SMS – Etikoppaka

SMS – Etikoppaka

Etikoppaka (YAE-TI-KOPPAAKA) is a village in Andhra Pradesh renowned for its lacquer-finished woodcraft. Watching a craftsperson create an etikoppaka product is like watching a potter bringing a pot to life, only the wheel in this case is a lathe that spins vertically. A piece of wood is affixed to the lathe and the craftsperson does the entire shaping, hollowing and colouring of the product while the wood is being turned. Lead-free natural dyes are used, in colours like ochre, green, purple, red and maroon. Some cracks in the product are normal, since the products are made of very soft wood. The products available today are toys (like toy trains, rattles, tops), junk jewellery (earrings and bangles) and home products (like candlestands, vermillion boxes, windchimes, keychains and decorative figurines). Etikoppaka decoratives feature prominently in festive displays in South Indian homes during the annual Navaratri festival. A similar industry exists in Channapatna, Karnataka, but the wood used for the products is different. 
 
An edited version of the article was published in Culturama’s October 2012 Issue.

Restaurant Spy – Auroville Bakery

Restaurant Spy – Auroville Bakery

Auroville, located 10 kms from Pondicherry in Tamil Nadu, is an international-universal city where residents from nearly fifty countries live and work to realise the vision of human unity as envisaged by philosopher-yogi Sri Aurobindo and his spiritual collaborator, Mira Alfassa, known as The Mother.
An indigo-blue wall-painted sign in four languages indicates that we are at the Auroville Bakery. Originally located in Kottakarai, it moved to its current location in the Douceur Settlement in 1991. Since then the capacity has been increased from baking 200 bread loaves a day to 600. The bakery is an extension of the ethos of the community and functions primarily for residents, so it does not pander to the service standards that a casual visitor may expect. Nor does it vie to fulfil one’s fantasies of melt-in-the-mouth confections from bakerieswith tenuous links to France.
However, here’s what the Auroville Bakery has going for it – wholesome, filling and – if I may use the word in a complimentary way – ‘rustic’ range of breads, savoury items and cakes. Catering to a large international population, the bakery has been, for years, making the kind of breads that have since come to be known as ‘artisanal’. The items are vegetarian with the exception of egg, but in 2011, the bakery also began making vegan cakes.   
A sweeping design element of red brick forms the backdrop for a cane shelf, wooden racks and glass-fronted displays that hold the items for sale. There is no price list and few items are labelled. Besides, there is no place to eat here near the display, with easy access to second helpings.
I carry an assortment of baked items in their paper wrapper to the modest cafe in the backyard where the resident cat sidles up, hoping to get fed. A larger cafe is scheduled to open soon with a menu that will include breakfast, lunch, dinner. 
THE FOOD
The breads come in varieties like multigrain, ragi, corn, raisin and sourdough. They even have pumpernickel and baguettes. One of the customers tells me that she usually picks up a loaf of bread and freezes it. When required, she simply pops a slice directly from the freezer into the toaster.
I give the breads a miss, and being too early for the first batch of cake, dive straight into a self-assembled platter of croissants. All the varieties are, without exception fluffy and yield easily to the touch. They are kneaded in an air-conditioned room where blocks of butter are compressed to sheets to be better incorporated into the dough. The Cheese Croissant has amazing depth of flavour from the grated cheese encrusted on the outer folds. The filling seems too little for me, but then again, one can never have enough of cheese in one’s croissant. I bring back a Chocolate Croissant and reheat it to find that the hard bits of chocolate have melted to a lovely gooey consistency spilling out of the encasing pastry. The apple croissant has too little apple.
The only way to taste the Spinach Pie is when it’s warm. Sadly, the bakery does not reheat items. The filling is moist without being eggy and the base is just firm. Since there is no cutlery and I have to eat the pie off the wrapper, it’s a messy experience.
The disk-like RiniAmericans are more biscuit than sweet pie. The blend of flavours – the sourness of the lemon curd icing with the cinnamon – is a revelation. I especially liked the flavour best on the thin outer edges that are slightly more browned than the middle.
The muffin is a hefty chunk and I tear off bits and eat it all day, making it an endless treat. The crust tastes nutty and the centre is dense and soft, with streaks of chocolate. After tasting this wholesome version, I’m never going back to demure muffins in frilled paper.
The vegan brownie is less moist than a regular one, but it is crumbly and less sweet, making chocolate the dominant flavour.
The bakery also retails peanut butter, cashew butter and jams in flavours like pineapple, grape and apple, but these are sourced.
WHAT TO DRINK: The cafe serves coffee and tea dispensed from containers. We try a hibiscus flower beverage, also called Power Syrup locally, which I find refreshing in the humidity.
INSIDER TIP:
Items fly off the shelves even as they are being stacked, so turn up for savoury bakes at 8 a.m., breads at 10.30 a.m. and cakes at noon. The optimum time is between 11 a.m. and noon. Also, the items can be very filling and it makes sense to take away some for later. 
BESTSELLERS
Undoubtedly, the croissants.
DETAILS
Auroville Bakery, Douceur, Auroville – 606101. Ph : 0413 2622159
Timings – 6.30 a.m. to 5.30 p.m. Mon – Sat.
Pies and Croissants from Rs. 30, Riniamericans – Rs. 25, Muffins – Rs. 20, Hibiscus Juice – Rs. 25.
Ratings:
QUALITY 8/10
CHOICE (How many varieties are there on the menu?) 7/10*
ATMOSPHERE 6/10
VALUE 8/10
*depends on time of day
(An edited version of this article was published in the December 2014 Issue of Good Food Magazine India)
Palaces Of India

Palaces Of India

If a palace converted to a luxury hotel is not really your cup of tea, here’s a glimpse into
some royal residences, famous and lesser known, where you can let your imagination run riot. Some palaces have been converted to museums and some continue to be used partially as the residences of royal descendants. In some palaces, come dusk, the Son-et-Lumeire brings alive halls and pavilions echoing with legends of romance, valour and sacrifice. 

14thCENTURY 

RANI PADMINI PALACE, CHITTAURGARH, RAJASTHAN
Indian history is replete with legends of queens who showed great valour when faced with the threat of invading enemy forces. One such story is that of Rani Padmini, also called Padmavati, the second wife of the Rajput king, Rawal Ratan Singh. In 1303, when Allahuddin Khilji caught a glimpse of the Rani, he wanted to take her by force and attacked the kingdom. Seeing no other honourable means to escape, the Queen and the women of kingdom performed a mass immolation, traditionally called Jauhar so that their men could unflinchingly martyr themselves in battle. The Rana Kumbha palace is said to be the site of the Jauhar. A reconstructed water palace of the Rani stands today as testimony to the aesthetics of those times. 

PADMANABHAPURAM PALACE, THUCKALAY, TAMIL NADU/KERALA 
Although it is located in Tamil Nadu, the palace is officially part of the Government of Kerala and about 60 km from Thiruvananthapuram. Named after the presiding deity of the royal family, the palace is presumed to have been originally constructed in the 14thcentury and many of the rooms of the now-standing structure were added on subsequently. This palacewas the seat of the Travancore kings until the capital was shifted in 1795 to Thiruvananthapuram in today’s Kerala. As Indian palaces go, this one is modest, sans the pomp and grandeur one would attribute to Indian palaces. It does have its share of intricate carvings on some pillars, wall murals and an array of artifacts on display. But the palace is noted more as a glorious example of Kerala’s architectural heritage and the innate simplicity of traditional Keralan lifestyle. Do ask about about the black flooring you see there. 

15thCENTURY
GWALIOR FORT PALACE COMPLEX, GWALIOR, MADHYA PRADESH 

While the Gwalior fort has also seen its share of Jauhar and presumed to be the site where the Mughal emperor Aurangzeb ordered the execution of his brother, Murad, there is also a sweet little romantic story that resonates in these precincts. King Maan Singh Tomar was a great patron of music. The king eventually fell in love with a village girl from the Gujar community called Mriganayani and married her on fullfilling her condition that she be built a separate palace with water supply via an aqueduct. Mriganayani’s palace in this fort is called Gujari. Do visit Maan Singh’s Man Mandir Palace too. Tansen began his journey to being a great composer of Hindustani music, under Maan Singh’s patronage and it was here that the musical tradition of Dhrupad began to flourish. The Son-et-Lumeireat the fort recounts, amongst other stories, the story of Maan Singh, Mriganayani and the music that evolved in those times. 

16TH CENTURY

CITY PALACE COMPLEX, UDAIPUR, RAJASTHAN 
 If there is one place that will dominate your visit to Udaipur, it would be the this one. Originally built by Maharana Udai Singh in 1553, the complex has lofty archways, ornate balconies and resplendent halls built in both Mughal and Rajput architectural styles. The museum houses a fine collection of miniature paintings, royal clothing, accessories and armour. Do visit the Mor Chowk with its intricate mosaic work featuring India’s national bird, the peacock. 

BAAZ BAHADUR’S PALACE AND RUPMATI’S PAVILION, MANDU, MADHYA PRADESH 

While Mandu has a history that far pre-dates the legend of Rani Rupmati and Baaz Bahadur, it is this romantic story that has seeped into the folk songs of the region. Baaz Bahadur’s love for music was rivalled only by his love for Rupmati. When Emperor Akbar’s general, Adham Khan invaded the region in 1561, the defeated Baaz Bahadur fled, but Rupmati killed herself before being captured. Ahmad-ul-Umri’s ‘The Lady of the Lotus – Rupmati, Queen of Mandu’ contains a brief recounting of the legend as well as poems of love and longing attributed to Rupmati. Rupmati’s Pavilion and Baaz Bahadur’s Palacein the complex overlook each other, separated only by the Rewa Kund reservoir. Also explore the other palaces in the complex, like Jahaz Mahal and the Hindola Mahal, not linked to the legend. 

AGRA FORT PALACE, AGRA, UTTAR PRADESH 
While the Taj Mahal garners eyeballs at dusk, a more romantic view can be had from the palace inside the Agra Fort. The fort was built by emperor Akbar, completed in 1573, but the palaces inside have been razed and rebuilt depending on who occupied it. Akbar’s grandson, Shah Jahan was imprisoned here by his own son, Aurangzeb. From the exquisite white marble Musamman Burj, a splendid view of the Taj Mahal can be had. This balcony is rumoured to have been where Shah Jahan died, gazing at the Taj Mahal. Do visit the Jahangiri Mahal and the Khas Mahal too. The structures are an interesting mix of Hindu and Islamic architecture. 

FORT PALACE COMPLEX, ORCHHA, MADHYA PRADESH 
Orchha is the land of the Bundelas, a community of Rajput warriors renowned for their great sense of asthetics. It is a region rich with the architectural heritage of numerous temple towers, pavilions, cenotaphs and palaces. Admire the intricate trellises and the fine wall art in the Raj Mahal. The Sunder Mahal is now an Islamic pilgrimage spot. The Jehangir Mahal is by far the most imposing of the structures, built in Mughal style to commemmorate the victory of Mughal emperor, Jehangir over King Vir Singh Deo. The Son-et-Lumeire shows at Orccha include the Jehangir Mahal, the Raj Mahal and the Cenotaphs – do check the timing as it differs by season of the year. 

17TH CENTURY

LEH PALACE, LADAKH, JAMMU and KASHMIR 
 If you feel breathless when you look up at the imposing facade of the Leh Palace and the Victory Tower flanking it, it may not necessarily be altitude sickness. It could be awe. The Palace nestled atop a hill was built by King Semgge Namgyal on similar lines to the Potala Palace of Lhasa, Tibet. The nine-storeyed palace is in ruins and currently undergoing restoration, but there are some spectacular views to be had from the top. 

THIRUMALAI NAYAKAR MAHAL, MADURAI, TAMIL NADU 
Built in 1636 by King Thirumalai Nayak and presumably designed by an Italian architect, what remains today of this once-magnificent palaceis only a courtyard and a few pavilions. But this is enough to give an insight into the amalgam of the two styles incorporated here – Islamic and Dravidian. The most striking feature of the palace – the 13 metre tall pillars, using a unique plaster of shell lime and egg white for a smooth finish. The pavilions are exquisite in their stucco work depicting celestial beings and winged beasts. If you stay for the Son-et-Lumeire at 6.30 p.m., do take along mosquito repellent. 

19TH CENTURY

MARBLE PALACE, KOLKATA 
A permit is required in advance from the West Bengal Tourism office, to see this neo-classical residential building. A walk through the Marble Palace, built by Raja Rajendra Mullick Bahadur is a fascinating way of acquainting oneself with the ways of the opulent Bengalis of the 1800s. It has a wonderful collection of art, sculpture, furniture and bric a bracs and the name seems to have come from the profusion and variety of marble used in its construction. Since this is also a private residence, some areas may be off-limits. 

20TH CENTURY

MAHARAJAH’S PALACE, MYSORE, KARNATAKA 
The Mysore palace, after being damaged many times over, was finally reconstructed based on the design by British architect, Henry Irwin in the Indo-Saracenic style in 1912. It is the seat of the Wodeyar dynasty of Mysore. During the spectacular 10-day Dussehra festival in September/October, the Palace and the city come vibrantly alive. Pick up an audio-guide and saunter through the various rooms with their exhibits. Absorb the grandeur of the Courtyard, the Private Audience Room, the Public Durbar Hall and the Marriage Hall. On weekends and festival days, the Mysore Palace is illuminated in the evenings. Do drop in at the Jaganmohana Palace and Art Gallery also in Mysore, whose structure predates the Maharaja’s Palace. It now houses a wonderful collection of exhibits collected by the Mysore royal family including art by Raja Ravi Varma and Svetoslav Roerich. 
Pic by author

An edited version of this article was published in the April 2012 issue of At A Glance.
Indian Textile Traditions – Ponduru Khadi

Indian Textile Traditions – Ponduru Khadi

Khadi (khaa-dee) is the name given to hand-spun and hand-woven fabric, either cotton, silk or wool. Mahatma Gandhi promoted Khadi as part of his movement for Swadesh (self-sustenance) during the Indian freedom struggle.

Ponduru, in the Srikakulam District of the southern Indian state of Andhra Pradesh, is known for its handwoven Khadi dhotis made of fine cotton. The fabric is colloquially called Ponduru Khaddar.

The cotton sourced for Pondur Khadi is known as short-staple hill variety. The Khadi Village Industries Commission refers to the cotton used for the Ponduru variety as being 100% eco-friendly as the crop is grown without fertilizers.

Normally in creating the yarn, the process of loosening the seeds from the fluff of the cotton is carried out mechanically. However, in Ponduru, even this is done by hand using a rather unique instrument – the jaw of a locally available river fish! Once the seeds are separated from the fluff, the yarn is spun on a spinning wheel. The weaving then takes place on a hand loom. The fabric is famous for its fine texture that is attributed to the process of hand-spinning and weaving.

An edited version of this article appeared in Culturama’s September 2012 Issue.
Kandanghi

Kandanghi

The Kandanghi (Kan-daan-ghee) is both the name of a handwoven variety of saree in silk or cotton as well as the drape style that is common to the Chettiar community and those living in the Chettinad region in Tamil Nadu. The resilient cotton fabric and the traditional draping style – traditionally worn without a blouse or an inner petticoat, with the pleats tucked at the back – ensured greater comfort and mobility for women working in the fields in the hot climate of Chettinad. The body of the saree was usually solid, checked or striped, in earthy colours like yellow, red, brown, orange and black. The common use of colours today, like magenta, blue and green, are perhaps the result of chemical dyes introduced by the British in pre-Independent India. The ‘temple’ border of considerable width resembles the gopuram (peaking entrance towers) of South Indian temples. Lighter versions of the Kandanghi are now available, that lend themselves well to the contemporary saree-wearing style. There is even a Kandanghi saree variety with a cotton body and a rich silk border, making it a comfortable alternative to wearing all-silk sarees on festive occasions.
 
An edited version of the article was published in Culturama’s November 2012 Issue.

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