Bilva

The significance of exchanging bilva leaves (bael leaves) during Dasara (Vijayadashami), especially as observed in Telangana and parts of Andhra Pradesh.

In Telangana, Karnataka, Maharashtra and some surrounding regions, there is a well-known custom of exchanging “gold” (sona) on Vijayadashami.

But instead of actual gold, people exchange bilva leaves (bilvam), sometimes also Apta tree leaves (called “sona patta” or “maratham” leaves in Maharashtra).

In Telangana, the tradition has taken the form of bilva leaf exchange, seen as an auspicious substitute for gold.

Why Bilva?

1. Sacredness of Bilva in Hinduism

Bilva (bael) leaves are sacred to Lord Shiva. Offering bilva is believed to destroy sins and bring prosperity.

During Dasara, bilva leaves symbolize divine blessings, wealth, and victory.

2. Symbol of Gold (Swarnapatra)

Just as in Maharashtra people exchange apta leaves calling them “sona” (gold), in Telangana bilva leaves are seen as equivalent to gold.

Exchanging them is like wishing each other prosperity, good fortune, and richness for the year ahead.

3. Victory of Dharma

Vijayadashami is the day of Rama’s victory over Ravana and also Durga’s victory over Mahishasura.

The exchange of bilva symbolizes sharing in the fruits of victory, goodwill, and wealth.

Local Belief in Telangana

Families and neighbors greet each other with “Subhakankshalu” (good wishes) while giving bilva leaves.

The belief is that those who give and receive these leaves will have health, wealth, and harmony in the coming year.

In rural Telangana, this exchange is also linked with the idea of harvest prosperity, since Dasara marks the transition to new agricultural activities.

Ritual Process

1. After worship (Durga Puja, Ayudha Puja, or Saraswati Puja), elders collect bilva leaves.

2. In the evening of Dasara, people visit relatives, friends, and neighbors.

3. They offer bilva leaves as “sona”, wishing:

“Ayudhamulu anugraham, dhanam dhanyam sampoorna saukhyam kalugunu”

(May you have weapons for protection, wealth, grain, and complete happiness).

n essence:

Exchanging bilva leaves during Dasara in Telangana is a symbolic act of sharing gold, blessings, and prosperity, rooted in the sacredness of bilva to Shiva and the spirit of victory associated with Vijayadashami.

Ethics.

When we speak of public money (whether collected from citizens through taxes, or raised from donors through a public appeal), there are strict principles and rules that govern its collection and use. Misusing or diverting funds, even for a “good cause,” can create a breach of trust and sometimes legal violations.

Here’s a structured answer:

1. Importance of Purpose Adherence

Trust factor: Donors or taxpayers give money with the understanding it will be used for the announced purpose. Using it elsewhere (even for another noble cause) is a breach of trust.

Accountability: Every rupee must be traceable to its intended outcome.

Transparency: If purposes change, donors/citizens must be informed and, ideally, their consent taken.

2. General Rules for Collection and Disbursement of Public Money

A. Collection Rules

1. Clear Objective Stated – Any fundraising appeal must specify the purpose (education, health, relief, infrastructure, etc.).

2. Authorized Channel – Funds must be collected only through official, auditable channels (government treasury, approved bank accounts, registered trusts/NGOs).

3. Receipting – Every contribution should be receipted and accounted for.

4. Segregated Accounts – Separate accounts for different projects to prevent mixing of funds.

B. Disbursement Rules

1. Use Only for Stated Purpose – The money must be spent strictly for the project announced.

2. Approval Mechanism – Any change in purpose requires approval by the governing body or authority.

3. Donor Consent (in voluntary donations) – If diversion is necessary, donors should be informed and given an option to approve or request refund.

4. Auditing – Regular independent audits to ensure compliance.

5. Public Disclosure – Periodic reporting of how funds were used (government publishes budgets/expenditure statements; NGOs publish annual reports).

3. Legal/Policy Framework (India as example)

Government/Public Funds → Governed by Constitution of India, Comptroller and Auditor General (CAG), General Financial Rules (GFRs), and budgetary approval by Parliament/Assemblies.

Charitable Donations (NGOs/Trusts) → Governed by Societies Registration Act, Indian Trusts Act, FCRA (if foreign funds), and mandatory audits under Income Tax Act.

CSR or Institutional Funds → Regulated under the Companies Act 2013.

4. Key Ethical Principles

Transparency: Always disclose.

Consent: Don’t assume—ask.

Accountability: Be ready to show records.

Fiduciary Duty: Treat public money as sacred—it belongs to the people, not the collector.

 In short: Diverting funds without disclosure and consent is a breach of trust and often unlawful. Even if the alternative project is deserving, rules and ethics demand that money collected for “X” must be spent on “X,” unless formally re-approved.

Can't collect Guru dakshina during navratri and use the money for another project  specify why the collection and follow rules . Many people do this especially now during Dasara.  Totally wrong. 

Day 7

Our young ladies from RMT dressed as Warrior woman depicting the bold responsible great woman of earlier times. While they walked the ramp they also educated the children. They each contribute and donate a  fixed amount towards educating the challenged children supporting a great cause while they host the navarathri day 7 celebrsted today..they put a coin for each visitor who comes for haldi kumkum and totaling the foot falls then decide on the donation. Each group comes up with interesting themes all through the festival.

My grand daughter too walked in in the end depicting operation sindoor stealing the show with her army uniform. Her mother was velu nachiyar. 

Rani Laxmi Bai - Padmini

Rani Abbaka Chowta - Malathy

Rani Velu Nachiyar - Nandhini

Rani Ahalyabai Holkar - Sudha

Rani Rudramma Devi - Veena

Rani Kittur Chennama - Lalitha

Rani Durgavathi - Anu

Rani Mangammal - Krithika

Operation sindoor_ Kadambari

1. Krithika – Mangammal

"I am Rani Mangammal of Madurai, famed for my wisdom and statesmanship. I ruled as regent and ensured peace and prosperity in my land. I built roads, tanks, and temples that still stand as my legacy. I balanced diplomacy with valor, protecting my kingdom while fostering trade and culture. I am remembered as a just and visionary queen."

2. Nandhini – Velu Nachiyar

"I am Velu Nachiyar, the lioness of Sivaganga. Long before the Sepoy Mutiny, I raised arms against the British. I was the first Indian queen to wage war against colonial rule. With courage and strategy, I led my people, trained women warriors, and reclaimed my throne. I live forever as the Veeramangai – the brave woman of India."

3. Veena – Rudramadevi

"I am Rani Rudramadevi of the Kakatiya dynasty, one of the few women to ascend the throne in medieval India. I ruled with strength, dressed as a man in battle, and led my armies to victory. My reign was marked by prosperity, justice, and fearless leadership. I proved that power and wisdom are not bound by gender."

4. Padmini – Rani Lakshmibai

"I am Rani Lakshmibai of Jhansi, the symbol of resistance and freedom. With sword in hand and my son on my back, I fought valiantly against the British in 1857. I chose death over dishonor and became an immortal icon of courage. Jhansi ki Rani will always live on in the hearts of India."

5. Padma – Kittur Chennamma

"I am Rani Chennamma of Kittur, among the earliest to rebel against the British. I stood tall when they tried to annex my kingdom, leading my soldiers into battle. Though I was captured, my spirit never bowed. I lit the torch of freedom long before it became a movement, inspiring countless warriors after me."

6. Anu – Rani Durgavati

"I am Rani Durgavati, the warrior queen of Gondwana. Trained in archery and horseback, I defended my kingdom against the Mughals with unmatched valor. Even when outnumbered, I chose to fight till my last breath. My sacrifice became a beacon of bravery for generations of women warriors."

7. Krishma – Rani Tarabai

"I am Rani Tarabai of the Marathas, a queen who refused to surrender. After my husband’s death, I took charge of the empire, led armies, and challenged the mighty Mughals. I kept the Maratha spirit alive through my courage and sharp political acumen. I am remembered as the savior of Swaraj."

8. Malthy – Rani Abakka Chowta

"I am Rani Abakka Chowta, the fearless queen of Ullal. I fought against Portuguese colonizers with unmatched valor on land and sea. Known as the 'first woman freedom fighter of India,' I inspired my people to resist foreign domination. My name still echoes along the coasts as the warrior queen of the sea."

9. Sudha – Ahilyabai Holkar

"I am Ahilyabai Holkar, the philosopher queen of Malwa. I ruled with compassion, justice, and devotion. I built temples, ghats, and roads across India, nurturing both spirituality and prosperity. My reign was marked not by conquest, but by service to my people. History remembers me as the beloved queen who ruled like a mother."

Soldier Kadambari.

We salute Colonel Sofiya Qureshi and Wing Commander Vyomika Singh — the heroines of Operation Sindoor, who brought justice and victory with discipline, courage, and dignity, proving that the battlefield knows no gender."

Sweetest entry though. My pride.

Indian Warrior Women who fought the East India Company

When the East India Company (EIC) invaded the South Indian kingdom of Sivaganga in 1772, they met with opposition from Indian warrior women.  These women were a diverse group from different walks of life - royal household, rural areas, across all caste groups.  Although many of their names and stories have not found a place in history, they have survived in local folklore, songs, bharathanatyam performances, and have been immortalised as deities in the local temples.

Here is the story of three of these early female freedom fighters: Velu Nachiyar, Udaiyaal and Kuyili.  As the earliest women to rise against the EIC, their lives offer a glimpse into the beginnings of the anti-colonial movements, evoking an image of resilience and fortitude.

Rani Velu Nachiyar was a formidable Tamil Queen, who was both admired and vilified by the British for her valour and bravery in defending her kingdom.  She was born in 1730 to the Raja and Rani of the Ramnad kingdom. Skilled in the art of warfare and weaponry, Velu Nachiyar was also a scholar, and mastered several languages including English, French and Urdu.  At the age of 16, she married the prince of Sivaganga, Muthuvadugananthur Udaiyathevar. In 1750, Velu Nachiyar and her husband became monarchs of the Kingdom of Sivaganga.

In 1772, EIC troops, alongside the Nawab of Arcot’s son, invaded Sivaganga and marched towards the Kalaiyar Kovil Fort.  The Raja of Sivaganga was killed at the Battle of Kalaiyar Kovil on 25 June.  The kingdom fell under enemy control and the Kalaiyar Kovil Fort was plundered.  Rani Velu Nachiyar and her daughter Vellachi escaped capture through the sacrifice of Udaiyaal, a village woman who refused to reveal their secret hideout during interrogation and who was killed for her insubordination.  Rani Velu Nachiyar and Vellachi fled Sivaganga and sought refuge near Dindigul.

During her eight-year exile, Rani Velu Nachiyar acquired influential alliances with neighbouring rulers (e.g. Gopala Nayaker, Hyder Ali) who supported her preparations for battle against the EIC, providing additional soldiers, weapons, resources and training. Rani Nachiyar built an army of fierce female warriors that she named after Udaiyaal.

In 1780, Rani Velu Nachiyar and the Udaiyaal army skilfully infiltrated Sivaganga.  Aware of the superior military prowess of the British, Rani Nachiyar used her knowledge of the terrain and employed guerrilla warfare tactics - spies, sabotage, ambush.  Rani Nachiyar’s military advisor was Kuyili, a woman from a lower caste background.  As a spy for the royal household, she had protected the Rani’s life on multiple occasions and soon rose to the rank of commander-in-chief of the Udaiyaal women’s army.  At the Battle of Sivaganga, Kuyili devised a strategy to attack the EIC’s weapons storage.  Disguised as a rural woman, Kuyili entered the secure storehouse unnoticed and set herself ablaze, destroying the EIC’s weapons and ammunitions.  The EIC and the Nawab fled from Sivaganga in defeat and Rani Nachiyar regained her Kingdom.  The Tamil Queen ruled Sivaganga for another decade before handing the kingdom to her daughter.

In recent years India has honoured the memory of these women warriors through issuing commemorative stamps, installing monuments and memorials.

Rani Velu Nachiyar on Indian postage stamp 2008- Wikimedia Commons

The contribution of these women as warriors vanished at the intersection of colonialism and patriarchy, instead brown women were recast as helpless and in need of saving. I hope this blog post creates curiosity and the excavation of more stories of Warrior Women!

Ethos

Womb and Life Cycle: The word Garba comes from garbha (womb). Traditionally, a clay pot (garbha-deep) with a lamp inside is placed in the center. The lamp represents life, energy, and the divine feminine power within the womb of creation.

Circle of Existence: Dancers move in a circle around the lamp, symbolizing the endless cycle of life, birth, death, and rebirth. The center — Devi, the Shakti — remains unmoving, the eternal truth.

Spiritual Devotion: The ethos here is deeply devotional, meditative even, where rhythm and steps become a prayer. It emphasizes bhakti (devotion), shakti (power), and samsara (the cycle of life).

Battle of Good and Evil: Dandiya represents the raas leela of Krishna but in Navratri it takes on a Durga theme. The sticks (dandiyas) symbolize the swords of Durga in her fight against Mahishasura.

Joyful Combat: Each strike of the sticks is symbolic of that cosmic battle. It is playful, rhythmic, and martial — evoking courage, victory, and divine energy.

Community Energy: Unlike the inward devotion of Garba, Dandiya is more outward, vibrant, and dynamic. It expresses togetherness, coordination, and collective joy.

Garba → inward, meditative, centered around the divine feminine as life-giver.

Dandiya → outward, energetic, symbolic of the battle of good over evil.

Together they reflect the ethos of Navratri: worship, rhythm, energy, and the victory of Shakti.

Decide.

 Do not allow your mind to be too active and to live in a turmoil, 

do not jump to conclusions from a superficial view of things; 

always take your time, concentrate and decide only in quietness.

The Mother

Parakala.

 The word Parakālan (or Parakāla) is generally used as another name for Lord Narasimha, the fierce incarnation of Vishnu.

Para = Supreme, transcendent

Kāla = Time, death, destiny

So Parakāla means “He who is beyond Time (Kāla) and Death (Yama)”.

This title is especially associated with Sri Lakshmi Hayagriva and Parakāla Swamy Matha in Mysuru, where Narasimha is worshipped as Parakāla Swamy.

It is also sometimes used as a name/title for great saints or scholars connected with that tradition (e.g., Parakāla Jeeyar).

how the name Parakālan is used in different traditions:

1. As a name of Lord Narasimha

Narasimha is called Parakāla because He is the one who destroyed Kāla (death) in the form of Hiraṇyakaśipu.

The title highlights His power as the Supreme Being beyond Time and Death.

In temples and stotras, Narasimha is praised with this name.

2. As an epithet of Tirumaṅgai Āḻvār

Among the 12 Āḻvārs, Tirumaṅgai Āḻvār is often called Parakālan.

Why? Because he was fearless, bold, and fierce like Kāla (Time/Death) itself, especially when he took to robbing the rich for serving the Lord.

The meaning here is:

Para-kālan = “One who is a Kāla (death) to the enemies of the Lord” or “One who is terrible to the wicked.”

3. As a title for Āchāryas (Teachers)

The Parakāla Maṭha in Mysuru (established in the 14th century) is a Vadakalai Śrī Vaiṣṇava institution.

Its name comes from Parakāla Swamy (Narasimha).

The Jeeyars (pontiffs) of this maṭha are also known by the title Parakāla Jeeyar, keeping alive the association with the Lord.

Parakālan = primarily a title of Narasimha (beyond Time/Death).

Also the celebrated epithet of Tirumaṅgai Āḻvār for his fierce devotion.

Carried forward as a title for Parakāla Jeeyars of Mysuru maṭha.

Who is called Parakālan Why this name? Key Idea

Divine Lord Narasimha He destroyed Hiraṇyakaśipu (Death itself for the demon) and is beyond Kāla (time/death). Supreme beyond time and death

Āḻvār Tirumaṅgai Āḻvār His fearless, fierce nature made him like Kāla (death) to the enemies of the Lord. Fierce devotee, destroyer of ego and wickedness

Ācārya Parakāla Jeeyar (pontiffs of Mysuru Parakāla Maṭha) The maṭha is named after Parakāla Swamy (Narasimha). The Jeeyars bear this title. Custodians of Narasimha tradition

So, the single name Parakālan beautifully connects God (Narasimha), Devotee (Āḻvār), and Teacher (Jeeyar).

the Divya Prabandham explain Parakālan as Tirumaṅgai Āḻvār’s title.

1. Origin of the Title

The traditional life history (guruparamparā) of Tirumaṅgai Āḻvār says that he was once a warrior-chieftain named Kaliyan.

After receiving grace, he became a fierce and uncompromising servant of the Lord.

Because of this fiery temperament, he was called Parakālan.

2. Meaning in Commentaries

(a) Para + Kāla = Kāla to others

In Āchārya Hṛdayam and other commentaries, Āḻvār is described as a terror (kāla) to those who opposed bhakti or obstructed temple service.

Just as Time (Kāla) is inescapable, Āḻvār’s resolve in service to the Lord was unstoppable.

(b) Para + Kāla = Beyond Time

Some commentators also explain that his love for the Lord was so intense that he rose beyond worldly time (para = higher, transcendent).

In this sense, he was like the Lord Narasimha, who is Parakāla Swamy.

(c) Linked to Narasimha

In fact, the title intentionally connects him to Narasimha.

Just as Narasimha is fierce to enemies but kind to devotees, Tirumaṅgai Āḻvār was stern against arrogance but tender to bhaktas.

3. Illustrations from His Hymns

In Periya Tirumoḻi, Āḻvār sings with extraordinary intensity, sometimes scolding the Lord, sometimes demanding His presence. This fearless, bold speech earned him the title Parakālan.

In Periya Tirumadal, he challenges the Lord like a lover gone mad with passion. The commentators point out: only someone with Parakāla-svabhāva could dare such words.

The Divya Prabandham commentators explain Parakālan as Tirumaṅgai Āḻvār’s title because:

He was like Kāla (death) to the Lord’s enemies.

His devotion was beyond the limits of Time.

His nature resembled Narasimha’s ferocity.

few traditional references where Tirumaṅgai Āḻvār is explicitly called Parakālan, with short meanings:

1. Guruparamparā Prabhāvam (Piḷḷai Lokacharya’s lineage text)

 “parakālan ennum tirunāmattāl aḻakkiya kaliyan”

Meaning: Kaliyan (Tirumaṅgai Āḻvār) was adorned with the divine name Parakālan.

2. Periya Tirumoḻi Commentary (Nampiḷḷai’s Eedu)

On a verse where Āḻvār speaks fiercely to the Lord:

 “idhu parakālanukku eṉṟu porundum – avanukku tan śīlam ippadi”

Meaning: This expression suits Parakālan, for such fierce speech is natural to him.

3. Āchārya Hṛdayam (by Aḻagiya Maṇavāḷa Perumāḷ Nāyanār)

 “parakālan ennum peyar pērttu – avarudaiya āśaiyum ugramum kaṇḍu”

Meaning: Seeing his intense desire and fierceness, he was given the name Parakālan.

4. Divya Sūri Caritam (Garuda Vāhana Paṇḍita)

 “parakālaḥ khalu sa bhakta-kālaḥ”

Meaning (Sanskrit): Truly, he is Parakāla—a Kāla (death) to those opposed to the devotees.

 References to show how the title was firmly embedded in tradition:

Commentators use Parakālan not as a casual nickname, but as a mark of his unique bhakti-character—fearless, passionate, uncompromising.

Parakālan – The Fierce Lover of the Lord

They called him Kaliyan, a chieftain,

but the Lord’s glance burned his heart into flame.

From that day, he was no more a mere warrior—

he was Parakālan, Time’s very terror.

To the proud and arrogant, he was Kāla—

a shadow of death that spared no deceit.

To the humble devotee, he was tender,

a brother, a poet, a guardian of temples.

Like Narasimha, fierce yet merciful,

he roared through the hymns of Periya Tirumoḻi,

demanding the Lord’s presence,

scolding Him like a lover gone mad.

Commentators whisper:

“This bold speech suits Parakālan,

for his nature is fire,

and his love knows no restraint.”

Thus the name stuck,

carved in lineage, sung in maṭhas,

repeated by saints as honor and truth—

Tirumaṅgai Āḻvār, forever remembered,

as the Parakālan,

death to false

Vak S.

 Vāk Sūkta (Ṛg Veda 10.125)

This is one of the most beautiful hymns of the Ṛg Veda, spoken in the voice of the Goddess of Speech, Vāk.

It is composed by the seer Vāk Ambhṛṇī, a woman ṛṣi.

In it, the Goddess identifies herself with the cosmic speech and creative power of the universe.

1. I am the cosmic force

Vāk declares she is present in gods, humans, and nature — the one through whom everything breathes and lives.

2. Speech as creative power

Words are not just communication; in the Vedic vision, they are śakti (power) that sustains the cosmos.

3. Unity of inner and outer worlds

The hymn links the human act of speaking to the divine act of creation.

“I move among gods and men; I uphold them, I make them strong.”

Here, Vāk is both immanent (present in all beings) and transcendent (empowering them).

“I am the queen, the gatherer of treasures, first among the worshipped.”

She identifies as Śrī, Lakṣmī-like, provider of wealth and abundance.

“The one whom I love, I make powerful — a seer, a sage, a Brahman.”

Speech elevates humans to wisdom and leadership.

“I am in the waters, in the ocean, I pervade all worlds.”

Suggests the cosmic pervasiveness of sound, vibration, and divine order.

Vāk = Brahman’s expression: Just as thought becomes real through speech, the unmanifest Absolute becomes manifest through Vāk.

Link to Tantra and Vedānta: Later traditions identify Vāk with Sarasvatī, Pārvatī, or Śakti, the power of Brahman.

Levels of speech: In later Indian thought, speech is classified into four levels — parā (transcendental), paśyantī (visionary), madhyamā (mental), and vaikharī (spoken) — all foreshadowed in this sūkta.

 So, the Vāk Sūkta is a celebration of divine feminine power as cosmic speech, the force that creates, sustains, and inspires the world.

The Voice Divine

I am the Queen, the Mother of treasures,

The one the gods honor, the first among the worshipped.

Through me, the wise become wise,

Through me, the strong gain strength,

Through me, the seeker finds the path.

I move among gods, among humans,

I breathe in all beings, I give life to all.

The one whom I love, I raise up—

I make him a sage, a leader, a knower of truth.

I am in the waters, flowing and endless,

I am in the winds, restless and free,

I am in the Earth, steady and vast,

I am in the heavens, shining with light.

Without me, nothing can exist.

With me, all things are held together.

I am Speech—Vāk—

The power of creation,

The voice of the Eternal,

The song of the Infinite.

From Vāk Sūkta to Devī Mahatmya

1. In the Vāk Sūkta

The goddess speaks: “I am everywhere, sustaining all. I make whom I will into seer, sage, ruler.”

She identifies herself with cosmic power and speech.

2. In the Devī Māhātmya (part of Mārkaṇḍeya Purāṇa, c. 5th–6th century CE)

The same spirit evolves into Mahādevī, the Great Goddess.

She is addressed as Śakti who creates, preserves, and destroys the universe.

She declares: “I am the sole cause of creation and dissolution. All gods depend on me.”

Just like in Vāk Sūkta, she is both immanent (present in all beings) and transcendent (supreme source).

 In the hymn Ya Devī Sarvabhūteṣu, the goddess is said to dwell in every being as buddhi (intelligence), kṣudhā (hunger), chāyā (shadow), śakti (power), and vāk (speech).

This directly echoes the older Vāk Sūkta idea of pervasiveness.

Tantra systematizes the idea of Vāk (speech) into four levels:

1. Parā – transcendental, unspoken vibration, the root of all sound.

2. Paśyantī – subtle vision of sound before it forms.

3. Madhyamā – mental speech, inner thought.

4. Vaikharī – spoken words, ordinary sound.

This reflects the Vāk Sūkta’s suggestion that speech is not just sound but cosmic energy descending into expression.

In Tantra, this energy is Śakti, the dynamic force of Śiva.

Mantras are considered manifestations of this divine Vāk. Chanting them re-aligns the human voice with cosmic vibration.

Vāk Sūkta → Goddess as cosmic speech and creative power.

Devī Māhātmya → Goddess as Mahāśakti, supreme mother, immanent and transcendent.

Tantra → Goddess as Śabda-Brahman, sound as ultimate reality, with levels of Vāk unfolding creation.

The Vāk Sūkta planted the seed of seeing the Goddess as cosmic power manifest through sound. Later, this blossomed into Mahādevī of the Purāṇas and the Śakti of Tantras, who is not only speech but the total force of creation.