#aloukik 2023

।। Aloukik।।

~ A folklore event ~

To all who are interested,

I'm hosting an event focusing on Indian folktales, fairytales, mythos and legend.

Aloukik is a month long event dedicated to highlighting stories from different cultures of India. There will be 10 prompts. It will run from 25th June to 24th July, with 3 days dedicated to each prompt.

Folklore has been an integral part of many cultures worldwide and India is no different. In our kaleidoscopic country, there exists a myriad of stories in different cultures, passed down from generation to generation. Storytelling has always been a fundamental part of human existence, stories become living, breathing things, transcending time and space as long there's someone to tell them.

So I'm inviting you to share your stories and your culture, folklore from any region, any state, any religion, any culture is welcome.

•To participate, you can post your writings, art, GIFs, Edits, Moodboards, anything you want.

•New content is appreciated but old content is also welcome.

•You can participate as much or as little as you'd like. You can post multiple entries for a given prompt or none at all.

•Late submissions are also welcome.

•Hateful content is not allowed. I have the right to ignore any content I see as hateful, but I will excercise this carefully. Furthermore, I will block you if it becomes a repeated offence throughout the event.

Be respectful of each other's cultures and religions.

To submit your entry, please follow the format given below:

@kathaniii | Aloukik 2023 | Day X

Please also use the event hashtag #Aloukik 2023.

The prompts are:

Day 1: (25th-27th June) Stories from your culture

Focus on and highlight stories from your state, religion or culture.

Day 2: (28th-30th June) Horror

Horror is a recurring theme in folklore. Horror stories are often the cornerstone of folktales. Highlight your favourite bhootnis, spirits, demons, and witches alike.

Day 3: (1st-3rd July) Women in Folklore

From witches to fairies, women have always played an integral role in many folktales and fairytales. Celebrate the inspiring women in folklore, their stories and their role in folk culture.

Day 4: (4th-6th July) Your Favourite Fairytales

Fairytales are, for most people, an important part of their childhood. Post about your favourite Princes and princesses, fairies and demons, kingdoms and magic.

Day 5: (7th-9th July) Unsung Stories

Post about folktales that you think are underrated and unsung. Tales that not many people know about, tales that you think deserve more love.

Day 6: (10th-12th July) Heroes and Heroines

Post about your favourite heroic characters, your favourite heroes and heroines, your favourite knights in shining armour.

Day 7: (13th-15th July) Villains

We all love a good villain and folktales have given us many iconic villains and antagonists. Post about your favourite evil queens, evil kings, dark witches and demon kings.

Day 8: (16th-18th July) Your favourite characters

Post about your favourite characters from fairytales and folktales. Tell us about any characters you fell in love with, hero or villain.

Day 9: (19th-21st July) Childhood stories

We all grew up hearing fairytales and folktales from our parents or grandparents. Tell us about your favourite childhood stories, stories you grew up with, stories you cherish.

Day 10: (22nd-24th July) Creator's Choice

This day is a free-for-all. Post about anything you want, any stories, any characters, anything your heart desires.

I am from Bengal, where tales of the Shakchunni are rampant. Usually known to be a woman who died before she could experence maritial pleasures, the Shakchunni sits atop trees waiting for women to walk by with their hair open. She then catches them and traps then in the tree and takes their place in their home.

My artwork depicts a newly wed Shakchunni, heavily inspired from the Bengali children’s show; Thakumar Jhulli.

Shaktas believe, "the one Truth is sensed in ten different facets; the Divine Mother is adored and approached as ten cosmic personalities," the Dasa-Mahavidya ("ten-Mahavidyas").[6] As per another school of thought in Shaktism Mahavidyas are considered to be form of Mahakali. The Mahavidyas are considered Tantric in nature, and are usually identified as:[7

1. Kali: The goddess who is the ultimate form of Brahman, and the devourer of time (Supreme Deity of Kalikula systems). Mahakali is of a pitch black complexion, darker than the dark of the dead of the night. She has three eyes, representing the past, present and future. She has shining white, fang-like teeth, a gaping mouth, and her red, bloody tongue hanging from there. She has unbound, disheveled hairs. She wears tiger skins as her garments, a garland of skulls and a garland of rosy red flowers around her neck, and on her belt, she was adorned with skeletal bones, skeletal hands as well as severed arms and hands as her ornamentation. She has four hands, two of them had the trident called the trishula and the sword and two others carried a demon head and a bowl collecting the blood dripping from a demon head.

2. Tara: The goddess who acts as a guide and a protector, and she who offers the ultimate knowledge that grants salvation. She is the goddess of all sources of energy. The energy of the sun is believed to originate from her. She manifested as the mother of Shiva after the incident of Samudra Manthana to heal him as her child. Tara is of a light blue complexion. She has disheveled hair, wearing a crown decorated with the digit of the half-moon. She has three eyes, a snake coiled comfortably around her throat, wearing the skins of tigers, and a garland of skulls. She is also seen wearing a belt supporting her skirt made of tiger-skin. Her four hands carry a lotus, scimitar, demon head and scissors. Her left foot rests on the laying down Shiva.

3. Tripura Sundari (Shodashi, Lalita): The goddess who is "beauty of the three worlds" (Supreme Deity of Srikula systems); the "Tantric Parvati" or the "Moksha Mukta". She is the ruler of Manidvipa, the eternal supreme abode of the goddess. Shodashi is seen with a molten gold complexion, three placid eyes, a calm mien, wearing red and pink vestments, adorned with ornaments on her divine limbs and four hands, each holding a goad, lotus, a bow, and arrow. She is seated on a throne.

4. Bhuvaneshvari: The goddess as the world mother, or whose body comprises all the fourteen lokas of the cosmos. Bhuvaneshvari is of a fair, golden complexion, with three content eyes as well as a calm mien. She wears red and yellow garments, decorated with ornaments on her limbs and has four hands. Two of her four hands hold a goad and noose while her other two hands are open. She is seated on a divine, celestial throne.

5. Bhairavi:  The fierce goddess. The female version of Bhairava. Bhairavi is of a fiery, volcanic red complexion, with three furious eyes, and disheveled hair. Her hair is matted, tied up in a bun, decorated by a crescent moon as well as adorning two horns, one sticking out from each side. She has two protruding tusks from the ends of her bloody mouth. She wears red and blue garments and is adorned with a garland of skulls around her neck. She also wears a belt decorated with severed hands and bones attached to it. She is also decked with snakes and serpents too as her ornamentation – rarely is she seen wearing any jewelry on her limbs. Of her four hands, two are open and two hold a rosary and book.

6. Chhinnamasta: The self-decapitated goddess. She chopped her own head off in order to satisfy Jaya and Vijaya (metaphors of rajas and tamas - part of the trigunas). Chinnamasta has a red complexion, embodied with a frightful appearance. She has disheveled hair. She has four hands, two of which hold a sword and another hand holding her own severed head; three blazing eyes with a frightful mien, wearing a crown. Two of her other hands hold a lasso and drinking bowl. She is a partially clothed lady, adorned with ornaments on her limbs and wearing a garland of skulls on her body. She is mounted upon the back of a copulating couple.

7. Dhumavati: The widow goddess. Dhumavati is of a smoky dark brown complexion, her skin is wrinkled, her mouth is dry, some of her teeth have fallen out, her long disheveled hair is gray, her eyes are seen as bloodshot and she has a frightening mien, which is seen as a combined source of anger, misery, fear, exhaustion, restlessness, constant hunger and thirst. She wears white clothes, donned in the attire of a widow. She is sitting in a horseless chariot as her vehicle of transportation and on top of the chariot, there is an emblem of a crow as well as a banner. She has two trembling hands, her one hand bestows boons and/or knowledge and the other holds a winnowing basket.

8. Bagalamukhi: The goddess who paralyzes enemies. Bagalamukhi has a molten gold complexion with three bright eyes, lush black hair and a benign mien. She is seen wearing yellow garments and apparel. She is decked with yellow ornaments on her limbs. Her two hands hold a mace or club and holds demon Madanasura by the tongue to keep him at bay. She is shown seated on either a throne or on the back of a crane.

9. Matangi: The Prime Minister of Lalita (in Srikula systems), sometimes called the "Tantric Saraswati". Matangi is depicted as emerald green in complexion, with lush, disheveled black hair, three placid eyes and a calm look on her face. She is seen wearing red garments and apparel, bedecked with various ornaments all over her delicate limbs. She is seated on a royal throne and she has four hands, three of which hold a sword or scimitar, a skull and a veena (a musical instrument). Her one hand bestows boons to her devotees.

10. Kamalatmika (Kamala): The lotus goddess; sometimes called the "Tantric Lakshmi". Kamala is of a molten gold complexion with lush black hair, three bright, placid eyes, and a benevolent expression. She is seen wearing red and pink garments and apparel and bedecked with various ornaments and lotuses all over her limbs. She is seated on a fully bloomed lotus, while with her four hands, two hold lotuses while two grant her devotees' wishes and assures protection from fear.

All these Mahavidyas reside in Manidvipa.

The Mahabhagavata Purana and Brihaddharma Purana however, list Shodashi (Sodasi) as Tripura Sundari, which is simply another name for the same goddess.[9] The Guhyati guyha-tantra associates the Mahavidyas with the Dashavatara, the ten avatars of Vishnu, and states that the Mahavidyas are the source from which the avatars of Vishnu arise.

A parani is particular kind of Tamil literary composition which eulogises a warrior who has killed a thousand male elephants on the battle - field. A curious thing about this genre is that it is named after the vanquished foe.

Kalingattuparani is the most famous of all paranis. Composed by Jayamkondar, the poet laureate of Kulottunga Chola, it depicts the Chola invasion of Kalinga. It celebrates the triumph of  Karunakara Tondaiman, the lord of Vandaiyar, a general of Kulottunga. Karunakara Tondaiman defeated the Kalinga king Anantavarman and planted a pillar of victory in Kalinga. However, we should remember that these are literary works produced under the patronage of rulers to appease them.

I would like to present a short extract from this great work used in the 2010 film Raavanan:

Let us begin the war Let us begin the war Soldiers on both camps shouted War cries reverberated like the roar of the ocean! Charge the cavalry here! Send the elephant division there! These war cries went on increasing!

They stringed their strong bows Rending all the directions by their noise! In the battle-field War cries struck the world dumb!

Both the armies dashed against each other Like the confrontation of two oceans; The charging of the cavalries Like the confrontation of foaming waves!

Warring elephants dashed against each other Like the clash of the mountains! Chariots charged against each other Like the clash of the clouds!

This is from Tamil Nadu

Pori | পৰী

They are supernatural beings that exist in two distinct genders - male and female. These creatures are believed to reside in bodies of water such as lakes, ponds, and rivers. According to legend, female pori have the ability to possess males while male pori possess females. 

The effects of possession by a pori are said to be severe, with the afflicted person often exhibiting erratic, maniacal behavior. It is thought that pori possess humans in order to experience the physical world and satisfy their own desires. 

In order to rid oneself of a pori possession, there are specific chants and rituals that can be performed. These chants are believed to have the power to banish the pori from the body, freeing the person from their influence. 

The concept of pori and their possession of humans is deeply rooted in folklore and mythology in certain cultures. While these beliefs may not be scientifically verifiable, they continue to hold a significant place in the cultural imagination of those who believe in them.

And in case of Irish mythology, yall know about Changelings and Sidhe already now don't you?

I'm from Assam, India so I'll be sharing some folktales and lores from my state.

But today I just wanna tell y'all the story of how we got the name of our state. Not the name Assam, but its original names- Kamarupa and Pragjyotishpura, the names that our state was referred to as in the epics of our country.

As for the first name, Kamarupa, this is what happened according to the scriptures-

The mythology regarding the origin of the name Kamarupa tells us the story of Sati who died due to the discourtesy shown to her husband by her father Daksha. Overcame by grief, Shiva carried her dead body and wandered throughout the world. In order to put a stop to this, Vishnu used his discus to cut the body into pieces, which then fell into different places. One such piece fell down on Nilachal hills near Gauhati and the place was henceforth held sacred as Kamakhya. But Shiva’s penance did not stop, so the Gods sent Kamdev, the cupid to break his penance by making him fall in love. Kamdev succeeded in his mission, but Siva enraged at this result, burnt Kamdev to ashes. Kamdev eventually regained his original form here and from then onward the country came to be known as Kamarupa (Where Kama regained his Rupa or form).

In case of the second name, Pragjyotishpura, this was the case.

Bhagadatta was the son of Narakasura, and he named his city Pragjyotishpura, where 'prag' means 'eastern', 'jyotish' means 'star' or 'astrology' and 'pura' means 'city'. So the meaning behind the name of this kingdom was the City of Eastern Star or City of Eastern Astrology.

In case of the modern name, Assam, formerly called Axom or Asom, the sources of its origin are vague so I'm not gonna talk about it.

Welp that's it for the first day I guess. A goof introductory history rant on how my state got its ancient names.

In the port of Muscat, two sons were born to a rich merchant. As they grew up, their enemity too grew with them. He summoned the eldest of them and blessed him, "If you quarrel like this, one will murder the other. Therefore, you should not remain in the land of your father and forefathers. Go forth to the Harbour of Truth and prosper".

Therefore, the son was sent off with enough goods and ten special "containers of treasure". He traveled to many lands, met the chieftains, kings and emperors, and requested some of them to safekeep a 'treasure' till he returns. The treasure was a container of gold covered with a layer of pickle. But when he returned, all he got were containers filled with pickle.

Finally, he reached Kozhikode, made the same request to the Zamorin (King of Kozhikode) and went to Lanka. When he returned, his container was returned to him. He noticed that the container hasn't gotten lighter nor the seal was broken. He realised that he finally discovered the Harbour of Truth.

He opened the container, presented the gold to the Zamorin and requested permission to settle down in Kozhikode. Thus, were established the Koyas of Kozhikode.

********

The name "Koya" comes from the Persian honourific "Khawaja" meaning "Master/Teacher". The chief of them was Shah Bandhar Koya, the Commissioner of the Kozhikode Port. He supervised customs on the behalf of the Zamorin, fixed the prices of the good, and collected the tax to the treasury. After Zamorin conquered Valluvakonathiri (King of Valluvanadu) and attained the Rakshapurusha Sthanam (the office of the Great Protector) of Mamankam, Shah Bandhar Koya was given the right to stand on the left side of the Zamorin during Mamankam.

I am from Kerala.