Friday, 8 July 2016

PURUSHA, PRAKRITI AND ARDHANAREESHVARA


Purusha is the seer, the witness, the real you or me. Prakriti is the seen, the experienced, the form, even down to the most subtle of mental events. Any ideas or feelings, even those about Purusha, are composed of the impermanent, interconnecting braids of a mutable, timeless energy, or Prakriti. Since Prakriti is the content of all experience, Purusha cannot be “experienced” as such, but is realized by the full releasing of Prakriti.  

Technically we cannot even say there is a relationship between Purusha and Prakriti, since Purusha is completely unthinkable. Any relationships are actually between various complementary and opposite functions within the unified field of Prakriti. Philosophically the relationship between these two metaphysical absolutes comes to a halt in a knot of self reference paradox. This is not actually a problem. It happens eventually in all systems and is a beautiful and essential disappearance of the mentally constructed thinker. Purusha and Prakriti are brilliant metaphors, which aid in the actual yoga practice and the experience of observing all phenomena as impermanent construction.For example, we can say that the process of realization in yoga can be likened to the simultaneous unfolding of millions of flowers (Prakriti) to face the light and glory of the rising sun (Purusha). The Kamakalavilasa Tantra also says, “The awakened flower energy, as Mulaprakrti or primordial Sakti is supreme; being in the nature un-originated and undisturbed joy, eternal, utterly incomparable, the seed of all, the spotless mirror in which is revealed the radiant form of Siva. Ardhanareeshvara is a combination of three words “Ardha,” “Nari,” and “Ishwara” means “half,” “woman,” and “lord,” respectively, which when combined means the lord whose half is a woman. It is believed that the God is Lord Shiva and the woman part is his consort Goddess Parvati or Shakti. The Ardhanareeshvara represents a constructive and generative power. Ardhanareeshvara symbolizes male and female principles cannot be separated. It conveys the unity of opposites in the universe. The male half stands for Purusha and female half is Prakriti. Ardhanareeshvara harmonizes the two conflicting ways of life: The spiritual way of the ascetic as represented by Shiva, and the materialistic way of the householder symbolized by Parvati. It conveys that Shiva and Shakti are one and the same. A human being is not a pure unisexual organism. Each human organism bears the potentiality of both male and female sex. Neurohormonal mechanisms have been found to be greatly influencing the sexual behavior. The modern world has come to understand the concept of “Ardhanareeshwara” as it aspires to resolve the paradox of opposites into a unity, not by negation, but through positive experiences of life. The matching of opposites produces the true rhythm of life.

Wednesday, 29 June 2016

Brihannala The Transgender


The curse: When Arjuna goes to visit his father, Indra he is attracted by heavenly beauty of Urvashi. Indra, noticing this, arranges for their meeting by instructing Urvashi. Urvashi goes to Arjuna's room the same night. However, Arjuna declines to consummate her stating she is his mother. Urvashi, infuriated at the fact that a mortal could resist her temptation, curses Arjuna to spend the rest of his life as an eunuch. Urvashi reduces the curse to one year after Indra's intervention.

The atonement:When the Pandavas are in last year of their 13 year long exile, they go to Virata, the king of Matsya Kingdom. Everyone assumes a disguise to conceal identities. Arjuna takes this opportunity to fulfill his curse and become Brihannala, a dance/music teacher of Uttara, daughter of King Virata.
After spending a year as eunuch, eventually Arjuna reveals himself on the final day of their exile. In the process he defeats the Kuru army as well which had attacked Matsya Kingdom, suspecting Pandvas had hidden there.

Therefore, apart from one year spent as Brihannala, Arjuna was not impotent.

The Third Gender and Mahabharata


Most of us find Mahabharata to be a very mystifying chronicle. This is because Mahabharata has a lot of characters and each character is associated to the other in some or the other way. As this epic has so many legendary characters such as Pandavas, Draupadi, Kauravas around whom the whole story revolves, people are not quite familiar with the other characters who also have a crucial role in the epic.

Today, I will try to narrate you the story of Aravan or Iravan, one such minor yet crucial character of Mahabharata. It is from his lineage that the transgenders are said to have been born. That is why the transgenders or hijras are also known as Aravanis. The story of Lord Aravan can be called one of the most tragic tales of Mahabharata where he sacrifices himself for the greater good. But he does leave a lineage before he dies which makes him immortal in the history of mankind. Want to know his story? Then, read on.

Aravan was the son of the great Mahabharata warrior, Arjuna and his wife Ulupi, the Naga princess. Aravan is the central God of the cult of Kuttantavar. Like his father, Aravan was a fierce warrior. He participated in the Kurukshetra war with his father and the other Pandavas. He fought bravely and gave himself up for a huge sacrifice.

The earliest source of mention regarding Aravan is found in Peruntevanar's Parata Venpa, a 9th-century Tamil version of the Mahabharata.There it talks about a special sacrificial ritual known as the 'Kalappali', which means sacrifice to the battlefield. It was believed that whoever performs this sacrifice ensures victory in the battlefield.

In this ritual, the most valiant warrior must sacrifice his life in front of Goddess Kali in order to ensure the victory of his side. Aravan volunteered to sacrifice himself in the ritual. In Parata Venpa, Aravan asks Krishna to grant him the boon of a heroic death in the battlefield. Aravan is believed to have been granted a second boon - to see the entire 18-day war. The third boon is found only in the folk rituals. This third boon provides Aravan to be married before the sacrifice, entitling him to the right of cremation and funerary offerings (bachelors were buried).

However, no woman wanted to marry Aravan, fearing the inevitable doom of widowhood. In the Kuttantavar cult version, Krishna solves this dilemma by taking on his female form, Mohini, marries Aravan and spends that night with him. The Koovagam version additionally relates Krishna's mourning as a widow after Aravan's sacrifice the next day, after which he returns to his original masculine form for the duration of the war.

Aravanis Aravan is known as Kuttantavar in the cult which bears his name, and in which he is the chief deity. Here, the marriage of Aravan and Mohini, her widowhood and mourning after Aravan's sacrifice form the central theme of an 18-day annual festival either side of the night of the full moon in the Tamil month of Cittirai.

The Alis or the Aravanis (transgenders) take part in the Koovagam festival by re-enacting the marriage of Aravan and Mohini. It is believed that all the Aravanis are married to Aravan and hence, when the sacrifice is re-enacted, the Aravanis become widows of Aravan and mourn his death.

Tuesday, 28 June 2016

Lord Shiva become Gopi of Vrindavan


Dear viewers here am with the new story of lord Shiva taking the avatara (form) of Gopi in Vrindavan. There is something very feminine about celebration. Whether a man celebrates or a woman celebrates, celebration is essentially feminine. There is a very beautiful story in the Mahabharata to describe the significance of being feminine. When at eight years of age, Krishna moved from Gokula to Vrindhavan, he became immensely popular among the village folk. It was at the time of the Holi festival, just after spring when everything is in full bloom. On a certain evening, a full moon day, the boys and girls of the village gathered on the banks of river Yamuna. They started playing and having fun throwing water and sand at each other. After some time, the play broke into a dance. And they danced and danced because they were in such an exuberant and joyful state. But slowly, one by one, the clumsier ones dropped off. When Krishna saw this, he took out his flute and started to play. His play was so enchanting that everyone gathered around him and once again swayed, for almost half the night.

This is the first incident of Raas Leela, where a simple joyful mingling of people rose to a transcendental state. The word “raas” literally means “juice,” but it can also indicate passion. So this was the dance of passion. The fragrance of this dance spread. People came to know that on full moon nights at midnight, this dance happened, and the numbers of those who participated increased.

It also fell on Shiva’s ears that on full moon nights, a fantastic dance happens on the banks of the river Yamuna. He became aware that people just danced their way to what he had achieved through meditation. Shiva is Nataraja, the Lord of Dance. This is something which is unique to India – only Indian gods dance. If they fall in love, they dance. If they get ecstatic, they dance. If they get angry, they dance. So being the Lord of Dance, Shiva was very amused that this little boy, his devotee, was taking people to transcendental states simply by dancing and blowing upon his flute. He wanted to witness this.

He walked from the Himalayas to the banks of the river Yamuna and said to a boatman who was there, “Please take me across to Vrindhavan. I want to see Krishna’s Raas.” The boat man replied, “You cannot go like this. When you go to the Raas, Krishna is the only man, everyone else is a woman. If you want to go, you have to go as a woman.”

Shiva is considered the ultimate of the masculine – the purusha among purushas. So it was a strange request, that Shiva had to become a woman. But the Raas was in full swing and Shiva wanted to go there. So the boatman said, “If you must go, you must wear woman’s clothing.” Shiva looked around. No one was looking, so he said, “Okay, give me the gopi’s clothes.” He wore the clothes of a gopi and went across. He is such a sport.

This story signifies that essentially, the nature of celebration is feminine. Feminine means exuberance. And that is how you should be every moment of your life – exuberantly alive. What is the point in being half alive? We did not come here to avoid life, we came to know and experience life. And you cannot experience life unless you keep yourself as intense and exuberant as possible. Your whole life, your very existence should become a celebration. If your life has to become a celebration, you have to become absolutely joyful within yourself. And this is not just empty talk – such a thing is possible. There is a whole science through which you can create the right kind of chemistry within yourself to become joyful by your own nature.

Monday, 20 June 2016

Queer Sexuality and Indian Culture



In his navagraha kirti, the great 19th century Carnatic music composer, Muthuswami Dikshitar describes Budh (the planet Mercury) as Napumsakam or one who is not quite male, or female. He alludes to a story in the Puranas where Brihaspati (the planet Jupiter) discovers that his wife Tara (the goddess of stars) is pregnant with the child of her lover, Chandra (the moon-god). He curses the love-child to be born neuter. Budh later marries Ila, a man who becomes a woman when he accidentally trespasses into an enchanted grove. From that union springs the Chandra-vamsa, or the lunar dynasty of kings. So says the Mahabharata.
As in the story of Ila, Indian lore is full of tales where men turn into women and women turn into men. Narada falls into a pond, becomes a woman, discovers the meaning of worldly delusion or maya. Shiva bathes in the Yamuna, becomes a gopi, a milkmaid, so that he can dance the raas-leela with Krishna – an idea that has inspired the temple of Gopeshwarji in Vrindavan. At a short distance from Ahmedabad, is the temple of Bahucharji, the rooster-riding goddess, where once it is said there was a pond that turned a woman into a man, a mare into a horse and a bitch into a dog. The pond has dried up, but women still visit this shrine seeking a male child. They seek the blessings of bhagats (some call them hijras) who, though men, believe they are women and choose to live their life wearing a sari.
Near Pondicherry, in the village of Koovagam, every year the transgendered alis dance and sing in memory of an event that took place during mythic times. Aravan, the son of Arjuna and his serpent wife, Ulupi, had to be sacrificed to ensure victory of the Pandavas at Kurukshetra. But he refused to die without a taste of marriage. As no woman was willing to marry a man doomed to die the following dawn, Krishna took his female form, Mohini, became Aravan’s wife, spent a night with him and then wailed for him as his widow when he was beheaded.
In the Valmiki Ramayana, there are descriptions of Rakshasa women who kiss women on Ravana’s bed on whose lips lingers the taste of their master. In the Krittivasa Ramayana is the story of two widows who drink a magic potion and, in the absence of their husband, make love to each other and end up bearing a child without bones (traditionally believed to be the contribution of semen).
How does one interpret these stories? Are they gay stories? They certainly shatter the conventional confines of gender and sexuality. Ancient Indian authors and poets without doubt imagined a state where the lines separating masculinity and femininity often blurred and even collapsed. Though awkward, these were not stray references. Such tales were consistent and recurring, narrated matter-of-factly, without guilt or shame. Such outpouring has its roots in Indian metaphysics.
As the wheel of rebirth turns, Indians have always believed, the soul keeps casting off old flesh and wrapping oneself anew. Depending on one’s karma, one can be reborn as a tree, as a rock, as a bird, a beast, a man, a woman, a man with a woman’s heart, a woman with a man’s heart, even as a god or demon….endless possibilities exist in the infinite cosmos. The wise see masculinity and femininity as ephemeral robes that wrap the sexless genderless soul. The point is not to get attached to the flesh, but to celebrate its capabilities, discover its limitations, and finally transcend it.
The question before us is: does the human mind have the empathy to include gender and sexual ambiguity in civil human society? It does. In every Yuga new rules come into being that redefine world order. Mahabharata mentions a Yuga when there was no marriage – women were free to go any man they chose. This changed when Shvetaketu instituted the marriage laws. We have lived through a Yuga where we left unchallenged laws of old imperial masters that dehumanized and invalidated sexual minorities. This has to change – hopefully now.




Story of ILA (Last birth of Shikhandi)

Story of ILA


Ila was the daughter of Vaivasata Manu but had to live the life of both male and female. Vaivasata Manu and his wife Shraddha did not have children after several years of marriage. Manu asked Sage Vasishta to conducted a yajna to get a son. As a result of yajna a daughter was born to Vaivasata Manu and his wife Shraddha. The newborn was called Ila. Vaivasata Manu wanted a son who will take over his kingdom. So he complained to Sage Vasishta who immediately changed the girl into a boy and he was called Sudyumna.

A young Sudyumna once entered the cursed forest ofKumaravana near Kailash. This forest was cursed by Shiva and Parvati. Once, Sage Sunaka and others had entered the forest when Shiva and Parvati were making love. The divine couple did not tolerate this intervention and cursed that in future men who will enter the forest will become women.

As a result of the curse young Sudyumna became a woman. She again took the name of Ila. Budha, or mercury, one of the Navgrahas fell in love with Ila. They got married and a son named Pururavas was born to them.

Ila once met Sage Vasishta and explained how she had become a woman again. Sage Vasishta asked her to worship Shiva. Shiva pleased with her devotion gave her the boon that she will be a man every alternative month and a woman during the other months.

He ruled the kingdom as Sudyumna every alternative month and retired to the palace when she was Ila. This continued till Pururavas became the king.


Ila then retired to the forest and here Sage Narada taught her the Navakshara Mantra. Ila worshipped Goddess Shakti in the forest. Pleased with her devotion Mother Goddess gave her moksha.

Thursday, 19 May 2016

Relationship between Lord Shiva and Lord Vishnu as "Mohini"


In the Bhagavata Purana, after Vishnu deceives the demons by his maya female form, Shiva wishes to see the bewildering Mohini again. When Vishnu agrees and reveals his Mohini form, Shiva runs crazily behind Mohini, "bereft of shame and robbed by her of good sense," while the abandoned wife Parvati (Uma) looks on. Shiva is overcome by Kāma (love and desire or Kamadeva, the god of love and desire). His "unfailing" seed escapes and falls on ground creating ores of silver and gold. Afterwards, Vishnu comes to his true form and reveals that his maya (illusory power) cannot be surpassed even by Shiva. Shiva then extols Vishnu's power.
The Tripurarahasya, a south Indian Shakta text, retells the story, giving more importance to the Goddess. When Shiva wishes to see Vishnu's Mohini form again, Vishnu fears that he may be burned to ashes like Kamadeva by the ascetic Shiva. So, Vishnu prays to goddess Tripura, who grants half of her beauty to Vishnu, begetting the Mohini-form. As Shiva touches Mohini, his seed spills, indicating a loss of the merit gained through of all his austerities.
In the Brahmanda Purana when the wandering sage Narada tells Shiva about Vishnu's Mohini form that deluded the demons, Shiva dismisses him. Shiva and his wife Parvati go to Vishnu's home. Shiva asks him to take on the Mohini form again so he can see the actual transformation for himself. Vishnu smiles, again meditates on the Goddess, and in place of Vishnu stands the gorgeous Mohini. Overcome by lust, Shiva chases Mohini as Parvati hangs her head in shame and envy. Shiva grabs Mohini's hand and embraces her, but Mohini frees herself and runs further. Finally, Shiva grabs her and their "violent coupling" leads to discharge of Shiva's seed which falls "short of its goal," suggesting the act was not consummated. The seed falls on the ground and the god Maha-Shasta ("The Great Chastiser") is born. Mohini disappears, while Shiva returns home with Parvati.
Shasta is identified primarily with two regional deities: Ayyappa from Kerala and the Tamil Aiyanar. He is also identified with the classical Hindu gods Skanda and Hanuman. In the later story of the origin of Ayyappa, Shiva impregnates Mohini, who gives birth to Ayyappa. They abandon Ayyappa in shame. The legend highlights Vishnu's protests to be Mohini again and also notes that Ayyappa is born of Vishnu's thigh as Mohini does not have a real womb. Another variant says that instead of a biological origin, Ayyappa sprang from Shiva's semen, which he ejaculated upon embracing Mohini. Ayyappa is referred to as Hariharaputra, "the son of Vishnu (Hari) and Shiva (Hara)", and grows up to be a great hero. Another tale says after Surpanaka's destruction, Shiva wishes to see Mohini and mesmerized by her looks, has union with her resulting in the birth of Ayyapppa.
Kanda Puranam narrates about the birth of Shasta identified with Aiyanar. The text tells just before the tale that Vishnu is Shiva's Shakti (wife and power) Parvati in a male form. The legend begins with Shiva's request and Vishnu's agreement to show his illusionary Mohini form, that he assumed for the distribution of amrita. Shiva falls in love with Mohini and proposes a union with her. Mohini-Vishnu declines saying that union of two same sex women was unfruitful. Shiva informs Mohini-Vishnu that he was just one of forms of his Shakti. Thereafter, their union resulted in the birth of a dark boy with red locks, who was named Hariharaputra. Further, he was also known as Shasta and Aiyannar.
In the Agni Purana, as the enchanted Shiva follows Mohini, drops of his semen falls on the ground and become lingas, Shiva's symbols. His semen also generates the monkey-god Hanuman, who helps Vishnu's avatar Rama in his fight against Ravana in the Ramayana. Shiva Purana says that by the mere glimpse of Mohini, Shiva spurts out his seed. The seed was collected and poured into the ear ofAnjani, who gave birth to Hanuman, the incarnation of Shiva. The latter is retold in the Thai and Malaysian version of the Ramayana. Though Hanuman strings from Shiva's seed, he is also considered as a combined son of Vishnu and Shiva.
The Buddhist version of the Bhasmasura tale continues with Shiva (Ishvara) asking the female-Vishnu, who is seated on a swing, to marry him. She asks Shiva to get the permission of his wife Umayangana to take her home. Shiva returns with Umayangana's consent to find the female-Vishnu pregnant, who sends him back to get permission to bring a pregnant woman home. When he returns, a child is born and female-Vishnu is pregnant again. She requests Shiva to seek approval to bring a pregnant woman with a child home. This happens six more times. Finally, Shiva brings Umayangana with him to witness the miraculous woman. Vishnu then returns to his male form. Umayangana embraces the six youngest children merging them into the six-headed Skanda, while the eldest, named Aiyanayaka ("eldest brother") remains intact. Aiyanayaka is identified with Aiyanar.
Mohini plays a lesser role in a Shaiva legend in the Skanda Purana. Here, Vishnu as Mohini joins Shiva to teach a lesson to arrogant sages. A group of sages are performing rituals in a forest, and start to consider themselves as gods. To humble them, Shiva takes the form of an attractive young beggar (Bhikshatana) and Vishnu becomes Mohini, his wife. While the sages fall for Mohini, their women wildly chase Shiva. When they regain their senses, they perform a black magic sacrifice, which produces a serpent, a lion, an elephant (or tiger) and a dwarf, all of which are overpowered by Shiva. Shiva then dances on the dwarf and takes the form of Nataraja, the cosmic dancer. The legend is retold in the Tamil Kovil Puranam and Kandha Puranam with some variation. This legend is also told in the Sthala Purana related to the Chidambaram Temple dedicated to Shiva-Nataraja.

Another legend from the Linga Purana says that the embracing of love-struck Shiva and Mohini led to be their merging into one body. At this moment, Mohini became Vishnu again, resulting the composite deity Harihara, whose right side of the body is Shiva and left side is Vishnu in his male form. In the temple in Sankarnayinarkovil near Kalugumalai is one of the rarest exceptions to iconography of Harihara (Sankara-Narayana). The deity is depicted similar to the Ardhanari, the composite form of Shiva-Parvati, where right side of the body is the male Shiva and left side is female. This image's female side represents Mohini and it, as a whole, symbolizes the union of Shiva and Mohini. The influence of Shakta traditions on Shaiva ones may have led to the development of composite images like Harihara, where Vishnu is identified with Shiva's consort, or Mohini. Like the Kanda Puranam narrative, the Shaiva saint Appar identifies Vishnu as Parvati (Uma), the female counterpart of Shiva. 

Wednesday, 18 May 2016

Female Incarnation of God Vishnu – “Mohini”


The Kalamega Perumal Temple is the only Vishnu temple in the world dedicated to the Female Incarnation of God Vishnu – “Mohini”. In this temple God Vishnu gives darshan to devotee as Kalamega Perumal. The deity Kalamega perumal gives darshan with his consort Mohana Valli Thayar.

Once the Devas and Asuras together churned the ocean of milk to derive the nectar of immortality (Amurdham). When Dhanvantari emerged with a pot containing Amrudham, both the Devas and the Asuras started fighting.
To save the nectar from the Asuras and distribute it to the Devas, God Vishnu took the form of a beautiful and enchanting damsel “Mohini”. Mohini distracted the asuras, took the amrita, and distributed it among the Devas, who drank it.

According to another legend, once God Shiva granted a boon to the demon Bhasmasura, bestowing on him the power to reduce anyone into ashes when touched. The evil demons chased God Shiva with the notion to turn him to ashes to test his power. God Shiva fled as he was constantly escaping the touch of the evil demon. Lord Shiva turned to Lord Vishnu for help and protection. Lord Vishnu on hearing Shiva’s problem, agreed to help him out. Lord Vishnu assumed the form of the beautiful and attractive Mohini. The demon was totally captivated by Mohini and forgot about Shiva. He desired nothing but marrying Mohini. Mohini agreed on condition that Bhasmasura should copy her each dance steps. Bhasmasura accepted the Mohini’s condition and began to dance with Mohini. As Mohini placed her hand on her head, Bhasmasura followed Mohini, thus reducing himself to ashes.

Amba becomes Shikhandi


King Shantanu married Satyavaty and Devavrata became Bheeshma. Shantanu and Satyavaty had two sons, Chitrangada and Vichitravirya. Chitrangada was killed in battle with the Gandharvas. Young Vichitravirya was crowned the King and as he was a minor, Bheeshma ruled until he came of age.
When Vichitravirya became of marriageable age, Satyavaty entrusted Bheeshma with finding suitable bride for Vichitravirya. King of Kashi was arranging a swayamvara according to the old Kshatriya practice for his three daughters Amba, Ambika and Ambalika to choose their husband. The daughters of Kashi were famed for their beauty. When Bhishma heard about it, he decided to go there for Vichitravirya.
The Kings of Kosala,, Vanga, Pundra, Kalinga and other potential candidates were there in their best attires. When Bheeshma reached there, all the assembled Kings and Princes thought he had come to witness the Swayamvara as a guest. When he declined his seat as a guest, the assembled suitors began to ridicule him not knowing that he was there for Vichitravirya. “The wisest of the Bharata clan is not wise enough to realize he is old and has forgotten his vow.” The princesses of Kashi turned their eyes away from Bheeshma.
This flamed Bheeshma’s wrath. He challenged all the Kings and Princes and defeated them all. Taking the three princesses in his chariot Bheeshma set out to Hastinapur.
On his way to Hastinapur, Bheeshma was intercepted by Shalva, the King of Saubala. He was attached to the princess Amba. Shalva was defeated since Bheeshma was an invincible warrior. Amba pleaded Bheeshma to spare his life and so Bheeshma let Shalva go.
Arriving at Hastinapur with the princesses, the preparations for the marriage began. Everyone assembled for the wedding, Amba addressed Bheeshma mockingly, “You are the wisest of the Bharata clan and have read all the scriptures. I have chosen Shalva as my husband. What do the scriptures say about it, do what is morally right.”
Bheeshma acknowledged the forced abduction and Amba’s argument. The marriage between the Vichitravirya and Ambika and Ambalika, the two younger sisters of Amba was solemnized.
Bheeshma sent Amba with proper escort and respect to King Shalva. Amba was rejoiced at the prospect of marrying Shalva. “I have chosen you as my husband in my mind. I have come here to you, so we can marry according to the sastras.”Amba said to Shalva. However, Shalva refused her proposal, “Bheeshma defeated me in front of every one and carried you away. I have been shamed and I cannot marry you. You have been won by Bheeshma, go back to him and do as he says. I cannot marry you.”
Amba came back to Hastinapur and told Bheeshma what had transpired. Bheeshma advised Vichtrvirya to marry Amba. However, Vichitravirya refused to marry Amba saying that she is already some one else’s wife in her mind. Amba then turned to Bheeshma and asked him to marry her. Bheeshma was sorry for Amba and the situation she was in, but he could not marry her because of his vow. He appealed again to Vichitravirya to marry Amba and solve the tricky problem. However, Bheeshma’s attempts went in vain to change Vichitravirya’s mind. Bheeshma then suggested to Amba to go back Shalva.
Amba was too proud to go back to Shalva and grieved over her situation for four long years in Hastinapur. At last out of sheer desperation she went back to Shalva. Shalva however, adamantly refused to marry Amba. The lotus eyed Amba spend six years in bitter sorrow. All the beauty and sweetness inside her turned into hatred for Bheeshma. She blamed him for the root of all her sorrows. She then began her quest to find a warrior who would fight and kill Bheeshma. She searched long and hard but could not find any one. She then turned to Lord Subramanian and prayed to help find the enemy of Bheeshma. The Lord answered her prayers and gave her a garland of ever-fresh lotus flowers. One who wears the garland will be the enemy of Bheeshma. She took the garland and again sought to find a Kshatriya who will wear the garland. Bheeshma was an invincible warrior and no one wanted to incur his wrath by wearing the garland. Amba was once again dejected. Finally, she went to King Drupad and challenged all the Kshatriya’s , when none came to the front to wear the garland, she hung it by the gates of King Drupad’s palace and went away to the forest.
 In the forest, Amba met some ascetics who advised her to go to Parasuram for help. Amba went in search of Parsuram. When she met him, she told him all that had transpired. Parasurama was moved by her plight and the lack of courage amongst the Kshatriyas to champion Amba’s cause. Due to his abiding hatred towards the Kshatriya race, he challenged and fought Bheeshma. It was a long and equally contested battle. When it seemed like no one was winning and the battle was getting long drawn, the gods intercepted and asked both Bheeshma and Parsurama to stop. Parasurama addressed Amba, “Dear child, I have done everything I can with Bheeshma. I can ask Shalva to marry you.” Amba replied, “I no longer have any desire to marry any one. I am filled with hatred towards Bheeshma. I want to be avenged.”
Filled with grief and rage, Amba began her penance to please Lord Shiva as all human aid had failed. Lord Shiva appeared before her and granted her the boon that she would slay Bheeshma in her next life. Amba was impatient to wait for the rebirth. She lit a pyre and with the hatred in her heart hotter than pyre, she jumped into the fire.
Amba was born again as King Drupad’s daughter. When she grew up and saw the ever-fresh lotus garland hanging by the palace gate, all the memories of her past life came flooding back to her. Enraged that no one had yet worn the garland, she went and wore it herself. Drupad was mortified, at the thought of incurring Bheeshma’s wrath. His own daughter was to be Bheeshma’s enemy. He exiled her to the forest. Amba was baffled that she was born again as a girl. How could she challenge Bheeshma to a fight and slay him. Angry at the cruelty of fate, she began her austerities in the forest to turn into a man. After long tapasya, she transformed into a man and became a great warrior Shikhandi.
During the war of Mahabharata, Shikhandi faced Bheeshma. Knowing that Shikhandi was born a girl, Bheeshma refused to raise his arms against a woman as was his code of chivalry. Screened by Shikhandi, Arjuna was able to fell Bheeshma. Bheeshma as he fell was able to tell the arrows that came from Shikhandi and those that came from Arjuna his favorite grand sire.

AMBA WILLS DEATH OF BHISHMA


In the Hindu epic MahabharataAmba is the eldest daughter of the king of Kashi, who considers the Kuru prince Bhishma responsible for her misfortune and her sole goal in life becomes his destruction, to fulfill which she is reborn as Shikandini (the daughter of Drupada and the sister of Draupadi).

King Santanu had two sons by Satyavati, Chitrangada and Vichitravirya. In a battle with Gandharva, Chitrangada met with his death. As he died childless, Bhishma crowned Vichitravirya as king. However as he was a minor, Bhisma, Santanu’s son by Goddess Ganga had to shoulder  the responsibilities of king on his behalf. When Vichitravirya came of age Bhishma started looking for a suitable bride for him. It was known to all that the king of Kasi had three daughters, all of them very beautiful and accomplished. They were Amba, Ambika and Ambalika. All three were of nubile age. The prevailing custom known as Swayamvara gave the freedom to a princess to choose her own husband; but the aspiring prince had to win her after passing prescribed tests of eligibility in competition with other suitors. Accordingly, festivities were arranged for the Swayamvara and all kings and princes were formally invited.


Bhishma did not want to miss the chance. Assembled princes were surprised how the old man who had taken a vow of brahmacharya could have been invited. They spoke of him in derisive terms. They did not know he had come to find a bride for Vichitravirya. In their minds they cursed the king of Kasi for inviting such an old man. Bhishma was aware of the undercurrent of resentment among the princes. As ceremony progressed, the princesses did not even care to look at him. This incensed Bhishma. Having made up his mind, he challenged the princes for a test of strength. Those who dared were easily defeated by him. As there seemed

Transgenders and Sexuality in Hindu Mythology


Epics and mythology have been the bedrock of what one calls the ‘collective unconscious’. Hence the role of these two in shaping the mind-set of the communities concerned cannot be underestimated. No amount of changes in the material conditions of life seems to help in altering the perceptions that are deemed legitimized, acceptable and praiseworthy. Some of the concepts that haunt Indian psyche in terms of gender are chastity, motherhood, caste affiliation and sexuality. What is intriguing is the way in which these stipulations are transgressed by different characters in critical moments. Kunti giving birth to Pandavas can be cited as a case in point. Or the mode by which Dritharashtra, Pandu and Vidhura are born through niyoga with Vyasa.

Sexuality is a tabooed subject to be discussed, while childbirth is not. The functional aspect of heterosexual relationship as leading to childbirth is a site of contested values in itself. Any other sexual desire or relationship is in general viewed as ‘abnormal’ and ‘unnatural’. Still the epics and myths abound in references to stray moments of homosexuality or transsexual acts. Since Ramayana is steeped in didacticism, more of these instances are found in Mahabharatha. Ramayana, however, refers to trans-people stranded at the border of Ayodhya for fourteen long years, since he ordered his citizens—men and women—to return to the city, and not them! 

Mahabharatha abounds in many references to trans persons. Lord Krishna tops the list by his Mohini Avatar. She is the enchantress par excellence! Seductive and conniving she is the very embodiment of ‘moga’—lustful love. Mohini steals the pot of nector from the asuras and hands it over to the gods when Lord Vishnu provides the Amrit in the sea of milk. She brings forth Sastha or Ayyappa through her sexual intercourse with Lord Shiva. She also spends a night with Aravan, the guinea pig who was sacrificed at the Kurukshetra war. A young man with all the 32 lakshanas of a handsome male, Aravan demands two boons—to break his celibacy and to watch the war. In order to gratify him sexually, Lord Krishna, his uncle, appears as Mohini. And of course his head watches the war. It is this episode that is observed in many temples on the full-moon day of Chithirai (April-May).

Koovagam, a village in Villupuram district is the most popular of these temples in Tamil Nadu. Many transgender people from all over the world congregate there. It is almost a pilgrimage undertaken by them. The evening of the first day marks their marriage with Aravan. The temple priest ties the thali to them. Aravan appears in full regalia on a temple car. There are many families that offer their prayers during this time by adorning themselves as a woman. The next day morning his head is cut off. The transgender people break bangles, remove their kum kum and wear white sarees to signify widowhood. Many of them also observe ten to sixteen days of grief at the death of this one-night husband. To this day, the yellow sacred threads cut off their necks and thrown on the mound of mud, the broken glass bangles that are strewn all over and the wailing of the transgenders truly evoke the battlefield. The remnants of war suffered by the widows loom large. The juxtaposition of pleasure and grief is too overpowering.

Tamilnadu has a continuous tradition of Aravan/Koothandavar festival over centuries in different parts of the State. Alf Hiltebeital refers to the existence of this practice in different parts of India, with minor changes.

Another major tale found in Mahabharatha is that of Amba-Shikandin. Amba, Princess of Kashi, is perhaps as old as Bhishma, the patriarch of the epic. Abducted by Bhishma along with her two sisters, to be married to his weak younger brother and King Vichitravirya, she confesses her love for Salva; she is sent back to her lover; the lover refuses to accept her as she has been lost to another Prince; she argues that Bhisma, the avowed bachelor should live with her since he abducted her; she denied the proxy abduction he undertook and refused to live with the King. Beaten back and forth from one end to the other, she resolves to seek her vendetta against Bhisma.

Upon her unswerving tapas she received a boon to be re-born in the house of Drupada and become a male by exchange of body with a yaksha and later hone her skills as a warrior. She becomes Shikandi, the warrior. It is her arrows that pierce Bhisma, even though he refuses to fight her/him, since he knows of her past life. I have worked on this myth in my play Pani Thee translated as Frozen Fire (2004). 

Bahuchara Mata is the iconic goddess riding on a rooster, fully armed. It is said that while she and her sisters were travelling in a caravan Bapiya, a marauder attacked them. As is customary, the charans—a caste considered divine—proclaimed tragu, self-punishment, by cutting of their breasts. Cursed by the spilling of charan blood, Bapiya became impotent. He made amends by worshipping the Mata dressed as a woman. His curse was lifted thereupon. Situated in a temple 100km from Ahmedabad, Gujarat, it is a shrine visited by transgender people throughout the year.  The temple is said to have been built in 1782 by Rajah Manaji Gaekwad. Nobody kills the cocks and hens in that town. Most of the prayer services and shops in and around the temple are managed by the transgender people. 

It is important to note that the naqqals of Punjab are musicians and travelling bards. They are female impersonators telling tales with songs and dances. In modern Indian theatre Neelam Mansingh has a team of naqqals as part of her theatre group. She has addressed the question of their sexuality and the way they imitate femininity in great detail on various occasions. And female impersonation is still the norm in most folk/ traditional performing arts. Even as late as early modernity setting in with the advent of parsi theatre, one finds female impersonation being an acceptable tradition in performance. It is also the case in many Asian cultures.

If gender is performative and sexuality, a question of choice it is certainly echoed in the epics, myths and performance traditions of India. It is therefore a misnomer to conceive of heteronormativity as the only culturally sanctioned system. As in most communities with long oral and written traditions of culture, India too provides a space for at least token inclusivity. The criticism on non-heterosexual imaginings as western imports does not make sense if one takes into account these versions found in the epics and myths. Of course they were not advocated or eulogized; there was an element of scorning these inclusions as exception and not the rule. But the existence of these behaviors/persons is undeniably recorded in the epic and mythological narratives.

Kunti had a sacred mantra taught her by Sage Durvasa for her services in her pre-pubescent years. According to that she can chant that mantra with a man of her choice and he would oblige her with sexual gratification and a child. The pandavas were born thus to Lords Yama, Vayu and Indra and the twins Nakula and Sahadeva were born to Madri and Aswini brothers.
In order to have an heir to the kingdom sexual relationship was permitted on a temporary basis.

reference: http://ildaro.blogspot.in/2014/03/sexuality-in-indian-epics-and-mythology.html

Sunday, 8 May 2016

Shikhandi : A man with a Female Body

It was the ninth night of the war at Kurukshetra. The exact midpoint of the legendary 18-day bloodbath. Not the start, not the end, but the middle. The war had been inconclusive. Sometimes the Kauravas led by the old sire Bhisma had the upper hand; sometimes the Pandavas led by the young warlord, Dhristadhyumna, Draupadi’s twin brother, had the upper hand. A see-saw that was going nowhere.
“Bhisma loves us too much to defeat us,” said the Pandavas.
“Yet not enough to let us win,” reminded Krishna. “He must die, if dharma has to be established.” But Bhisma had been given a boon by his father that he could choose the time of his death. No one could therefore kill him. “If we cannot kill him, we must at least immobilize him.”
“But no one can defeat him,” said the Pandavas. “Even the great Parashurama could not overpower him in a duel. So long as he holds a weapon in his hand he is invincible.”
“Then we must make him lower his bow,” said Krishna.
“He will never lower his bow before any armed man.”
“What about an armed woman?”
“A woman? On the battlefield?” sneered the Pandavas, forgetting they themselves worshipped Durga, the goddess of war and victory. “But it is against dharma to let women hold weapons and step on the battlefield.”
“Who said so?” asked Krishna.
“Bhisma says so. Dharma says so.”
“Dharma also says that old men should retire and make way for the next generation so that the earth’s resources are not exploited by too many generations. But Bhisma did the very opposite. He renounced his right to marry, so that his old father could resume the householder’s life,” argued Krishna.
“He was being an obedient son.”
“He was indulging his old father at the cost of the earth. That vow spiraled events that has led to this war. It is time to be rid of him, by force or cunning, if necessary. We must find someone before whom the old patriarch will lower his bow. If not a woman, then someone who is not quite a man.”
“What about Shikhandi!” said Dhristadhyumna. “He is my elder brother. He was born a woman. But my father, Draupada, was told by the Rishis that he would one day become a man. Though born with female genital organs, Shikhandi was raised a son, taught warfare and statecraft. He was even given a wife. On his wedding night, the wife, daughter of king Hiranyavarna of Dasharna, was horrified to discover that her husband was actually a woman. My father tried to explain that actually Shikhandi was a man with a female body and that Rishis had told him he would someday acquire a male body. The woman refused to listen. She screamed and ran to her father and her father raised an army and threatened to destroy our city. A distraught Shikhandi went to the forest, holding himself responsible for the crisis, intent on killing himself. There he met a Yaksha called Sthunakarna who took pity on him and gave him his manhood for one night. With the Yaksha’s manhood, Shikhandi made love to a concubine sent by his father-in-law and proved he was no woman. The wife was therefore forced to return. Now, it so happened, that Kubera, king of the Yakshas, was furious with what Sthunakarna had done and so cursed Sthunakarna that he would not get his manhood back so long as Shikhandi was alive. As a result what was supposed to be with him for one night has remained with him till this moment. My elder brother, Shikhandi, born with a female body, has a Yaksha’s manhood right now. What is he, Krishna? Man or woman?”
Krishna knew things were more complex. Shikhandi, may have been raised as a man and may have acquired a manhood later in life, but in his previous life, he was a woman called Amba, whose life Bhisma had ruined. Bhisma had abducted her along with her sisters and forced them to marry, not him, but his weakling of a brother, Vichitravirya (a name that means ‘queer masculinity’ or ‘odd manliness’). When she begged Bhisma to let her marry the man she loved, he let her go. But the lover refused to marry Amba, now soiled by contact with another man (Bhisma). Distraught she returned, only to have Vichitravirya turn her away, and Bhisma shrugging helplessly. “When you have taken the vow of never being with a woman, what gave you the right to abduct me,” she yelled. Bhisma ignored her. Amba begged Parashurama, the great warrior, to kill Bhisma but he failed. Exasperated, irritated, she prayed to Shiva. “Make me the cause of his death,” she begged. Shiva blessed her – it would be so, but only in her next life. Amba immediately leapt into a pyre eager to accelerate the process.
“I think, Shikhandi should ride into the battlefield on my chariot. Let Arjuna stand behind him,” said Krishna. The tenth day dawned. The chariot rolled out. Behind Krishna stood the strange creature, neither man nor woman, or perhaps both, or neither, and behind him, Arjuna.
“You bring a woman into this battlefield, before me,” roared Bhisma seeing Shikhandi. “This is adharma. I refuse to fight.”
Krishna retorted in his calm melodious voice, “You see her as a woman because she was born with a female body. You see her as a woman because in her heart she is Amba. But I see her as a man because that is how her father raised her. I see her as a man because she has a Yaksha’s manhood with which he has consummated his marriage. Whose point of view is right, Bhisma?”
“Mine,” said Bhisma.
“You are always right, are you not, Bhisma? When you allowed your old father to remarry, when you abducted brides for your weak brother, when you clung to future generation after future generation like a leech, trying to set things right. There is always a logic you find to justify your point of view.  So now, Shikhandi is a woman – an unworthy opponent. That’s your view, not Shikhandi’s view. He wishes to fight you.”
“I will not fight this woman,” so saying Bhisma lowered his bow without even looking towards Shikhandi.
“Shoot him now, Shikhandi. Shoot him, now, Arjuna,” said Krishna, “Shoot hundreds of arrows so that they puncture every inch of this old man’s flesh. Pin him to the ground, immobilize him so that he can no longer immobilize the war.”
“But he is like a father to me,” argued Arjuna.
“This war is not about fathers or sons. This is not even about men or women, Arjuna. This is about dharma. And dharma is about empathy. Empathy is about inclusion. Even now, he excludes Shikhandi’s feelings – all he cares about is his version of the law. Shoot him now. Rid the world of this old school of thought so that a new world can be reconstructed.”
And so Arjuna released a volley of arrows. Hundreds of arrows punctured every limb of Bhisma’s body, his hands, his legs, his trunk, his thighs, till the grandsire fell like a giant Banyan tree in the middle of a forest. It is said that the earth would not accept him for he had lived too long – over four generations instead of just two. It is said the sky would not accept him because he had not fathered children and repaid his debt to ancestors. So he remained suspended mid-air by Arjuna’s arrows.
With the fall of Bhisma, the war moved in favor of the Pandavas. Nine days later, the Kauravas were defeated and dharma had been established.
Without doubt, Shikhandi changed the course of the war and played a pivotal role in the establishing of dharma. He was without doubt a key tool for Krishna. A cynic would say, Shikhandi was used by Krishna. A devotee will argue, Krishna made even Shikhandi useful. But his story is almost always overlooked in retellings of the great epic Mahabharata, or retold rather hurriedly, avoiding the details. Authors have gone so far as to conveniently call the Sthunakarna episode a later interpolation, hence of no consequence.
Shikhandi embodies all queer people – from gays to lesbians to Hijras to transgendered people to hermaphrodites to bisexuals. Like their stories, his story remains invisible. But the great author, Vyasa, located this story between the ninth night and the tenth day, right in the middle of the war, between the start and the finish. This was surely not accidental. It was a strategic pointer to things that belong neither here nor there. This is how the ancients gave voice to the non-heterosexual discourse.
Shikhandi embarrases us today. Sthunakarna who willingly gave up his manhood frightens us today. But neither Shikhandi nor Shthunkarna embarrassed or frightened Krishna or Vyas. Both included Shikhandi in the great narrative. But modern writers have chosen to exclude him. That is the story of homosexuals in human society. Homosexuals have always existed in God’s world but more often than not manmade society has chosen to ignore, suppress, ridicule, label them aberrants, diseased, to be swept under carpets and gagged by laws such as 377. They have been equated with rapists and molesters, simply because they can only love differently.
Indian society, however, has been a bit different from most others. Like all cultures, Indian culture for sure paid more importance to the dominant heterosexual discourse. But unlike most cultures, Indian culture did not condemn or invalidate the minority non-heterosexual discourse altogether. Hence the tale of Shikhandi, placed so strategically. Hence the tale of Bhangashvana, retold by none other than Bhisma to the Pandavas, after the war before he chose to die.
Yudhishtira asked, “Grandfather, who gets more sexual pleasure – men or women? What is sweeter to the ear – the sound of father or mother?”
Bhisma replied, “No one knows really. Except perhaps Bhangashvana, the only one who was both man and woman. Bhangashvana was a great king, with many wives and many sons. Indra cursed him to be a woman. So he lived as a woman, took a husband and bore him children. He was thus a man to his wife and a woman to his husband.  He thus had two sets of children, one who called him ‘father’ and another who called him ‘mother’. He alone is qualified to answer your questions.” Such ideas will never find mention in most scriptures around the world. But they are part of our cultural inheritance.
Clearly many keepers of culture have not heard the stories of Shikhandi, or Bhangashvana or of Yuvanashva, the king who accidentally became pregnant and delivered the great Mandhata, or of the two queens who made love to each other to produce a child without bones (bones being the contribution of sperm, according to mythology), or of Mohini, the female form of Vishnu, who enchanted even Shiva, the great hermit. Clearly they have chosen to ignore that every year, in Brahmotsavam festival, the image of the Lord Venkateshwara Balaji, who is Vishnu on earth, is dressed in female garments reminding us all of Mohini. Clearly they are oblivious of how Shrinathji in Nathdwara is lovingly bedecked with a sari, the stri-vesha or women’s attire, in memory of the time he wore Radha’s clothes to appease her. Clearly they are not aware of Gopeshwarji of Vrindavan, Shiva who took the form of a milkmaid so that he could dance the raas-leela with Krishna. And they certainly have turned a blind eye to the rooster-riding Bahucharji, of Gujarat, patron goddess of many Hijras.
Western religions have, and will, look upon Hinduism’s cross-dressing gods as vulgar and perverted. The British mocked us so much during the Raj that we went into apology and denial. Now an entire generation does not even know about these tales and these deities and these rituals. Westernization did not change bedroom habits; it has led to an embarrassed denial of our sacred scriptures.
One thing we must grant the homosexual – he has united the cantankerous right wing. He has done what the constitution of India could not do – bring the radical Islamic cleric, the saffron robed yogis, the Bible-bashing clergyman to the same side of the table. Together these self-proclaimed guardians of culture would like the homosexuals to be made invisible once more.
Baba Ramdevji would for sure celebrate the celibacy of Bhisma. If he would have his way, he would, perhaps, drag Shikhandi to the mental asylum and teach him breathing exercises until the Yaksha’s appendage drops and he/she chokes and gasps into heterosexuality. But not Krishna. On Krishna’s chariot, Shikhandi – as he/she is – will always be welcomed.