Eating India – Exploring a Nation's Cuisine by Chitrita Banerji

 A few years ago, on a wintry morning in Boston, Chitrita Banerji received a wedding invitation from India that opened the floodgates of remembered taste. Banerji set out to discover Indian cuisine beyond the generic.

Banerji, being a non-resident Indian food writer, is ably poised between cultural affinity and physical distance with regard to India. This enables her to look beyond recipes, at nuances in the history and folklore surrounding Indian cuisine.

After a momentous visit back to Kolkata, the city of her childhood, Banerji comes across itinerant labourers eating greasy Chinese noodles instead of Khichuri, the traditional pottageon Sher Shah Suri's famed Grand Trunk Road. In Benares, she meets a self-appointed guide who leads her through the street food of a city that thrives on the business of death. At the langar (communal refectory) in Amritsar's Golden Temple, where the rich and poor are bonded by piety, Banerji partakes of a humble meal that includes machine-made chapathis. She travels to relish delicacies from the three seats of Muslim-style cooking in India and also studies the lesser-known cuisine of indigenous tribals. There are also some engrossing chapters that delve into the culinary histories of communities like the Anglo Indians, the Parsis, the East Indians of Bombay and the Jews of Cochin.

This book is part-memoir, part-travelogue exploring the cultural synthesis that is Indian cuisine. However, it is also personal history at its best - Banerji derives as much pleasure in reliving flavour as in discovering it.

(An edited version appeared in Culturama's June 2010 Issue.)

Manichitrathazhu

 (1993, Malayalam Language)

Manichitrathazhu is a tale set in a milieu where the occult is a throbbing part of every day life and it is perfectly normal to use talismans, chants and tantrik rituals to keep away evil spirits.

The extended family of Nakulan (Suresh Gopi) and Ganga (Shobhana) fail to dissuade them from occupying the family home, Madampally House, that is claimed to be possessed by a vengeful spirit called Nagavalli. Nagavalli was a classical dancer from Tamil Nadu, who was killed 150 years ago by her patron for having fallen in love with a male classical dancer.

One day, Ganga unlocks the door to Nagavalli's chamber in the house, inadvertently spaking off a series of mysterious accidents. According to Nakulan, these are the handiwork of Sreedevi (Vinaya Prasad), a young family member who he suspects to be mentally unsound. Nakulan's friend, a psychiatrist called Dr. Sunny Joseph (Mohanlal) steps in to investigate. However, the mystery deepens when instead of Sreedevi, Ganga begins to behave like Nagavalli. In a hair-raising climax, the psychiatrist and the family's Tantrik priest join hands to permanently rid Ganga of Nagavalli's personality.

Manichithrathazhu was written by Madhu Muttam and directed by Fazil. Shobana, who played the central character, Ganga, was awarded the National Award for Best Actress for the year 1993. The success of this Malayalam language original spawned off adaptations to other Indian languages like Kannada (Apthamitra), Bengali (Rajmahal), Hindi (Bhool Bhulaiya), Tamil & Telugu (Chandramukhi).

(An edited version appeared in Culturama's June 2010 Issue)

Kondapalli Figures

If you thought these handmade Kondapalli figures from Andhra Pradesh look similar to the ones you see in Rajasthan, you would be absolutely right. 

Kondapalli is a village that is 250 kilometres from Hyderabad, Andhra Pradesh’s state capital. It is home to the eponymous craft of painted wooden figures that is believed to have been introduced to the region when migrants from faraway Rajasthan moved here many years ago.

There is a rustic simplicity to Kondapalli craft. Sathyanarayana, a second generation craftsman says, “We use a locally available wood that we call 'Tella Poniki'. However, we use only the branches and not the entire tree. We first dry the wood in the sun and only then proceed further. The body of the figure is carved and then various parts are attached using an adhesive. The main colours are painted in with natural dyes and intricate details are added to complete the figure.”

Hindu gods form the most popular subjects in Kondapalli figures. Ganesha, Hanuman, Rama-Sita, and Radha-Krishna are popular. Even the Bhagavad Gita, where God Krishna is depicted as the charioteer for Arjuna in the Mahabharata, is captured in a vibrant composition.

Among Kondapalli figures, the Dashavatara is much sought after. The Kondapalli Dashavatara is a set of 10 figures each depicting an incarnation of Lord Vishnu. A set of these in the smallest size, of two inch height, takes an entire day to make. Other subjects include tableaus of village life, caparisoned elephants and peacocks displaying their plumage. The craftspersons also receive orders for figures like royal elephants and bullock carts in sizes as large as five feet.

“The men create the figures and the women colour them.” Says Sathyanarayana. “About fifty families carry on this tradition. We even have our own residential quarters called Toys Colony in Kondapalli where our housing is provided by the government.”

These figures from Kondapalli are often confused with similar decorative craft called 'Thanjavur Bommai' from Thanjavur, Tamil Nadu. Although the two look similar at first glance, the difference is that the craft from Thanjavur is made of Plaster of Paris and the material lends itself to a smoother finish.

The Kondapalli figure is colloquially referred in the local language, Telugu, as ‘Kondapalli Bomma’. When literally translated to English, it means figure as well as doll or toy. However, these are not toys in the conventional sense of a child’s plaything. They are used purely as decorative craft and form part of the decorative display called ‘kolu’ in South Indian homes during the nine-day Navaratri festival. 

Kondapalli figures are available at most handicraft outlets in South India, especially the Andhra Pradesh crafts outlets called Lepakshi.

(An edited version appeared in Culturama's May 2010 Issue. Pics by author. Figures courtesy Mother Earth.)

24 By City Hyderabad

On the one hand, Hyderabad is steeped in the culture of the Nizams. This is evident in the monuments, the cuisine and even in the hint of Urdu that has found its way into Telugu, the local language. On the other hand, the city is a major Information Technology and Pharmaceutical hub. It prides itself on a swank new airport that has been declared by the Airports Council International as the best in the world in the category 5 to 15 million passenger capacity. Hyderabad is one heady mix of tradition and technology.

CHARMINAR

Built by Mohammed Quli Qutub Shah in 1591, the Charminar (literally, Four Minarets) is considered the symbol of Hyderabad. The structure has four minarets at the corners and four arches between them. It is now a major intersection. Visitors can climb up to the first level and view the surrounding bazaars, palaces and mosques.

On weekend mornings, Andhra Pradesh Tourism Development Corporation conducts heritage walks from the Charminar to the Chowmahallah Palace at 7.30 a.m.. Do see the website and contact locally for more details. http://www.aptdc.in/heritage_walks/walk-1.php

If visiting later in the day, stroll around the area, see the Unani Hospital building, pick up the famous Hyderabadi lac bangles at the Laad Bazaar and snack on street food.

CHOWMAHALLA COMPLEX

Chowmahalla was the seat of the Asaf Jahi dynasty. With its elegant courtyards, darbar halls, palaces and gardens, it is considered a replica of the Shah's Palace in Teheran, Iran. It has recently been restored and is used as a grand party venue. However, visitors are welcome to see the palace between 10am and 5pm on all days except Fridays and National Holidays.

http://www.chowmahalla.com

SALAR JUNG MUSEUM

A major part of the collection at the Salar Jung Museum was acquired by Mir Yousuf Ali Khan, popularly known as Salar Jung III. The collection, sprawled across thirty eight galleries consists of art, sculpture, manuscripts, clocks, porcelain and other artefacts from India and across the world. The Veiled Rebecca by Italian sculptor Giovanni Battista Benzoni is one of the most famous exhibits at the museum. So is the two-sided wooden sculpture called Mephistopheles and Margaretta by an unknown French sculptor. The museum is open to visitors between 10 a.m. and 5 p.m. on all days except Fridays and holidays. Do check website for list of holidays.

http://www.salarjungmuseum.in/home

GOLCONDA FORT

The Golconda Fort was the original capital of the Qutub Shahis. A water shortage compelled the shifting of the capital to Hyderabad. The Golconda area, has long been renowned for its diamond mines - the Koh-i-noor and the Hope Diamond are believed to have been excavated here. The fort is touted to be an engineering marvel with a single clap from a particular point at the entrance being audible at the upper reaches of the fortification. This fort is well constructed to hold out against intruders that Aurangzeb's armies took nine months to seize it. The Qutub Shahi tombs are about a kilometre from the fort. Do carry a hat and water for this outing and visit closer to dusk when there is a Sound-and-Light show (son et lumière) that takes place here. Do check locally for the timing and dates of the show

OPTIONALS

- RAMOJI FILM CITY – A sprawling movie studio that provides various in-house locations to produce movies.

- SHILPARAMAM – An arts and crafts village

SHOPPING

Hyderabad is famous for its pearls. While the bazaars around the Charminar are replete with shops selling them, it is advisable to buy them from a reputed retailer like Jagadamba Pearls. In addition to white pearls, you will also find pink and black pearls available here. Lepakshi is a government-run store that houses a range of handicrafts indigenous to the state of Andhra Pradesh like leather puppets, Bidri silver ware, Nirmal Painting, Ettikopaka toys and Kondapalli toys. APCO is the government-run fabric outlet where you will find cottons and silks in various textile traditions – Pochampalli (Ikat), Kalamkari and Dharmavaram to name a few. Visit Joshi's for local masalas and pickles.

EAT

Hyderabadi Biriyani is considered quite the delicacy and Paradise in Secunderabad, Hyderabad's twin city, is touted as the best restaurant for its authenticity of flavour. A word of caution – Hyderabadi food tends to be fiery.

Among side dishes for Indian breads, do taste the Dalcha (a mutton and lentil stew), Baghare Baingan (Hyderabad-style stuffed aubergines) and in the winters, the Nihari (a spicy breakfast dish made with goat shanks). Among desserts, don't miss the Qubani Ka Meetha (Apricot Pudding), Double Ka Meetha (bread pudding) and Falooda (an exotic vermicelli beverage of Persian origin). Lukhmi (filo stuffed with a mutton-mince) is a popular snack.

Hyderabad has a profusion of Irani cafes where the Irani tea and Osmania biscuits are much favoured. Visit Pulla Reddy Sweets for authentic ghee-based confections.

ENTERTAINMENT

The Hussain Sagar Lake is a favourite evening hangout for the people of Hyderabad. The main attraction is the giant statue of a standing Buddha. The lights along the lake look akin to a necklace of diamonds and Necklace Road is meant to highlight exactly this effect. From the Lumbini Park jetty, one can take boat rides around the lake.Hyderabad has its share of malls, movie theatres and sports stadia. Do check local listings for events.

NOTE: In recent months, Hyderabad has had its share of unrest owing to communal tension and the claim for a separate Telengana state. Do keep abreast of the situation before visiting the city.

(An edited version appeared in Culturama's May 2010 Issue)

Dr. Devdutt Pattanaik

“I have a fascination for liminal beings - creatures who stand on the threshold. Like Ganesha (half elephant - half human). Or Narasimha (the man-lion incarnation of Vishnu). Or Janus (two heads facing two directions). Or the shape-shifting Budh/Mercury. ” says Dr. Devdutt Pattanaik.

Dr. Pattanaik himself stands at the cusp of many simultaneous existences. He is a medical doctor by qualification, a mythologist by choice and Chief Belief Officer by designation, aligning beliefs within Future Group. That is, when he isn't writing one more book, speaking at one more convention or rendering one more illustration.

“I had a general understanding of mythology like anybody else but this emerged organically over time, post my medicine. I wasn't sure I wanted to practise medicine. I was getting into a day-job in the pharma industry that I didn't quite enjoy. Mythology became my comfort zone and it led to this wonderful world that I entered.”says Dr. Pattanaik.

Dr. Pattanaik is the author of over ten books on Hindu mythology with subjects ranging from Shiva to Hanuman to Vishnu to Devi. He has created a handbook of Hindu mythology called 'Myth=Mithya' and more recently, 'Seven Secrets from Hindu Calendar Art' and 'The Book of Ram'. His book, 'The Pregnant King' is fiction written in the style of mythology. The books usually also contain his illustrations – graceful pen and ink renderings that capture the essence of accompanying myths.

Surprisingly there is no book as yet on Krishna, by far one of the most adored of Hindu gods. Dr. Pattanaik says, “Krishna is a major part of all my books, particularly on Vishnu. But a book purely on Krishna is one I want to write desperately. It was to be published but somehow did not happen. It has always run into trouble. I am very superstitious – maybe I have not understood it correctly. At the right time, it will happen.”

Dr. Pattanaik believes that Krishna Charitra (The Krishna Ethos) requires a certain level of maturity. “People like the little baby Krishna but Krishna Charitra is right from Krishna's birth to death. It is difficult also because there are different pockets of knowledge. For example, North India is not aware that in South India, Radha is not worshipped. Until you point it out, South Indian devotees actually don't realise that there's no sign of Radha in their temple.”

Speaking about mythology as the subjective truth of a people, Dr. Pattanaik says, “Mythology is what you think about yourself and your understanding of life. This subjective truth is communicated from generation to generation through stories, symbols and rituals. So when I read the Ramayan and Mahabharat, I get access to the soul of India, to the subjective truth of our ancestors. If I want to study American culture, I have to study the mythology of America - American stories, symbols and rituals - that contain the subjective truth of America. Like 'All humans are born equal', 'If you work hard, you will be successful', 'The American Dream' and the Statue of Liberty.”

As an example of ritual, Dr. Pattanaik talks about the worship of Ganesha. “Imagine every year you bring a clay idol to your house and worship it. After 10 days, you dissolve it in water. Imagine doing this every year, year after year, generation after generation. Why don't you buy a plastic idol or a permanent statue? Why the ritual involving 'avahan' (getting the idol home) and 'visarjan' (getting rid of it)?What are you telling the child? That nothing is permanent. But it is subliminally communicated from ancestors to the next generation. It seeps into your subconscious and you don't even realize it.”

Dr. Pattanaik laments that over time, people have given so much importance to stories that the thought behind the stories are forgotten. “We also get edited versions of stories and authors put in their own thoughts and feelings. So you don't realise the subjective truth that is being communicated.” he says.

On the subject of similarities and differences between mythologies, Dr. Pattanaik says that similarities reveal that we're human ultimately, but dissimilarities will show what is culturally different. “So, the commonalities try to explain life and make sense of life and the differences are about how they approach it. For example, Western stories are obsessed with the Hero Myth. Greek mythology has stories of people who do some extraordinary action even when opposed by the gods. Biblical mythology constantly shows stories of people who surrender to the will of God. Whereas the dominant theme in Indian mythology, particularly Hindu mythology is the futility of trying to control your life, to step back and reflect on it. Each mythology is trying to explain life.”

Dr. Pattanaik explains about the common themes that run across cultures. “There are stories of death and resurrection (resurrection as different from rebirth) that are a recurring phenomenon in most parts of the world, like the stories of Adonis, Kamadeva, Ishtar and Dumuzi. The story of a great apocalyptic climax is common. But in India, after the climax, life starts again, which is not there in the western traditions. The great saviour who will save you from problems is always there. There is the mother goddess - fertile, loving and charming - all over the world. Across the world, the feminine form is seen in a more emotional way while the masculine form is seen in a more aggressive way. Everybody has gods and demons, everybody has heroes and villains.”

Among the myths he has studied and written about, and the liminal beings he is fascinated by, Dr. Pattanaik is particularly drawn to the centaur. “I like the idea of the teacher who is alone, students come to him and he teaches them. Then they move on and discover themselves. But the centaur stands atop a hill, a threshold god. He is animal as well as human. He is wise as well as wild. He is a loner but at the same time, he teaches people to be developers of society.”

(An edited version appeared in Culturama's April 2010 Issue. Pic courtesy Dr. Devdutt Pattanaik)


Also read a review of Devdutt Pattanaik's Jaya - An Illustrated Retelling of the Mahabharat here.

24 by City - Jaipur

JANTAR MANTAR

It is best to start the day with the Jantar Mantar, the largest of five astronomical observatories built by Maharaja Jai Singh during the 18th Century. It is a complex of architectural structures that are also yantras or jantras (instruments) of astronomy. They were used by astrologers to deduce the most auspicious time for embarking on major events. Don't miss the Jai Prakash that measures the movement of the sun and stars. A tourist guide will be useful here to help make sense of the structures. 

CITY PALACE & MUSEUM

As with most palaces in India, this one too has a 'Diwani-i-aam' (Hall of Public Audience) and a 'Diwan-i-khaas' (Hall of Private Audience). There are many halls and structures within the precincts and most are open to public. Not only does the museum house some fine artillery and treasures, but the structures themselves are decorated with exquisite frescoes. Don't miss the Peacock Gate and the two large silver receptacles that were used to carry water from the river Ganga for Maharaja Madho Singh II when he travelled to England in 1902 to attend the coronation of King Edward VII. 

HAWA MAHAL

This is a five-storeyed structure that is an extension of the City Palace. Built in 1799, the facade of the Hawa Mahal is a honeycomb of jharokhas (decorated windows) providing views of the street below and even the city. As the purdah was strictly followed in the royal family, these jharokhas were the windows to the world for the women of the palace. The name, Hawa Mahal literally means 'Palace of the Winds' and it lives up to its name, channeling cool winds that are a respite from the ferocity of the desert sun in the summer. 

JAL MAHAL

The Jal Mahal (literally 'Water Palace') is situated in the middle of a man-made lake called Maan Sagar. One of the highlights of this palace is that when the lake is filled with water during and just after the monsoon, it can only be accessed by boat or a causeway. This is en route to the Amer Fort. 

AMER FORT

The fort is called Amer colloquially but it is also spelt as Amber. It is a sprawling property on a hillside in the outskirts of Jaipur. This would be a good place to live out a Maharaja fantasy by indulging in an elephant-back ride up to the fort. Although the exterior is quite simple, the various halls and palaces inside are stunning. The intricate carvings, miniature paintings, the Ganesh Pol (gate) and the Hall of Mirrors are a must-do. There is a Sound-and-Light show (son et lumière) that takes place here every evening that attempts to capture the splendour of the fort in its heyday. Do check the timing of the show depending on time of year. 

JAIGARH FORT

The Jaigarh Fort atop the hill from Amer was conceived purely as a military structure to guard Amer when it was the capital of the kingdom of Jaipur. Jaigarh is much simpler in architecture to Amer but offers fantastic views of the city. There is a museum with artefacts and artillery here as well as an interesting rainwater harvesting system. Jaivaan/Jaibaan, touted to be the biggest cannon in the world is worth a dekko here. 

SHOP

Colour abounds in Jaipur and there is a multitude of vibrant souvenirs to buy. Pick up puppets, lac bangles, embroidered footwear in camel leather, jewellery, wood or stone carving, metal craft and a plethora of fabric items from block printed razais (quilts) to bandhani(tie-and-dye) attire. Of particular interest is the blue pottery of Jaipur that equals Portuguese Azulejo in its craftsmanship. NOTE: Be wary of people who offer to help with your shopping - they could well be earning a hefty commission from stores. Also, bargaining is expected here - start bargaining from 40% of the quoted price. 

ENTERTAINMENT

For a Rajasthani cultural experience that includes folk arts, handicrafts and food, do visit Chokhi Dhani, a cultural village that includes a resort. Also, depending on the time of year, there are many festivals that are celebrated in jaipur with great pomp. Check local listings for melas (fairs). 

FOOD

Rajasthani cuisine - both vegetarian and non-vegetarian - is suffused with flavour and spice. Laal Maas (red-coloured meat dish) is not only red in appearance, but also on occasion, quite fiery. Dal-Bati-Churma is an acquired taste. A ball of bati (steamed wheatflour) is crushed and mixed with churma (sweet powder) and a dollop of ghee (clarified butter). A roti is accompanied by this powder and a serving of dal (steamed lentils). Apart from Rajasthani food, you will find the ubiquitous Indian food outlets, an abundance of sandwich stalls and shops selling sweets. 

USEFUL CONTACTS:

RAJASTHAN TOURISM OFFICES IN JAIPUR

Tourist Hotel (Govt. Hostel) M.I.Road

Tel.: 0141-5110598, 5110595-7 Ext.(203)

or

Platform No.1.Railway Station

Tel.: 0141-2315714, 2200778/1364

or

Sanganer Airport, Tel.: 0141-2722647

Tourist Office, Near Elephant Stand, Amer

Tel.: 0141-2530264

or

Central Bus Stand, Dlx. Platform No.3

Tel.: 0141-5064102

http://www.rajasthantourism.gov.in

(an edited version appeared in the April 2010 Issue of Culturama, formerly At A Glance.)

Bengali Cuisine

While some communities in India regard fish as a symbol of fertility and luck, Bengalis take their adoration of fish to a whole new level. The Bengalis have a saying, 'Mache Bhate Bengali' that translates to 'Fish and Rice make a Bengali'. Not surprisingly, 'pancho byanjan', the traditional five course Bengali meal, revolves primarily around rice and fish.


The first course begins with shukto, a mildly spiced dish made with bittergourd and other vegetables, served with steamed rice and a little ghee (clarified butter). This is followed by more rice, some dal (lentils) that may or not include fish head, chorchori (spiced mixed vegetable dish sometimes including fish) and a tele bhaja (a deep-fried fritter usually made with fish, aubergine or potato). In the third course, two types of fish are served with rice. The small fish is cooked in a dry gravy. The bigger variety, when using hilsa in the monsoons, is made as bhapa ilish - marinated, steamed and then cooked in a rich gravy. If mutton or chicken is on the menu, it is usually served at this point. Sometimes, a pilaf is served instead of steamed rice. Khichuri (rice and lentils steamed and seasoned together) is considered comfort food during the monsoons. Then comes the turn of sweet and sour chutneys, like tomato or green mango usually sweetened with sugar, jaggery, dates or raisins. The main meal ends with a serving of doi (yoghurt) or mishti doi (sweet yoghurt) or bhapa doi (steamed sweetened yoghurt).

Bengalis also love what are called luchis that look like puris but made of maida (all-purpose flour), usually deep fried in cow ghee and served with cholar dal (steamed split chickpea) and begun or alu bhaja (aubergine or potato fritters). However, luchis are usually not served in the same meal as rice.

In terms of ingredients and techniques, the Bengalis are very particular in their use of mustard oil as a cooking medium while occasionally, ghee (clarified butter) made from cow's milk is used. Panchphoron is a dry masala used by Bengalis to liven up even the dullest of ingredients. It is a mix of five spices in equal measure - nigella, fennel, fenugreek, mustard and cumin – that are used whole or as a powder.

Bengalis are renowned as much for their sweet tooth as for the freshness of the desserts they create out of chhenna (paneer/cottage cheese). The Rossogolla, Rasamalai and Sondesh are the healthiest by far, as they are simply cottage cheese balls in various forms, but not deep-fried. In the winter months, the sugar in the dessert recipe is substituted with patali gur (jaggery made of dates). There's also the simplest of home-made desserts - payesh (milk pudding) - using milk, rice/seviya, sugar/date jaggery) and flavourings.

5 FACTS

• 
  
  Hilsa is fished from the confluence of the rivers with the sea and is considered to be the tastiest among freshwater fishes. Affluent Bengalis are known to relish the seasonal Hilsa at every meal during the monsoon.
• 
  
  The colonial influence is visible in the chops and cutlets that Bengalis love to serve. The tomato ketchup made its entry into Bengali kitchen as an accompaniment.

• 
  
  While both are fish-loving communities, the cuisine of East Bengal (now Bangladesh) and West Bengal differ in that the former is richer, oilier, and spicier making use of every available vegetable or green. More mustard is used by the East Bengal communities. The cuisine of West Bengal, due to western influence, has a more sophisticated form, subtler flavours and making use of maida (all-purpose flour). More coconut is used by the West Bengal community.
• 
  
  Bengalis are adept at creating wonderful dishes out of seeming food waste. Every part of a banana tree is used, from its blossoms for chops to raw fruit for koftas to the stem in a simple fry. Even the peel is apparently used to make a type of chop! The banana leaf makes for a vibrant platter to serve a traditional Bengali meal. Even fish marrow is not allowed to go waste.
• 
  
  Ledikeni is surely a quaint name for a dessert. A confectioner called Bhim Nag created a variation of the Bengali sweet, pantua, for the birthday of Countess Charlotte Canning, the wife of the British Governor General Charles Canning. The name of the sweet then, 'Lady Canning', became over time, 'Ledikeni'.

(an edited version appeared in the April 2010 Issue of Culturama, formerly At A Glance.)