I am an art enthusiast by passion and an engineer by qualification. I seek to be an art aficionado and a curious kid within me is always on the lookout to learn how things are made and work. In fact, I believe the best art is created by the culmination of science and creativity. As a traveler, I do not miss a chance to visit and interact with artisans and understand how they make things what they are good at.
When I travel to a new place, I try to accommodate time to explore the lesser touristy streets of any place because according to me, the real soul of any place lives in its by-lanes. I try to meet enthusiasts (across genres) and visit their creative abodes or workshops to see things take form.
Here is a compilation of such posts describing the souvenirs that combine two worlds of art and science which one can buy when visiting these destinations.
Chamarajpet is one of the two well planned residential areas of Old Bengaluru. Chamarajpet is in the South whereas the other one is Malleswaram, in the North of the original geography of Bengaluru. Chamarajpet is where my parents lived and worked through all the years at the time of my schooling at Madikeri. So, this locality is like my 1.5th home 😛 (first home is in Madikeri and 2nd home was at Vasanthanagar). I came to Bangalore (and thus, to Chamarajpet) only when I had a long vacation from school. Twice a year, to be precise: Once during the monsoon and once during the summers).
One of the earliest memories I have from this locality is of my family and all our neighbours watching and distributing drinking water and snacks to people who gathered for prayers during festivals at the ‘Eidgah grounds‘ and for the all-night harikatha renditions that happened at the ‘Male-Mahadeshwar temple’ in 2nd main. A large jamun tree in the premises of our house was often mobbed by kids from the entire locality for its fine fruits and the aroma of Rasam from the ‘Vataaras’ of 3rd main are some unforgettable memories.
There were several things that I saw on TV (Doordarshan) and wanted to learn along with regular school while growing up. But there was unavailability of trained people who could teach me any of these extra curricular skills in the small town (Madikeri). Whenever I visited Bangalore during vacation, my effective time spent with my working parents were mostly for eating out in the evenings and making day trips over the weekends. A major chunk of my Bangalore visits was mostly meant for attending summer schools. With a very large community of literary scholars living in and around Chamarajpet, I could learn different art forms. I attended crash courses across various streets of Chamarajpet (and Basavanagudi) to learn sketching, painting, dance and music.
Every stone, structure and lane has history in Chamarajpet. Makkala koota, Bangalore fort area, Tippu’s palace, all the temples around the fort and the old pete area: Talk about them to my mother and she would be in tears of nostalgia. These are the places she saw every day during her career that spanned nearly four decades.
Talking about my family’s favorite eateries, many things have changed and so many old-world structures have been erased now. However, Karnataka Bhel house in 3rd main road along with Gajanana fruit juice center and Iyengar’s bakery in 4th main have managed to stand the test of time.
My family has lived here for 15 years and there is a bond with every lane and its people that we share in Chamarajpet. Here live so many friends, who are more than family to us! Going to Chamarajpet every time is nothing less than travelling to our hometown! So, it is definitely difficult to quantify how much part of me belongs to this area!
Bastar is an area soaked in rich culture. And art is an integral and unique part of this indigenous culture. It is safe to say that Kondagaon district is the art hub where there are entire villages dedicated to each of these handicrafts, with households registered with the ministry of culture & art. Several of these artisans are National award winners and visiting faculty at universities across the world. During my week long stay at Bastar, I managed to find time to visit some of these villages and interact with the artisans.
Blame it on me being an experienced professional in materials, manufacturing and heat-treatment processes, I have this weird fancy for everything that involves these aspects. One would not want to seize a travel opportunity from me when there is an element of art and engineering in it…. On similar lines, is the first part of this post.
The major and famous handicrafts of Bastar can be listed as below:
Wrought iron artefacts:
Chhattisgarh is a state blessed with a mineral rich geography. Until a few decades ago, the tribes inhabiting the region used to collect raw iron ore from the naturally available soil or portions of earth, heat it in a furnace and separate the molten iron to make wrought iron. Today, wrought iron is directly purchased from the market. This is then melted and beaten into sheets. The sheets are then formed into various patterns and welded into beautiful artefacts. Although the traditional designs are based on the local tribal culture and represent aspects of daily life in Bastar like animals, hunting, the tribal folk, tribal deities, etc., modern adaptations have been inspired by the Indian epics among many other things. But still, each piece is handmade and unique with no two pieces being exactly the same.
Bell-metal is an alloy prepared locally and cast into various patterns through a technique called as ‘lost-wax technique’ of metal casting. Although this technique was primarily used by the indigenous tribes to mold their traditional jewelry back in the time, it has slowly evolved into making idols and other home décor items. These indigenous metal cast items are collectively called as Dokra art.
A special type of clay is dug from the vast paddy farms and is then crafted into various artefacts. The specialty of the art here in Bastar is that very large and real-life sized objects are crafted completely with clay. After the potter assembles the product piece by piece, he then burns it as a whole unit to give it the required strength and rigidity. Well, there’s an entire village of potters / Terracotta artisans in Kondagaon.
Wooden carvings & Carpentry:
With the abundance of forest cover and timber availability, wood craft is a major part of the handicraft culture here. Large tree trunks and roots are given the form of beautiful figurines, animals, etc. by very skilled artisans. This can also be seen in the rich carvings on doors and friezes of various old and traditional structures across the region.
With the mineral rich earth of the region, various types of soil and stone are available. Several of these earthy materials are used to make beautiful sculptures.
With a somewhat influence of the Patachitra art from the neighboring state of Odisha, the local Gondi artform and several other influences, the indigenous wall and fabric painting has evolved. Beautiful pictures of tribal deities, everyday life etc. can be seen being depicted through these paintings.
A small portion of the local tribes are involved in collection of the naturally available cotton and Kosa silk from the forests and weaving them into traditional textiles.
Each of the tribes who inhabit the remote jungles of Chhattisgarh have their own unique pieces of jewelry. Anything that ranges from silver, fabric, plant fiber, shells or animal bones, the locally available materials from the wild are adapted into their culture in the form of traditional jewelry.
Art is an integral part of human life. Paintings are yet another form of expressing imaginations. The history of paintings in India dates to pre-historic times where there are several rock and cave paintings scattered across the sub-continent. Painted pottery on terracotta and ceramic too have been excavated at several sites. Eventually, it became an attempt to bring the storytelling of the Indian epics to a visual form, each one using the material available locally for colour and canvas. Some forms were patronized by the kingdoms that ruled India and yet a few, used by the local tribes to decorate their dwellings. The use of natural colours on naturally available surfaces has evolved with the generations, picking up influences from various events, people along the way.
This is the land of great artists like Nainsukh, Raja Ravi Varma. Bright and rich colours are now an inseparable part of vibrant culture and lifestyle of being Indian. Here is my attempt to enlist the traditional and folk paintings from all the states of India that can help you as a ready reckoner while you are out travelling in this beautiful land. A few, I would like to crowdsource the details wherever I failed.
These paintings can be strategically used in our daily life that will help revive, sustain and promote these ancient art and rural economy.
Deccani paintings– are miniatures which predominantly feature palm trees, men & women. The art has a significant influence by the Deccan sultanates who ruled around this area.
Nirmal art– is where the artisans have developed their own canvas using cardboard and luppam. The striking designs in the form of creepers, flowers etc. have evolved on furniture today.
Savara paintings– This wall art is practiced by the Savaras tribe around Vishakhapatnam. The wall is readied with a mixture of red soil and paper. The painting is done with brush prepared by chewing tender bamboo into various thickness. White colour is derived from rice powder and black colour is derived with a mixture of coconut ash & castor oil.
Kalamkari– This is a fabric painting form popular in the rural parts around Machilipatnam. Primarily human faces are block printed using vegetable colours.
Tholu Bommalaata– This is an art of making leather puppets that are hand painted using vegetable colours, mainly found in the region around Adilabad.
Kuthang strolls– These are intricate religious paintings of the Buddhists. These are derived from the Tangkha paintings that are auspicious symbols hung in every monastery and houses.
Khanikar art– These are religious paintings that adorn the monasteries & Satras around the state.
Assamese silk scrolls– Traditional colours of Hangool & Haital are used to draw representations from Ramayana and Mahabharata on silk strolls. This is practiced in the upper Assam region.
Mithila or Madhubani– These are originally intricate wall paintings that depict Ramayana & Mahabharata adorning walls across the rural parts of Mithila region and have now become synonymous with the state.
Patna Kalam– this is also another art form largely patronised during the Gupta era. Several paintings have been found in the Nalanda excavations.
Godna– This is a primitive art form that has been largely in practice as body tattoos by the women folk in the Jamgula and Bastar region. It has found acceptance in the form of motifs on textile with natural colours mixed with acrylic paints.
Kaavi mural paintings– is largely popular in the Konkan region. As the colour says, Kaavi is a single colour- red pigment derived from laterite soil. Several structures, churches and temples are coloured with red paint on a white background.
This state is sort of a mélange with vibrant colours used across a range of art forms.
Pithora– These are wall paintings practiced by the Rathwa & Bhilala tribes
Miniature paintings– This art has been used to depict epics and large stories under the Jain patronage in 11th century.
Glass painting– It is believed that the earliest form of painting on glass (Belgium glass) originated in Gujarat.
Kalampari art– This is a fabric painting technique practiced by the Chitara community.
With many tribal communities living around the Kutch area, each tribe have their own unique art, patterns and colourations used in their daily life like walls, huts, attire, jewellery, pottery etc. It is an endless list but here are some of them from the Rann of Kutch.
Terracotta paintings like Kavda pottery is believed to have techniques dating back to the Indus Valley civilization.
This is probably the only Indian state that doesn’t have a native art form. With several dynasties and rulers who came and went in this region, there has never been any specific art style that found patrons among who were always busy in fighting battles.
Kangra & Chamba miniature painting– Although largely spread across all the Himalayan states and largely coming under the Pahari paintings umbrella, the region of Kangra gave its name to the paintings that was largely promoted and patronised by the Rajputs. However, each ruler gave the art form its own twist and called it a different name.
Jammu & Kashmir:
Basohli miniatures– Again a part of the Pahari painting, the famous artist Nainsukh is believed to have moved from Chamba and have settled in this region during his last days. Thus, giving its name to the bold and intense form of painting the Ramayana and Mahabharata. Hence, Basohli is the first school of Pahari paintings.
Paitkar scrolls– Ramayana & Mahabharata stories are depicted on paper with colour made from vermillion. Fine brush is made using goat hair.
Jadopatia scrolls– This form of paintings is used for story telling which are believed to have healing effects on people.
Sohrai, Kohver, Ganju, Rana, Teli, Prajapati, Kurmi, Mundas, Turi, Birhor & Bhuiya, Ghatwal- these are mural paintings used to decorate the walls of the tribal houses. Each, representing a tribe and have their own style. The common factor between all these styles are that the designs comprise of animals & plants depictions thus indicating the connection of nature and the tribe.
Mysore Royal painting– influenced by the Vijayanagar school of painting, this art flourished under the Mysore Wodeyars. Bright natural colours obtained from vegetables, organic, minerals were painted using natural brushes. Squirrel hair was used for finer strokes and brushes made with a specific grass was used for various thickness and strokes.
Kalam– This is a short name for Kalamezhuthu, a rural art of painting.
Face painting– with various traditional dance forms and ritualistic prayers, face painting is an essential part of art in Kerala. Largely seen in its vibrant designs and patterns during Theyyams, Kathakali etc.
Oil paintings– These murals are very elaborate piece of portraits largely practiced in the Northern part of Kerala.
Gond art– A painting style that is used by the Gond tribes. This largely comprises of finely drawn lines in a picture that encompasses animals and plants.
Pithora wall paintings– this form of art is inspired by various myths and is used by the Bhilala tribe to keep away evils. You can often see walls and both sides of the doors painted with patterns that are believed to protect them.
Malwa painting– This folk art can be found on floors and walls and practiced by the Chitera community. Chalk powder blended with turmeric & saffron for suitable shades of the colour is used in doing these paintings.
Mandana paintings– This art is used to depict special occasions and festivals and used only during specific events.
Warli– Used to adorn walls by the tribe, this painting uses patterns like triangles and circles to represent community living, human being, trees, animals and everything in general.
Chitrakathi paper paintings– as the name suggests, Chitra (picture) + Katha (story)- These are single sheet paintings used by a specific migrating community of Thakkar tribe for storytelling. Local version of Ramayana & Mahabharata and other myths are painted using colours made from stones. These are also called as Paithani paintings.
Naga cloth painting– Several Naga tribes reside in Nagaland and each have their own designs in their houses, dresses and morungs. However, the Lotha, Ao and Rengma tribes have their traditional designs painted on fabric. Fine bamboo brushes are used to transfer colours that are made by mixing tree sap, leaf ash and local beer.
Patachitra– These are traditional cloth-based scroll painting from rural parts of eastern Odisha. It is inspired by Mythic elements like Lord Jagannath and is derived from ancient Bengali art which is used for narration in the visual form when a song is performed.
Sikh miniature painting– This an influence of the Kangra paintings and is used as a narrative of various stories from the life of Guru Nanak. Hence, has a vital role in Sikhism.
The list of painting related art forms from this state is endless. Here is a small compilation of the same.
Phad cloth scrolls– These paintings are based on stories from Ramayana & Mahabharata. They have influences of both religious and folk performances by the local priests.
Rajasthani miniature paintings– When the Mughal artisans dispersed from the Northern India, they were sheltered and patronised by various Rajput kings. Individual ruler had his influence on the style, and it evolved into individual styles, largely coming under a common umbrella called as Rajasthani school of paintings.
Wall & ground paintings– Various styles like Devra, Pathwari, Sanjhi, Mandav etc. can be seen based on the individual communities.
Cloth paintings– like Pat, Picchwai, Phad scrolls etc.
Paane paper paintings.
Kavad wooden paintings.
Body paintings– various designs are drawn on human skin using natural colours like Mehendi & Godana
Thape paintings– This is a wall & door painting style that is used to invoke deities. Natural colours like turmeric, henna, vermillion is used.
Badaley paintings– These are either cloth or leather paintings that are used to cover metal utensils. It is prominent around Jodhpur.
Thewa art– This is a form of painting small pieces of glass with gold. It is a famous art around Pratapgarh in Bhilwara region.
Thangka painting– These are religious strolls that depict important lessons from Buddhism. This uses organic colours and even gold dust and adorns walls, roof and mural in Buddhist houses and monasteries.
Tanjavur paintings– This is a classical art form that has a 3-D effect with embellished with precious stones, glass pieces & pearls. It has been largely patronized by the Cholas and then have influences from the Marathas and others who ruled the region.
Cherial scroll painting– This is a folk art on very long cloths used for story telling that can sometimes run into several meters. It is painted specifically by the Kako Padagollu community.
Mughal/ Persian painting style– The Mughals got artisans from Persia and used their designs and patterns in all their structures across. Art flourished especially during the reign of Jehangir.
Garhwal painting– Again, something that has been a part of the Pahari school, this form largely uses characters that depict romance.
Patua art– This is a traditional narrative cloth scroll painting style done by a community called the Patuas. An entire story is depicted on a single scroll with several panels for each chapter. The speciality of the art is its people who are mainly Muslim and paint Hindu religious figures in their artwork. These are same as Odisha Pata paintings in theme selection but entirely different in their style and composition.
Kalighat painting– This started as paintings in items that were taken as offerings to Kali temple at Kalighat and has now become a specific form of painting. This is also a form of scroll painting but main difference is that this is done on paper.
Tribal paintings– This is primarily popular among the ‘Santhal tribes’ around the areas of Purulia, Birbung and Barbura.
It is that traveling exposes one to a multitude of cultures and people. The diverse geography of India is home to some of the most unheard traditions and untold folklores. During my 10 day stint of backpacking in Nagaland, I was introduced to so many of it all, as this little Indian state, tucked in the far North-east is home to more than 17 tribal sects and sub-tribes; each having their own culture, language, traditions and cuisine. Here, is a small list of indigenous musical instruments used in the folk culture of the Nagas.
Mrabung is an indigenous musical instrument of the Zeliang Nagas. It is a single stringed instrument that is crafted with a hollow/ cured bottle gourd and a fretless wooden neck of about 12 inches long. It is played with hair string bow (Usually a cluster of horse tail tightly tied together to two ends of a thin wooden stick). This bow is used to strike the chords (like a violin) with one hand and the string along the neck is pressed down with the other hand at appropriate places to get the required tune and legato of the song. It is played during merry making in social gatherings and festivals where men and women congregate. I was narrated with a popular folklore of the Nagas wherein, a singer called Arum played the Mrabung. His music captivated the farmers so much that everyone working on the field left their work undone and sat around Arum listening to his songs. Arum had to be barred from playing any songs further just so the people went back to work on their farms. Click below to see an artisan playing the Mrabung.
The Atutu is a handcrafted bamboo trumpet used by the Pochury tribes of Meluri. A particular variety of bamboo is used in making the varied components that are fitted together to make this crafted trumpet. It is played to mark special occasions. For example, blowing of this trumpet towards the end of February means to herald and announce the advent of the Nazhu festival. Also, the male members of the tribe play it in their morungs in the evenings throughout the festival. Apart from this, the trumpet sound is used to ward off birds and animals from the rice fields and prevent from crop damage. In earlier days, trumpeting was a way to alert the collective habitat or a village of a possible enemy attack or as a signal of declaration of a war.
This common musical instrument has its own version and avatar in every region of India. Be it weddings or festivals, it is the most common and almost an essential part of any merry making in Indian celebrations. Similarly, each tribe in Nagaland has its own version of the dholaks or the Indian hand drums. Made with an outer casing of wood, laced tightly with cotton strings and the drumming surfaces made with the locally available materials, more often animal hide. Here are samples of the dholaks used by the Garos (Long slender shaped, narrowing at the ends), the Mech Kacharis (fatter and shorter than the Garos) and the Aao tribes (Shorter and fatter than the previous two types and Uniform sized throughout its length) of Nagaland. (Click the below link to watch the ceremonial dances of the Naga tribes with their dholaks)
This is my humble attempt at documenting some unique musical instruments that are lesser known to the world outside North-east India. These have been listed based on my actual experiences and interactions with the Nagas during the hornbill festival-2020. If you know any such unique musical instruments, please do share in the comments section below. I would be happy to learn it from you 🙂
Stone pulling Ceremony is an annual traditional event held across the Angami villages to commemorate a certain important day. It takes place in one village per year on a rotational basis. So that way, it takes about 5 to 10 years by the time this ceremony reoccurs in a particular village. This event is usually timed around the Hornbill festival as there will be people from across Nagaland and outside visiting Kohima (The region where the Angami tribe is a majority).
The stone referred here is a large monolith that weighs several tons and the size and shape is not fixed. It is at the villagers’ liberty to pick the monolith they want to use for the occasion and can be either quarried from the village itself or bought from somewhere else depending on the resources. The large stone slab is then placed on a sled that is made of tree trunks and pulled using thick entwined vines from the forest. Thousands of Angami Naga men pull the large monolith over a few kilometers to finally errect it upright, engrave the details of the event and mark the day.
This year, the stone pulling ceremony was held at Mima village. It was organised to commemorate the 75th anniversary of christianity in the village. The monolith was symbolized for forgiveness, friendship and peace to the enmities that the village had with various villages before the coming of the gospel to Mima village.
The typical stone pulling ceremony (Click here to watch the complete video) is solemnised by the pastor from the village’s church with recitals from the Angami bible before the start. It is then followed by firing a round of shots from the muzzle loaded guns in the air. The captain stands on the slab and shouts Angami cheers through a loudspeaker to motivate the pullers. While all the strong and younger men folk of the village join hands to pull the stone, The eldest two men of the clan walk, leading the tribe. The women get dressed in their traditional attire and walk with a khophi (an utility basket woven with bamboo or cane) hung on their back and they stay around as a mark of support to the pullers. A few of these women carry cotton in containers made of dried bottle guard and walk ahead of the pullers as a part of the tradition. And yet, the remaining women go around distributing gruel made of ‘Job’s tears or Chinese pearl barley’ to all the passersby and the participants from their traditional Aluminium pots. It is served in bamboo cups that are carried in the baskets hung around their foreheads. The gruel provides an instant boost of carbohydrates for the toiling men in the hot sun.
In a Christian majority state, the tribal traditions are still thriving. It was a different experience watching the entire village dressed in their ethnic best and gathering to pull the stone uphill from the starting point to its destination. I somehow drew parallels with the chariot pulling tradition of the Puri Jagannath and several other temples of South India.
Isn’t it true that we all somehow follow the same way of life, only with different names for our faith and the process we follow to achieve it?
It has been a while since I did the local rounds as I have been tad busy on weekends with lot of get-togethers with family and friends. So to start the year 2017, I did not think twice to go solo shopping in the market. Typically, the one stop campo where all villagers come-together to trade grains, vegetables, cattle, clothes etc. is called a ‘Santhe’ in Kannada. But this was a unique market that sold only paintings (Chithra) of various artists who gather from around the country.
It is an annual event organized by the Karnataka Chitrakala Parishath on the first Sunday of January every year and is all about art in the form of paintings. Canvas, glass, paper, fabric, wood, plastic, beer bottles- you name them and you can find beautiful paintings on them being sold at this fair with products strewn on both sides of an entire road. KumaraKrupa main road and it’s cross roads would be choc-o-block from dawn to dusk with art enthusiasts pouring in large numbers.
From very modern styles of mass-media art to traditional Madurai and Mysore royal paintings, artwork of school going kids to Octogenarians to handicapped artists, celebrity portraits, wildlife, architecture, conceptual paintings- art lovers will be spoilt for choices. Although the artistic skill cannot be gauged with a price tag, things range from 50Rs. to 1lakh Rs. Per painting depending on the material used and time spent.
This is not an event for the trippers who want to take a selfie and post on social media but a wonderful event for talented artists to get some genuine investors. A must go for the artist in you…
Finally, here is a life sized painting that I loved the most- An expecting mother playing with her unborn baby in the real world. Everything in the real world- the mother, the door and the toys have their shadow except the imaginary baby. The clarity in the artist’s thoughts about his subject has been represented with every detail in this picture looking so real.
PS: Do not reproduce any images as there is a lot of effort that has gone into every piece of art. #Respect
Have you been to ChitraSanthe? What kind of art do you like? What other art festival have you been to? Do let me know what was your favourite part of the visit to this annual market of art in the comments below.
After a lot of last minute hiccups, the planning of more than 3 months had finally materialised.. And there we were… At Allapuzha.
At 10.a.m we were on the stands looking out for a nice place which would give us a good view of the river. The 60th Annual Nehru Boat Race was scheduled to start at 2.30.p.m. ‘The crowd had started to pour in from as early as 6.a.m., to get a good seat’, we were told.
Pam and I were sitting in the last row (We considered ourselves fortunate enough for getting chairs to sit).. Sam had ventured out of our stands to get some good photographs and to find a better corner seat for all of us.
Just then, this gang of 6 huge Malayali men dressed in their white Lungis came in and stood behind us.. They pushed our chairs forward so that they could accommodate a few more chairs on the already crammed podium. We barely had space to keep our legs and we were wondering what they were upto. Without knowing the language, we only ended up giving them some wild stares. Pam belted out a few words in Kannada.
Next thing we saw was: Each of these men placing biiig hand bags in between their legs, covered by their lungis and each- pulling out a bottle of local brew (the tags on the bottle indicated that it was pure-strong-local). They pulled out a glass from their bag and poured the drink and gulped it all down RAW in the blink of an eye (It was faster than that of one drinking water). And then… One of them started to utter something to us- From the fact that he had just finished a bottoms up and the tone of his speech, we knew for sure that we were being verbally abused. Although with my little knowledge of the language, I managed to understand a few swears, I instructed Pam not to react. We would surely be outnumbered by men there, in God’s own country. Like a call from God himself- Sam called us to inform us that he had found a better place for all of us to sit. We vacated the spot in the very same minute.
On the way, Pam walked upto a cop and said, “Those men in the last row there, are boozing; Each man is carrying at least a bottle which they are not supposed to possess in a public gathering”. The cop replied an apologetic “OK, OK Sir, We will look into it” and walked off as if Pam had just spoken to deaf ears.
We met Sam and just as we were narrating the scene to him- We saw 2 more men carrying handbags and settling down right beside us. And soon they pulled out a bottle each, bottoms up, gobbled up some minced beef and then started cheering at the water in front of them, where the race was yet to begin. Even before we reacted, Sam pointed at the platform onto our left. More than 10 men were repeating the same procedure- handbags covered by lungis- bottoms up- cheer out loud. And then we looked behind at the gallery- and we were like “What the F***…??”. Every lungi fellow had a glass in his hand..!!! And then we knew, the exact reason for getting such a vague response from that cop. The Policemen were clearly outnumbered by those drunkards and that seemed like quite a normal phenomenon to the cops to take any action. And we too quickly learnt to live with it..!! Soon, the crowd of drunkards increased and also the excitement.
And.. The boat race had a roaring start with a lot of frenzy and madness.. We too were at the peak of our excitement.. And suddenly this scuffle started between 2 groups. The next thing we saw was random people being thrown into the river by random people… Typical to any Indian movie, the cops gave a late entry. They arrived in speed boats and pulled out a couple of them from the water and sped away..
The below picture shows:
A hard core fan who watched the match sitting on a coconut tree from 10.a.m to 7.00.p.m.
A drunk fan standing on a pole and cheering for his team whose limbs finally gave way into the water after 5hrs.
Another bunch of fans seated in the gallery who are supporting themselves by holding onto the electric lines.
This was definitely one hell of a maddening-superbly-awesomeness-crazy-experience that I am going to cherish for life.
Kerala: “The Land Of Lungis” is truly God’s own Country… L.O.L. 😀
Have you ever experienced any such psychotic crowds? Share it with me.. 🙂