair and whitened streaks indicating age. As he is formed from a collective consciousness instead of a single dreamer or tulpamancer, Urameil is an exceptionally powerful tulpa capable of shapeshifting; he sometimes takes on the form of a cat named Jinglebell or a Winged Lion.

Mortiphael: A tulpa of similar origins to Parachai--accidentally manifested out of a human undergoing emotional turmoil as an outlet. The difference is that Mortiphael eventually outlives his human and actively seeks out other miserable people to rewrite their realities... to make them more miserable. Urameil generally keeps reins on him to make sure he doesn't go too crazy with rewriting reality, usually by threatening him that the Cosmos is watching, and that Mortiphael can cease to exist at any given time.

Mortiphael appears like a curly-haired blond Englishman in his late teens, usually wearing assorted punk clothing or a fur-lined denim jacket.

Oberion: Another rogue tulpa, this time with a living human who created him on accident. A manifestation of trauma bonding, Oberion seeks out others besides his human to trap them in a cycle of misery and abuse. Like Mortiphael, he is capable of reality rewriting and warping, thus making him the perfect gaslighter. Unlike Mortiphael, Urameil DOES destroy him and sends him back to the Cosmos... but the motherfucker keeps coming back as long as the human who created him demands him back.

Oberion takes on the form of whomever he is trauma-bonded with their abuser. By 'default' of his original human, he is in the form of an early 20s man of African descent with jheri curls.

Human characters in this blog will be introduced later.

[seokrishna]

What is Kalira? Everything You Need to Know About This Essential Bridal Accessory

Indian weddings are rich in tradition, filled with beautiful rituals, and adorned with intricate accessories that carry deep cultural significance. Among the many ornaments that hold a special place in the hearts of brides, Kalira stands out. This traditional accessory, worn by brides on their wedding day, is not only a symbol of good luck but also an exquisite piece of art that adds grace to the bridal look. In this blog, we will explore everything you need to know about Kalira, its significance, types, and how to choose the perfect one for your big day.

What is a Bridal Kalira?

Kalira is a traditional bridal accessory worn by North Indian brides, particularly from Punjabi culture, on their wrists along with the bridal bangles known as Chooda. These dangling ornaments are usually made of gold or silver and are adorned with tiny trinkets, pearls, beads, and other decorative elements. Kaliras are more than just a piece of jewelry; they are believed to bring prosperity, happiness, and a bountiful life to the bride in her new journey.

Worn during the wedding ceremony, Kaliras not only elevate the bridal look with their delicate and ornate designs but also hold a deeper significance rooted in cultural traditions.

The Significance of Bridal Kalira

Kaliras are not just beautiful ornaments; they carry a rich cultural and emotional significance. Traditionally, Kaliras are said to symbolize good luck, prosperity, and eternal happiness for the newlywed couple. They are also believed to protect the bride from evil spirits and ensure a smooth transition into her new life.

A fun and popular tradition associated with Kaliras involves the bride playfully shaking her Kaliras over the heads of her unmarried friends and cousins. According to the folklore, if a Kalira falls on someone, it is believed that she will be the next one to get married!

Kaliras are often given to the bride by her maternal relatives, symbolizing their blessings, love, and best wishes for her future. This beautiful accessory is not just a piece of jewelry; it is a heartfelt reminder of the bride’s heritage, family bonds, and cultural traditions.

Types of Kalira

Kaliras come in various designs and styles, each with its unique charm and meaning. Here are some of the most popular types of Kalira:

Traditional Kalira: These Kaliras are designed in a classic dome shape, often made of gold or silver with dangling elements like tiny umbrellas, leaves, or small trinkets. They have a timeless appeal and are perfect for brides who want to stick to traditional designs.

Floral Kalira: Floral Kaliras are modern and trendy, incorporating fresh or artificial flowers into the design. These Kaliras add a vibrant and refreshing touch to the bridal ensemble, making them perfect for daytime or outdoor weddings.

Pearl Kalira: Known for their elegance and sophistication, pearl Kaliras are crafted with beautiful pearl strings and delicate designs. They offer a subtle yet glamorous look, ideal for brides who prefer understated yet classy accessories.

Kundan Kalira: Kundan Kaliras are embellished with Kundan stones, offering a royal and opulent look. They are perfect for brides who want to add a regal touch to their wedding attire with a dazzling and intricate design.

Customized Kalira: Many brides opt for customized Kaliras that feature personalized elements like initials, charms, or symbols that hold special meaning. These Kaliras are unique and add a personal touch to the bridal look, making them a cherished keepsake.

How to Choose the Perfect Bridal Kalira

Choosing the right Kalira is essential to complete your bridal look. Here are some tips to help you select the perfect Kalira for your big day:

Match with Your Outfit: Ensure that the Kalira complements your bridal attire, especially the Chooda and other jewelry pieces. If your outfit has gold accents, a gold Kalira would blend seamlessly.

Consider the Weight: Kaliras can be quite heavy, especially if they are large or heavily embellished. Make sure you choose a pair that is comfortable to wear throughout the ceremony.

Reflect Your Personal Style: Whether you prefer traditional designs, modern styles, or a mix of both, select a Kalira that reflects your personality. Customized Kaliras are a great way to incorporate personal elements into your bridal accessories.

Focus on Comfort: Since Kaliras are worn throughout the wedding day, comfort is key. Choose a design that feels secure and doesn’t cause any discomfort while performing various wedding rituals.

Set Your Budget: Kaliras come in a wide range of prices, depending on the materials and design intricacy. Set a budget beforehand and explore options that fit within your range without compromising on style or quality.

Conclusion

Kaliras are more than just an accessory; they are a blend of tradition, culture, and personal style. From the blessing-filled ritual of shaking Kaliras over friends to the elegance they bring to a bride's ensemble, these beautiful ornaments are an integral part of Indian weddings. When choosing the perfect Kalira, consider the style, comfort, and how it complements your bridal attire to ensure you shine on your big day.Explore an exquisite collection of Kaliras that suit every style and budget at Ritvi Jewels. Whether you're looking for traditional designs or contemporary styles, you’ll find the perfect Kalira to complete your bridal look.

[anarkissedpoet]

so excited to share with y'all my first full-length book "Hold Me," go pre-order yourself a copy!

a little about the book:

The bedroom, the dinner party, the school grounds, the college queer collective, and the new city become grounds for critical and affective investigation in the essays of jade vine’s Hold Me as they draw upon movement, continuously shaped and shifted, both as a physical phenomena and a sensual truth, to meditate on desire, loneliness, and grief and all their achingly brilliant manifestations.

In haunting lyric essays, jade writes openly about their family and how certain identities complicate their relationship to them. Multiple voices—absent lovers and parents, friends who continue to dead-name—manifest grief and loneliness as much as desire and joy. jade revisits and inhabits Punjabi folklore, alongside their own personal stories, and holds out a hand of reassurance even through their own uncertainty. A history of longing and yearning, Hold Me moves through doom fest after doom fest to assemble memories, chains of afterimages, and a register of metaphors as jade re-enacts their own life, uncomfortable and beautiful and razor-sharp.

[folklorecollcetions]

Baisakhi 2024: Traditional Women’s Outfit Ideas For Baisakhi Day

[rocksmith804]

More Than a Place to Sleep: Unwrapping the History and Stories Within Homestays

Homestays are more than just a place to sleep; they are living, breathing repositories of history and stories waiting to be uncovered. From the bustling streets of Chandigarh to the serene countryside of Punjab, each homestay holds a unique tapestry of tales that offer a glimpse into the rich cultural heritage of the region.

My journey into the world of homestays began in Chandigarh, a city that seamlessly blends modernity with tradition. Nestled amidst the bustling streets and vibrant markets, I found myself welcomed into the warmth of a traditional Punjabi home. Here, amidst the hustle and bustle of daily life, I discovered that every corner held a story waiting to be told.

As I settled into my homestays in Chandigarh, I was captivated by the history and heritage that surrounded me. From the antique furniture that adorned the living room to the family heirlooms displayed proudly on the walls, each piece told a story of generations past. Through conversations with my hosts, I learned about the origins of their family and the role they played in shaping the cultural landscape of the city.

But the true beauty of my homestay experience in Chandigarh was the opportunity to uncover the hidden gems of the city's history. With the guidance of my hosts, I embarked on walking tours through the historic neighborhoods, discovering architectural marvels and hearing tales of bygone eras. From the majestic Capitol Complex to the tranquil Rock Garden, every landmark held a piece of history waiting to be unraveled.

Leaving the urban hustle behind, my journey led me to the heart of Punjab, where I stumbled upon what can only be described as the best homestays in Punjab. Tucked away amidst sprawling fields and verdant orchards, this hidden gem offered a sanctuary away from the chaos of city life. Here, amidst the tranquility of nature, I found myself immersed in the rich tapestry of Punjab's history and culture.

The host family, with their deep roots in the land, shared stories of generations past and the traditions that have been passed down through the ages. From tales of valor and bravery to folklore and legends, every story was a testament to the resilience and spirit of the Punjabi people. Through their narratives, I gained a newfound appreciation for the land and its people, and the struggles and triumphs that have shaped their identity.

But perhaps the most poignant aspect of my homestay experience in Punjab was the opportunity to connect with the local community and hear their stories firsthand. Whether it was chatting with farmers in the fields or sharing meals with villagers in their homes, every interaction was a window into the soul of Punjab, revealing the warmth and hospitality that defines the region.

As I reflect on my journey, I realize that homestays offer so much more than just a place to rest; they offer a gateway to the past, a connection to the present, and a glimpse into the future. Whether it's uncovering the hidden histories of Chandigarh or immersing yourself in the cultural heritage of Punjab, every homestay experience is an opportunity to unwrap the stories that lie within. So, the next time you find yourself planning a trip, consider ditching the conventional hotels and opting for a homestay instead. Who knows? You might just uncover a treasure trove of history and stories waiting to be discovered.

[en-karma]

The Vibrant World of Live Bhangra Bands: A Journey into Traditional Beats and Modern Fusion

Bhangra, a folk dance and music genre from Punjab, India, has long captivated audiences with its vibrancy and energy. Today, live Bhangra bands are not just preserving this rich tradition; they are revolutionizing it, creating a fusion that resonates globally. However, this evolution from traditional beats to modern fusion is not without controversy, sparking debates about cultural integrity and artistic innovation.

The Roots of Bhangra

To appreciate the journey of live Bhangra bands, one must first understand Bhangra's roots. Originating in the agricultural regions of Punjab, Bhangra was more than just a dance or a music style; it was a celebration of life, especially during the harvest season. Traditional Bhangra featured instruments like the dhol (drum), tumbi (string instrument), and algoza (double flute), creating rhythms that symbolized the heartbeat of Punjab.

Enter the Live Bhangra Bands

In recent decades, live Bhangra bands have taken this traditional art form to new heights. These bands have blended Bhangra with genres like hip-hop, reggae, and pop, creating a fusion that appeals to a diverse, global audience. This evolution has brought Bhangra to international music festivals, clubs, and theaters, showcasing its adaptability and universal appeal.

The Fusion Controversy

The fusion of traditional Bhangra with modern music genres is at the heart of the controversy. Purists argue that in its quest for global appeal, Bhangra is losing its essence. They fear that the fusion dilutes the traditional rhythms and themes, which are integral to Punjabi culture. Critics of modern fusion assert that the soul of Bhangra, tied to the agricultural lifestyle and Punjabi folklore, is being overshadowed by commercial influences.

The Counterargument: Evolution and Global Reach

On the other side of the debate are those who advocate for the evolution of Bhangra. They argue that fusion is a natural progression for any art form. By incorporating contemporary music styles, live Bhangra bands are not only keeping the genre relevant but also introducing it to audiences who might otherwise never experience it. This global reach is seen as a testament to the genre’s versatility and ability to transcend cultural barriers.

The Role of Technology and Media

Technology and media have played a significant role in the evolution of live Bhangra bands. With the advent of digital media, these bands have gained access to a global platform, reaching audiences far beyond the borders of Punjab. Social media, online streaming platforms, and music videos have allowed these bands to showcase their fusion of Bhangra on a global stage, contributing to their popularity but also fueling the debate on cultural authenticity.

The Cultural Exchange Aspect

A less discussed but crucial aspect of live Bhangra bands is the cultural exchange they facilitate. These bands often collaborate with artists from different backgrounds, creating a multicultural musical experience. This exchange is a celebration of diversity, but it also raises questions about cultural appropriation and the fine line between inspiration and imitation.

Conclusion

The vibrant world of live Bhangra bands is a compelling narrative of tradition meeting modernity. As they navigate the delicate balance between preserving the essence of Bhangra and embracing global musical influences, these bands spark a conversation about the future of traditional art forms in a globalized world. Whether viewed as cultural ambassadors or agents of change, the impact of live Bhangra bands on the music world is undeniable, inviting us to rethink our perceptions of cultural evolution and artistic expression.

[kasargods-blog]

#shorts #video#viral