Social Implications of Religious-cum-Cultural Festivals in South
India
Dr. Karunanithi Gopalakrishnan,
Former Professor of Sociology,
Manonmaniam Sundaranar University,
Tirunelveli, Tamil Nadu, India.
&
Dr. Suganthi Karunanithi,
Teacher,
Institute of Applied Technology,
Al Ain, United Arab Emirates.
Abstract: This paper attempts to
discuss the social implications of religious-cum cultural festivals in South
India with reference to Chithirai Festival in Madurai City of Tamil Nadu State
and Onam Festival in Kerala State. It concludes that these festivals bring people
together to witness the celebrations despite of caste, class, creed. The
concept of unity in diversity is evident regarding these two
religious-cum-cultural festivals. Besides, the paper attempts to explain how
these festivals fit into a theoretical framework. It also discusses them from a
comparative perspective.
Keywords: Chithirai Festival,
Onam Festival, Social integration,
Communal harmony
1.
Introduction
Festivals play
a significant role in bringing recreation for people and providing an
opportunity to unite them for collective actions. Particularly religious festivals form a source of enjoyment for them
and remind them of preserving social values in life. They are the occasions to
bring people together regardless of caste, class, ethnicity, religion, place
and the like. The Tamil word for festival is Vizha, which means to desire or to love, that is, people desire
certain things or objects, which find expression in the form of festivals. The
equivalent Sanskrit word for festival is Utsava
meaning celebration. The festivals form an essential part of the culture of people. They
provide a platform to unite people and promote their interactions and
interrelations despite their diverse backgrounds. While gathering in a
place to celebrate a festival, their togetherness will make a sense of unity
among them. Religious festivals as well as
caste or community-oriented festivals give rise to different types of
recreation to relieve them from the burden of regular activities.
Like other religious people in India,
the Hindus celebrate numerous festivals every year. Some of them are unique to
their castes and some others are common to all Hindus irrespective of their
differences. This paper focuses on two prominent religious-cum-cultural
festivals in South India,
viz. Chithirai Festival in Madurai City in Tamil
Nadu State and Onam Festival in
Kerala State. They play a crucial role in
integrating all caste and religious people, fostering a sense of shared
identity, promoting cultural understanding and strengthening their social bond.
Therefore, they are considered a powerful tool for nurturing social cohesion
within communities as well as among communities.
2. Literature Review
Durkheim (1995) considers religion as a functional source of
social unity, bringing people together through a unified system of beliefs and
practices associated with religion. Rutagand’s (2024) findings show that the
cultural festivals play a crucial role in fostering social cohesion and
cultural understanding by preserving cultural heritage and promoting a sense of
community among diverse populations. The inclusive nature of these festivals
bridges the social divides and strengthens the social fabric of communities.
They emphasize the need for continued support to enhance social cohesion and to
deepen cultural understanding in multicultural societies.
B.P. Dahal (2020) observes that Nepal is the country of several
cultures, religions and festivals observed all over the year. In this country,
due to the mixing of Hindus and Buddhists, most of the festivals are organized
collectively. The followers of both Faiths together participate in combined
cultural festivals with harmony and joy. It is interesting to note this
blending of faiths, beliefs, customs, and traditions of the followers of these
religious communities. Further he observes that festivals act as a mechanism
to resolve social tensions and conflicts through the followers’ participation.
The festivals impart social integration among them and make them understand the
purpose of life.
Putnam (2000) states that the Notting Hill Carnival in the UK
exhibits how cultural festivals can enhance social capital by bringing together
diverse communities and promoting intercultural dialogues. Hall (1990)
indicates that the Brazilian Carnival shows the diverse cultural traditions of
Brazil and provides the participants with an opportunity to celebrate their
cultural heritage besides engaging in other cultural expressions. In a similar
vein, Silva (2019) finds that the same carnival in Brazil plays a key role in
promoting social solidarity and fostering a sense of unity among the Brazilians
belonging to diverse cultural traditions. It also promotes social interaction and
cultural exchange among them. Similarly, Oliveira (2021), after studying the
impact of a harvest festival (Festa Junina) on the unity of Brazilian
rural communities, finds that it brings together community members and
cultivates a sense of belonging and mutual support among them. Thus, the
festival remains a promoter of social cohesion among them regardless of their
diversity.
Habermas (1984) examines
the Japanese Cherry Blossom Festival, which is a celebration of cultural
heritage encouraging interaction and dialogue among the participants and
promoting social cohesion and cultural understanding among them. Yamaguchi
(2018) analyses the significant role of traditional festivals (for instance, Matsuri) in sustaining social solidarity
among the Japanese communities. These festivals, to him, bring people together
irrespective of their age and background and nurture them with a sense of
belonging and mutual support. Their participation in the festivals gives rise
to a cohesive society by strengthening their social bonds.
Munjal etal. (2015) consider festivals a driving force advancing
nationwide cohesion and communal harmony besides preserving family values and
national identity. According to them, Ganesh Chaturthi, a Hindu religious
festival in India, promotes nationwide unity and communal harmony, preserves
family values and helps to maintain national identity. An empirical study by
Bindu and Aiswarya (2022) aims to understand the impact of religious festivals
on the livelihood of local community in Palakkad District of Kerala State in
South India. Their study shows that the festivals serve as an important factor
for the reunion of families and communities.
While focusing on the Diwali
(a popular Hindu festival of India), Ninan (2018) points out that it happens to
be an important cause for reinforcing religious customs and traditions, thereby
fostering a collective social fabric. While highlighting this festival, Singh
(2011) mentions that it is not only a religious festivity but also a cultural
celebration that reinforces the Hindu identity over generations. Fatima (2019) notes that the Eid, as a religious festival, fosters solidarity among Muslims and
provides them with an opportunity to express their distinct religious identity.
3. Theoretical Framework
3.1. Social Capital Theory
Social Capital Theory is an essential framework for understanding
the role of cultural festivals in promoting social cohesion. It was originally
developed by Pierre Bourdieu and later expanded by Robert Putnam. Bourdieu
(1986) conceived social capital as resources achieved by groups, which are
accessible to social networks, social relationships and memberships in social
institutions. Putnam (2000) developed this theory further by stressing the
significance of social networks, reciprocity norms, community participation and
cooperation. Therefore, social capital is a
set of shared resources encouraging individuals to work together in a group to
accomplish a common goal. There are
two major dimensions of social capital, viz. bonding social capital and
bridging social capital. The former refers to promoting relationships within
homogenous groups, whereas the latter refers to the act of integrating
heterogeneous groups. Cultural festivals provide people with opportunities to
build and strengthen these types of social capital by participating in shared
cultural activities, fostering trust and establishing new social networks with
in communities and among communities. Social Capital seems a relevant theory to
understand how the Chithirai Festival
in Madurai City and Onam Festival in
Kerala State (both are religious-cum-cultural festivals) strengthen social
relationships within homogenous groups and integrate heterogeneous groups.
3.2. Cultural Identity Theory
Stuart Hall’s (1990) Cultural Identity Theory explores the impact
of cultural festivals on the process of social integration and cultural
understanding. These festivals play a significant role in the process of social
integration by providing a platform for individuals and communities to
celebrate their cultural identities1. Cultural events persuade
participants to engage with their cultural heritage, reaffirm their sense of
belonging and confer their identities in relation to others. This theory seems
applicable to the study of Onam Festival
in Kerala State in South India as it helps understand how this cultural
festival facilitates the articulation and reinforcement of cultural identities,
which are essential for promoting mutual respect and understanding among
diverse communities.
3.3. Communicative Action Theory
This theory of Habermas (1984) provides an outline for
understanding the role of cultural festivals in promoting social cohesion and
cultural understanding through dialogues and interactions. Cultural festivals
provide a choice for communicative action2 by bringing people
together in a shared cultural setting, where they engage in discourse and
exchange of cultural heritage besides gaining mutual understanding. These
festivals will facilitate interactions among them, which are essential for
building trust and social cohesion. This theory appears to be relevant to study
the role of cultural festivals such as Onam
in Kerala State in facilitating communicative action, which is essential for
achieving social cohesion and fostering cultural understanding.
4. Methodology
Literature review forms a major part of methodology for this
paper. In relation to this, reviews of selected literature were done to collect
relevant events in support of the two festivals under study to prepare the
paper. The discussions in the
paper are exclusively based on two predominant religious-cum-cultural festivals
celebrated in South India, the Chithirai
Festival in Madurai City in Tamil Nadu State and the Onam Festival all over Kerala State.
5.
Religious-cum-Cultural Festival
5.1. Chithirai Festival
5.1. 1. Celebratory Aspects
of Chithirai
Festival3
Madurai, headquarters of Madura District and a Cultural Capital of
Tamil Nadu State4, is one of the ancient cities of India. It is
known as ‘Athens of the East’ because
of its meticulous planning and splendid architecture of various temples in the
city and a palatial palace located close to the temple. Its well-blended
marvellous cultural heritage goes back to about 2500 years. Since it abounds in
culture, art, and valuable Tamil literary works, it is called ‘Cradle of Tamil
Culture’. The age-old Hindu tradition and folk performances are still preserved
by the people in this historical city. There are evidences to confirm that the
city was engaged in trade with Rome and Greece. For instance, Ragini Kapoor
(2020) points out that while conducting excavations at Madurai area and other
places in Tamil Nadu, Greek and Roman coins and other articles were found. This
confirms that Madurai had trade with those countries during the Sangam Age5. Still, it
continues to be a commercial centre
in the State.
Madurai is called a temple city with the largest and magnificent Meenakshi–Sundarishvara
temple situated at its central part. In the city, the Hindus constitute most of
the population and belong to the major sects of Hinduism, viz. Saivism (devotees of Lord Shiva6)
and Vaishnavism (devotees of Lord Vishnu7).
However, other minority religious groups including Muslims and Christians are
living in the city and maintaining cordiality with the majority Hindus. Hence
the city remains an example of unity in diversity. The people of different
Faiths are free to preserve their traditions and cultures and follow their
religious practices. The city is an example of rural-urban
continuum, thereby exhibiting the blend of tradition and modernity.
Unlike other cities elsewhere in India, Madurai is the city of
festivals all over the year. One of its most important festivals is Chithirai8 Festival, which is
celebrated every year in April. It lasts for one
month, of which the first fifteen days mark the celebrations of
the coronation of Goddess Meenakshi9 and Her marriage to Lord Sundarishvara (Shiva). The succeeding fifteen days mark the celebrations of
the spectacular journey of Lord Vishnu in the form
of Kallazhagar to Madurai City
from His shrine located
at Azagar koil village, which is about 25 miles north to the city. Thus, this festival has two
parts: the first one is associated with Saivism
and celebrated mostly by people of Madurai City situated at the southern bank
of Vaigai10, whereas the second
one is associated with Vaishnavism
and celebrated mostly by rural people at the northern bank of Vaigai. Therefore, Paramasivan (1989)
considers the first one a festival of urban people and the second one a
festival of rural people.
This trend gets reflected in the ceremonial attire and ritual
performances of devotees considerably from upper castes during the celebrations
related to the coronation ceremony
of Goddess Meenakshi and
Her marriage to Lord Sundarishvara performed within the temple in
Madurai City. On the other hand, most of the rural devotees from low castes in
the surrounding villages take part in the celebrations related to Lord Kallazhagar at different places from His
abode situated beyond northern bank of Vaigai.
Particularly their ritual performances exhibit their cultural and caste
moorings. For instance, Paramasivan (1989) observes that the rural people from
surrounding villagers have a customary practice of visiting Azhagar Koil
with their families by bullock carts particularly on the second, third and
fourth day of the festival and staying outside the temple area at least for a
night. While staying there, they used to perform a ritual of sacrificing goats
and cook their meat to eat together.
Further it is inferred from his description that their rituals and
religious performances related to the festival and their worshiping patterns
inside and outside the temple differ from the well-established traditional
rituals performed by Brahmin priests in Vishnu
temples elsewhere in Tamil Nadu. It is also understood that most of the rural
people from low castes including the Dalits (ex-untouchables) are associated
with the festival activities. This shows the resilient nature of Vaishnavism to encompass all caste
people during the festival. This is in a way a latent function of this sect to
integrate various caste people from surrounding villages through the process of
localizing Vaishnavism. This view is
confirmed by the efforts of Saint Ramanuja to convert thousands of low caste
people including the Dalits in Thirukoshtiyur11 into Vaishnavism regardless
of caste and sex. In relation to this, Seshadri (1996) notes that from the top
of a temple tower in the village, Ramanuja addressed a huge gathering of people
and made them repeat the holy mantra (Om Namo Narayanaya) with him. Though he
knew that his act was against the principles of Vaishnavism, he did it deliberately to make those people attain
salvation, but, at the same time, he was unmindful of his destiny of going to
hell because of his action.
On the other hand, the rituals related to the festival addressed
to the coronation ceremony of Goddess Meenakshi and Her marriage to Lord Sundarishvara within the temple at
Madurai City are performed by a group of qualified Brahmin priests in
accordance with the principles of Shaivism. A sizeable section of people
witnessing these two ritualistic performances belong to upper castes followed
by a considerable section of them from other castes. However, several thousands of people from all caste groups have a
chance of witnessing the grand car festival of the temple.
Historically, the two parts of Chithirai Festival attended by Shaivites and Vaishnavites were celebrated in different months. Later,
Paramasivan (1989) observes, in sixteenth century, King Thirumalai Nayak12 (1623–1659) merged the two celebrations into one long festival with an aim of bringing Shaivites and
Vaishnavites together. Unlike other
religious festivals elsewhere in India, this
festival is a testimony to the union of these two major sects of Hinduism
following different ideologies. The devotees of these sects collectively
take part in a series of festive and cultural celebrations.
This shows a harmonious fusion of Saivism and Vaishnavism owing to this mega festival. The amalgamation of the
two sects under the umbrella of a single festival brings out the inclusive
ethos of Tamil culture and Madurai’s pluralistic identity. Besides its
religious significance, it serves as a sustaining force for developing local
economy. For instance, the artisans, craftsmen, vendors, and performers find a
platform every year to exhibit their talents and wares to enhance their
earnings during the festival time.
5.1.2. Significance of the Festival
The Chithirai
Festival is not simply a religious celebration; moreover, it is a cultural pageant that unites cultures and traditions. It is considered a beacon of unity and
diversity, uniting different sects of Hinduism such as Saivism, Vaishnavism, Shaktism (worshiping the Goddess Shakti,
the Divine Mother) and Smartism (worshiping Siva, Vishnu, Shakti, Ganesha, and Skanda)
in a splendid display of devotion and celebrations. This festival is one of the longest celebrations in Tamil Nadu exhibiting
the rich heritage of Madurai and maintaining a
balance between tradition and modernity. It breaks the religious
barriers between the devotees of Lord Shiva
and Lord Vishnu and brings them
together to take part in all festival activities.
Importantly, it draws people from different
castes and religions in and around Madurai City and from far off villages in
the district and from other districts of Tamil Nadu and other States in India. During the festival, the ancient tales of Goddess Meenakshi’s marriage and Lord Kallazhagar’s adventures come to life through
captivating performances. Local people used to adorn traditional attire, adding
a vivid charm to the celebrations. The air vibrates with the beats of
traditional musical instruments, and the streets become stages for fascinating
dance and other cultural performances. People witnessing them are subject to an
immersive cultural experience and exciting devotion of people thronging to the
areas of celebrations. Those events reflect a deep-rooted connection between the
people and their religious traditions and make the festival not only a visual
spectacle but an attractive cultural show and an amazing manifestation of a
rich tradition and spirituality.
The Chithirai Festival
reflects the tradition and heritage of the Tamil culture. After the celestial wedding
of Lord Shiva in the form of Sundarishvara with
Goddess Meenakshi, thousands of
devotees used to enjoy a feast served at different places in Madurai City. The
highlight of this celestial wedding is the procession of Lord
Kallazhagar to Madurai to witness
His sister’s (Goddess Meenakshi)
marriage. In this magnificent procession, He used to mount on a galloping
golden horse taken from his abode, Azhagar
koil. Paramasivan (1989) observes that, in
the procession, dresses, jewels and other ornaments were carried by bullock
carts. He presumes that it is the belief of people that Lord Kallazhagar brought these items to
present to His sister as marriage gifts. On His way to Madurai, several
thousands of people worship Him. This long festival culminates with His entry
into Vaigai River amidst a sea of
people. It is in fact a visual treat to those witnessing this grand event and
experiencing a wave of devotion.
When Lord
Kallazhagar arrived at the north bank of Vaigai, He came
to know that His sister’s wedding had already been solemnized. He got angry and
decided not to enter Madurai City, but He continued his journey to Vandiyur,
a nearby township at the east of the city and stayed in a house of a Muslim lady devotee (Thulukka Nachiyar). However, Paramasivan (1989)
points out that though there is no temple for her in the town, every year Lord
Kallazhagar used to stay in a small Vishnu temple there for a night. But
later people started believing that this temple is aboard of the lady devotee.
In past, to observe this occasion in a significant way, the Muslims in the town
had a practice of celebrating the festival with crackers.
5.1.3. Unity in Diversity
Besides integrating the Shaivites
and Vaishnavites, this festival
brings about communal harmony among the people of different caste groups and
Faiths living in and around Madurai City. For instance, Lord Kallazhagar’s stay in the house of the lady devotee remains evidence of
communal harmony between the majority Hindus and the minority Muslims in
Madurai area. Paramasivam’s (1989) interpretation on this practice gives a new
dimension to this event. He argues that the Vaishnavism
in Tamil Nadu was able to restore harmony with the Muslims13.
Irrespective of caste, religion and ethnicity, people used to
witness the celebrations and cultural events for one month. This reflects the union of diverse cultures and traditions, which
foster cultural exchange and communal harmony in and around Madurai City. Moreover,
people from other States of India and oversees used to visit the city every
year to watch the manifestations of the jubilant festival. Undoubtedly it
remains to be a functional element in integrating people from different
backgrounds.
5.2. Onam Festival
5.2.1. Celebratory aspects of Onam Festival14
Onam15 or Thiruonam is a biggest
religious-cum-cultural festival celebrated by Keralites16 in Kerala
(a State in South India located on the Malabar Coast of south-west India) nd
Keralite Diaspora. It is an enduring festival of togetherness, interwoven with
the nostalgia of social order where all people live
in harmony. Mohamed Riyas (2025) states: “The idea of Onam has, since ancient
time, instilled in Malayalis’ minds an egalitarian society, free from
exploitation, greed, lies, and deceit. That was a society, united by shared
values and strong sense of belonging. This nostalgia has had a deep impact on
Kerela’s history, culture, and politics”. Gradually Onam has turned into a
festival for the entire population of Kerala to celebrate it irrespective of
caste, class, and creed. Further he says that this sense of togetherness gained
through Onam has increased the strength of Kerala State resulting in a
transformation into a modern, progressive, and aspirational society. Besides,
it is a festival for families; it encompasses all sections of people in the
State and enables them to become part of the festival and to strengthen their
social solidarity.
Onam plays a significant role in exhibiting Kerala’s culture as well as
tradition. It has a close relationship with land, seasons and the agriculture
of the State. Vandana (2016) states that, in past, it was celebrated as an
agricultural or harvest festival, but later the introduction of a myth about Mahabali (a Hindu legendary king who
ruled the State several thousand years ago) and Vamana (fifth reincarnation of Lord Vishnu), had reformulated it into a grand Hindu festival. Every
year it is celebrated by the Keralites all over the State and by their
counterparts abroad as a part of identity. It is a week-long celebration during
August–September by people of all Faiths and
caste groups in the State. It is, in a
way, a festival of joy, compassion, gift-giving, solidarity, cultural
unity and pluralism.
Vandana
(2016) observes that the king Mahabali is said to have ruled over
Kerala. He is reported to have been humbled by Lord Vishnu who appeared as a
little boy. Hindu legends show this appearance as dwarf known as Vamana. Upon his arrival, he asked for
three feet of land from the king. After the assurance given by the king,
immediately he grew up infinitely and measured the three worlds (earth, heaven
and hell) within two steps and asked for a place for the third step. To honour
his vow, the king knelt and showed
his head with an expectation that Vamana would
put his feet on his head. As he anticipated, Vamana put his feet on his head and pushed him down to Pathaala, the underworld.
According to the myth,
Vandana (2016) says, Kerala State witnessed its golden era during the reign of
king Mahabali and his generous rule.
He was highly regarded by his people as they were happy and prosperous during
his rule. Though he left his land and people, because of his virtues Lord Vishnu granted him a benediction to
visit his loving people annually to see their joy and wealth and accept their
tribute. Similarly, Kuriakose and Soreng (2020) note that when king Mahabali sank deep into the underworld,
he heard his subjects wailing in grief for their much-loved king. Therefore,
Lord Vishnu granted him permission to
visit his subjects on earth once a year. Accordingly, he used to return every
year during the autumn harvest to see his people and the land. This is the myth
behind the celebration of Onam
Festival.
Further they note that during the Onam Festival, the people of Kerala would eagerly wait for the
return of their beloved King, who is considered an embodiment of virtues like
righteousness, peace, happiness, prosperity and bounty. Therefore, his return
to his people is believed to symbolize the return of the glorious past in terms
of plentiful harvest, joy and contentment. The newly dressed Keralites
celebrate the festival with enthusiasm followed by cultural performances,
particularly singing folk songs in praise of their king and his kingdom. The
selfless, generous and altruist nature of the king and his devotion to Lord Vishnu are reflected in the spirit of
the festival. All houses are decked with floral
carpets to receive the king. Courtyards are adorned with clay pyramids
decorated with wet rice flour. The king is believed to visit the homes on
the second day of the
festival. On all the festival days the family members and temple
priests clad in new dress perform different types of rituals in homes and
temples respectively. By and large, they celebrate the festival in
a grand manner to wish their king and impress upon him that they are happy their homes are decorated colourfully, and the aroma
of traditional dishes would fill the air. The rich cultural heritage and
tradition of Kerala comes out in its best form and spirit during the
celebrations, especially in terms of intricate wreaths of flowers, lavish food,
and snake boat races. Steered by the Tourism Department the festival showcases
the best of Kerala’s classical, varieties of folk performances and ethnic art
tradition in the State capital. The festival turns to be a major tourist
attraction during the season, besides drawing local people to enjoy all these
cultural performances.
5.2.2. Significance of the festival
The festival is associated with two important events. On the one hand,
it is considered a glorious event in terms of commemorating the visit of the
legendary king. On the other hand, it is looked upon as a harvesting festival
or a spring festival or a New Year festival. According to the Census of India
(1961), most of the people of Kerala agree that Onam is essentially a New Year festival. It is also believed that
the king would return to his people to witness their prosperity and acknowledge
their reverence and tribute. The cultural performances connected with the
festival are organised in a way to reflect the power structure at the level of
family, village and State. Thus, the perception of Onam as a festival of harvest or New Year by the people provides an
additional dimension to it. However, for some tribal communities in the State,
the perception of Onam as a harvest
festival provides an alternate meaning. According to them, this festival is meant
for eating new grains along with ancestral worship because they are unaware of
the legend of Mahabali.
5.2.3. Unity in Diversity
The interesting feature of the Onam Festival
is that it is rejoiced by the people from different caste and religious groups
in Kerala State. The joining of Christians and Muslims with Hindus to celebrate
the festival together shows the communal harmony and brotherhood. Undoubtedly this festival plays an
integrating role by promoting interaction among all sections of people. Though
it has its origin from the Hinduism, like the Hindus, Muslims and Christians
celebrate it with equal fervour. Thus, it relays on a secular framework that
attracts all people irrespective of their socio–economic status to celebrate
with equal joy and verve. Its secular character
is peculiar to Kerala where unity coexists with diversity, especially during
the celebrations. It provides a space to people to come together to take part
in religious and cultural events with zeal. Their togetherness promotes
brotherhood through various team sports and cultural performances. Hence Onam
is a festival of unity promoting
religious harmony and social integration amongst the people of Kerala.
During the festival, all the people come together to celebrate their
rich heritage and cultural diversity. The Pookalam,
a colourful and intricate flower carpet, is a symbol of unity. It is made
collectively by women from various communities, each adding their unique touch
to the design. Thus, unity and cooperation of men and women exemplify the
spirit of Onam. Moreover, the grand Onasadya, a vegetarian feast, is open to
all people regardless of their background and differences. They sit together
and share the food, which is normally served on banana leaves. This tradition
of togetherness reinforces the values of equality, unity and fraternity transcending all social barriers. The striking feature
of Onam celebrations is unity in diversity.
6. Comparative Account of two Festivals
There are some similarities between the two festivals. Both are community
festivals and sponsored by the respective State Tourism Departments. They
provide scope for approaching them from religious as well as cultural points of
view. Their main functional aspect is to reinforce social integration and
communal harmony regardless of caste, class, ethnicity and religion. They play
an important role of religious revivalism and sustaining tradition and culture.
Besides, they provide a platform for recreational activities to all sections of
people to enjoy religious and cultural events. Their uniqueness lies on
large gathering of local people to take part in celebrations besides the
participation of some people from different parts of India and abroad. However,
a large majority of people taking part in the festivals are Hindus, whereas a
considerable proportion of their counterparts is from Islam, Christianity and
other Faiths.
The Chithirai Festival in
Madurai City is primarily associated with Tamil culture and Hinduism. The event
of celestial marriage between Lord Sundarishvara
and Goddess Meenakshi and the
procession of Lord Kallazhagar on
horseback to wetness this marriage forms the main part of the festival. A large
gathering of people from Madurai District and other districts of Tamil Nadu
State and from some other States in India visit Madurai City to witness and
take part in religious celebrations followed by varieties of cultural
performance. Similarly, the Onam
Festival is mainly associated with culture of Kerala and Hinduism. On the one
hand, it is a religious festival because of the visit of the legendary king to
see his people as blessed by Lord Vishnu.
On the other hand, it is a cultural festival all over the State addressed to
two other festive events, viz. harvest and birth of New Year, celebrated with
varieties of cultural performance.
However, there are differences between the two festivals. Unlike the
Chithirai Festival, the Onam is festival for families besides it is a
celebration of all sections of people in Kerala. By and large, Keralites
celebrate the Onam wherever they live
across the world, but the Chithirai
festival is primarily associated with the people of Madurai City and its
surrounding areas. Therefore, the former seems to represent a universalistic
feature, whereas the latter seems to symbolise a particularistic character. The
practice of exchanging gifts and wishes forms an important feature of the Onam
festival, whereas, during the Chithirai Festival, people are keen on watching
various religious and cultural events without exchanging gifts.
Another striking difference between the two festivals is related to
environmental pollution. Since the Onam
is a family as well as community festival, the houses are illuminated by
traditional lights and beautified by colourful flowers. Therefore, the people
participating in the festival and their gathering to watch cultural events have
nothing to do with environmental pollution. Since the Chithirai Festival attracts a large section of people within and
outside Madurai City to witness the celebrations and cultural events in
different areas, those areas are subjected to environmental pollution at
different levels largely owing to overcrowding of people and their disposal of
different types of waste during the festival days.
7. Conclusion
Since one of the major functions of religion
or culture is to integrate people of same Faith and from different Faiths
through various religious-cum-cultural festivals, it brings about peace and
harmony among them. This is true in the case of Chithirai and Onam
Festivals, which bring people together regardless of their castes, class, and
creed. The phenomenon of unity in diversity is evident with respect to these
two religious-cum-cultural festivals discussed in the paper.
Notes
1.
Cultural identity is a person's
sense of belonging to a culture or a cultural group.
2.
Communicative action is a process of
interaction among people aiming to achieve mutual understanding.
3.
The discussions on the Chithirai Festival in this paper partly vow to a
book on Azhagar Koil by Tho. Paramasivan, which is included in
the References.
4.
Tamil Nadu is the southernmost State of India
where Tamil is the vernacular for a great majority of people who are said to be
the descendants of Dravidians, the native inhabitants of ancient South India.
5.
Sangam Age refers to
the period applicable to ancient parts of Tamil Nadu and Kerala and parts of
Sri Lanka spanning from c. 6th-century BCE to c. 3rd-century CE.
6.
One of the main deities of
Hinduism, whom Shaivites worship as
supreme God.
7.
One of the main deities of
Hinduism, whom Vaishnavites worship
as supreme God.
8.
The Tamil word Chithirai denotes Tamil months, April and May
9.
She is considered a
reincarnation of Mother Goddess, Parvathi, and
consort of Lord Shiva.
10. An ancient
river flowing from west to east at the north end of Madurai City.
11.
A village is about
45 kms. east to Madurai City.
12. He was one of the rulers of Madurai Nayak Dynasty in the 17th century.
13. Hari Rao
(1961) observes that the myth of Thulukka
Nachiyar must have been developed during Mohammadan invasion to plunder
treasure from the Srirangam temple in Tamil Nadu. Later, in 1757, a
similar invasion by Hyder Ali resulted in looting of idols and
properties from Azhagar Koil temple. Therefore, it is believed that the Vaishnavism sect used to maintain
harmony with the Muslims to protect the temple properties by referring to the
marital relationship between Lord Kallazhagar
and Thulukka Nachiyar.
14. The
discussions on the Onam Festival in
this paper partly vow to an article on “Myth of Vamana and Mahabali: Jungian
approach to the origin of Onam festival” by Harsha Kuriakose and Eric Soreng
and Census of India, 1961, which are included in the References.
15. An English
word ‘Onam’ comes from Malayalam,
which means a harvest festival. It is
officially a State festival of Kerala celebrated by all people with religious
harmony and brotherhood.
16. Keralites (also known as Malayalis) are people
of Kerala State in which Malayalam is
the vernacular for a great majority of them who are said to be the descendants
of Dravidians, the native inhabitants of ancient South India.
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