[Khandesh Sex Stories
Laurice Whack
Mahatma Gandhi felt a strong sense of pride for Maharashtra. He often expressed that Maharashtra is the homeland of workers. The northern area of Maharashtra, known as Khandesh, was where Gandhiji's vision of holding the Congress session in villages came true in Faizpur. This book not only provides these details but also delivers an authentic account of Gandhiji's connection with Khandesh, presented in an engaging style. It includes stories of students, workers, lawyers, saints, businessmen, and numerous men and women. Additionally, it features correspondence, maps, and many rare pictures. This represents an overlooked chapter in the struggle for Indian independence.
Dr Vishwas Patil is a Member of the Regulatory Board of Maharashtra Rashtriya Bhasha Sabha, Pune and Advisory Member of Mahatma Gandhi Tatvgyan Adhyayan Kendra run by Kaviyitri Bahinabai Chaudhary North Maharashtra Vidyapeeth, Jalgaon, Maharashtra Email: vishwas...@gmail.com.
Khandesh (Kanha-Desh) is a sub-region of Maharashtra which acts as a lap for holding Pre-historic heritage, diverse traditions and multifaceted culture together. Bound by hills and Ghats, this place has its very own natural beauty which is why it acts as an attraction to the Central India, alongside the valley of the holy River Tapi.
It is a homogenous mix of different cultures from Aryan, Non-Aryan, Buddha and Mughals. The Mughal rulers and few Satavahana rulers, impressed by the Buddhist philosophy, have left imprints of their cultural aspects on Khandesh.
In the ancient times, this region was occupied by Ahirs, also known as cattle herders, who were devotees of Lord Krishna. Since Krishna had a nickname called Kanha, the people referred to it as country (desh) of Kanha which gave the name Kanha-Desh; in due course of time, it became Khandesh.
Carrying the practice forward from the Ahir sect, locals here speak in Ahirani dialect which is an admixture of Marathi, Gujarati, Hindi and also ancient Magadhi and Saurashtri. Besides their own, a great contribution to this diverse culture of Khandesh has come from Rangpur culture of Gujarat and Malwa culture of Madhya Pradesh.
There is a special adivasi district called Nandurbar, which reflects how deep the roots of adivasi culture gone deep into the culture. They are told to be the successors of Mohenjo Daro and Harappan civilisations, residing in the hills of Satpura.
Besides the religious customs and practices, the heritage and art forms of Khandesh add a little extra grandeur to its rich culture. The Fugadi dance of women, Bhillau dance of Bhils and Viroba dance of Dhanagars, the shepherd community, are the important dance forms which add uniqueness znd vivid colour to this region.
The Khandeshi locals have two famous art groups namely Mahar and Mang communities, who inherit the spirit of all traditional arts. The Mahar communities entertained people with art forms like singing, dancing and orchestra while Mang communities were experts in reading, writing and philosophy. The places all around have some magnificent historical and cultural places like fort of Parola, which was the hometown of famous freedom fighter Rani Lakshmibai.
The diversity in beliefs and customs, the prospects inherited from many great kingdoms, the warm and welcoming smiles of locals, the greenery and rivers along the borders, enthralling traditions and art forms, exciting celebrations and fervor, interesting stories and mythological drama involved are one of the many reasons why we should visit this region at least once, especially if we are keen on exploring the raw and unhampered aspects of Indian arts and culture.
It takes more than utmost craft and rich personality to hold the stage as a soloist - it takes a touch of divine self-belief, which Akram Khan has never displayed to more magnetic effect before than in his new solo DESH. Actually solo is too small a word for this epic, lavish display of the starpower that Khan now emits in the world of dance theatre.
These are worlds apart which only a man of dual heritage like Khan can know, a child of both London and Bangladesh. His pieces have always been personal, if sometimes solipsistic quests, always of rare skill, but DESH has the magic of honesty and modesty inside its marvellous trappings. Now when he dances, he doesn't just tell his own story - he tells all our stories.
Over this sweet-sour content, Pook's soundscore pours atmospheric sugar and cream, rich fusions of "Alleluias" and "Ave Marias" with minimalist till-readies, Asian folk riffs and rhythms all thrown liberally into a musical food mixer. For years Khan has zigzagged between his Kathak dance tradition and his contemporary London ideas in his productions, but here is a complete merging and subsuming of a complex emotional make-up, guilt, gratitude, tenderness, fear, new fatherhood, filial regrets, in theatre of heartfelt and beautifully achieved urgency.
And he is now, in his late thirties, a great master of all his arts of dance technique and expressiveness, he now picks and chooses anything from classical footwork to catatonic body language, all with absolute integrity to his past, his ancestors and his own path ahead.
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The approach and process of making Godhadi, literature arose, emotional values attached to Godhadi, the reasons it is not recognised are discussed.This study focused only on the technique used, literature of Khandesh (Jalgaon, Dhule, Nashik, Nandurbar) region of Maharashtra. Identifying and comparing all the types of Godhadi throughout Maharashtra is beyond the scope of the paper. The proportions and sizes are based on the primary data collected by studying and analysing the product physically.
Godhadi is a type of a blanket native to Maharashtra. It is made by using refurbished old saris or pieces of clothes. Which are joined together by hand stitches, using traditional thread and needles. It is the art of discarded fabric which is used as a blanket. Every Godhadi is different with an artisan touch to it. Godhadi is a layer of cloths of different sizes attached.[1]
Godhadi is always rectangular with varying sizes depending upon their use, for example, Godhadi for baby is smaller in size where the godhadi for elder people is bigger. There are different types of godhadi made in different parts of Maharashtra. [1] Some of them also have designs created in patchwork. The Godhadi of khandesh region primarily made up of saree where the proportions are derived from the proportions of a sari. The width equals to the width of sari and length is achieved by folding the saree from the middle, hence the length equals to the half of the length of saree. So, a Godhadi comes to be around 6.6 feet by 3.6 feet. Sometimes Nauvari saree is used for making godhadi for which the number of folds increases.[2] [3]
The materials used are old clothes, threads, needles. The base material is used clothes and used saris. The base material is first washed and cleaned and then ironed to make it flat. The clothes are divided into two types according to their positioning, one used for an external layer which is generally a long piece of cloth includes saris or dupattas. And the other is for internal layering which are smaller clothes, in which they use flat portions from shirts, pants etc. For the internal layering, the extra thick edges and buttons are separated from the cloth to achieve a flat surface. The needles and threads are used to give stitches to the cloth, different size needles are used for different sizes of stitches as well as according to the thickness of cloth. The thread used for making Godhadi is available only in white color.[2] Addition of color makes the thread weaker, hence to make the thread stronger no colors are added.
The Godhadi making process happens in summer when there is no farm-related work happens. Women decide days and come together in afternoon time to stitch Godhadi which becomes a social gathering event. Women join the gathering sometime to just enjoy the event.
Firstly, the external layer is laid down of sari or dupatta then the middle layers are laid for which the smaller pieces of shirts, pants are used. The thickness of the blanket varies according to the requirement, the different types of thicknesses are achieved by adding or subtracting middle layers. After that the last layer laid down. The next step is adding stitches to the blanket, in which all the layers are hand-stitched using thread and needle. There are different types of stitches used for joining the clothes together. The artist chooses the type of stitch according to his choice and mastery. Two people sit together on single Godhadi, they both start from the opposite ends and meet at one point.[2] [3]
The Godhadi also has a lot of emotional values attached to it, to explain that I have chosen a poem from divya Marathi newspaper where in two lines poet explains how Godhadi makes him remember of his grandmother.
Another reason why they do not consider it to be a good option as a blanket is that they are made of used clothes which are considered to be unhygienic by some people. People nowadays want to flaunt products which are sophisticated and well-finished where Godhadi considers as an unfinished product because of objectively old and somewhat rejected materials.
The most important thing we can learn from this product is a sustainable approach. As the primary material used in making godhadi are used clothes, the idea of turning these used clothes into something so beautiful is what we should study and learn from it. The primary approach is to make a useful product out of used clothes where artists try to explore and try to make it more beautiful. Hence the approach of making a useful yet beautiful product out of waste (used clothes) is what we should learn.
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