Bringing Pillayar home – Ganesh Chaturthi at Gokulam

Bringing Pillayar home for Ganesh Chaturthi meant an early morning trek to the bustling Patel Road market – the team of kids led by thatha on the morning before the puja. “MaNai” in tow, we trotted behind thatha holding the wooden seat for Ganesha carefully. Patti’s elaborate kolam in wet rice flour was already on it, now dried, decorating the space on which Ganesha was going to sit. Choosing the Pillayar would be a tricky affair, though. 

Rows and rows of street shops had emerged overnight, each displaying an array of pillayars, various shapes and sizes – all in traditional clay. Each of us, tried to pitch our choice. “That one, thatha – looks very good... No, this is really bigger than the rest.. this one has such a kind face.. this one has a different design.” Yet, usually thatha made the choice “Give me this one,” he would command the nervous shopkeeper as they hurried to pack his choice. Carefully placing the idol on the manai, we would pick up all the accessories – the umbrella, the garland, the flowers etc and trot back home, chattering excitedly. “Why did you pick this one thatha? Was it better than the rest?” He would always say “No, this is my pillayar, that’s why.” “How can you be sure?” “I just know it” – at which we wouldn’t know what to say.

It was thatha’s constant story each year – there was one pillayar that belonged to him and returned year after year to his puja. We never tired of listening though we frequently tried to break through this argument. “All the pillayars look alike... we don’t see any difference; how did you make out?” “He winks at me to tell me that he’s the one.” 

“We didn’t see it, we were also with you.” “That’s because he winks only at me. He doesn’t want anyone else to notice.” 

“Come on thatha...” 

“Really. Didn’t you see I picked him almost right away?” and so on.

It took a busy hour to decorate the Pillayar – the little dhoti, the cotton “poonal” the coin in his belly-button, the holy ash applied delicately on his forehead and limbs – after which he looked content and complete. Post puja, we gathered around and with kozhakattais stuffed in our mouth, too satisfied with the treats to really go back to the Ganesha story. 

For two days, thatha’s Ganesha stayed with us in our puja room, then it was time to immerse it. I always worried about this bit. “Do we have to immerse him? He’s so much a part of the puja room now.” “Don’t worry,” thatha would reassure me. “He has already told me where he will be next year and how to find him.” As thatha dropped the Ganesha we watched it swirling and then going out of sight in the waters of the well in our backyard. 

Perhaps I did not completely believe him, but these reassurances made me feel less bad about losing the winking Ganesha who adorned our puja room for three days every year. I felt comforted by the thought that he would be waiting for us in the Patel Road market again next year, waiting to give thatha his signal and come back home to us. 

In an unconscious way, it also instilled in me early in life, the idea that one could have personal connections with God. Thatha’s stories brought the thought that beyond the custom and tradition of bringing a clay idol home, this was a way to relate to God coming home to us. It made the Ganesh Chathurthi idol buying walk, a spiritual journey in itself. 

Gokulam Chronicles: A Tale of Summer Theatre and Childhood Memories

Holidays at our ancestral home, 'Gokulam' were a much-looked forward to affair. There were the usual games – playing with tops, cricket, seven stones (or 'puncture-the-back' as we called it), kites and of course the eternal Hide and Seek. Most of all, during summer holidays – there was also an extra grand spectacle – The Gokulam Theatre Production.

It was a whirl of colour, drama and activity to me, rather younger than my cousins who pulled this all together. Preparations were usually elaborate. Scripts were written, costumes planned and designed and most of all – practice sessions day after day to get the scenes right. I usually sat out, a watchful audience all through, too young to be actually given a role, but awed at the mammoth efforts that my cousins (who seemed huge and immensely professional) put in for these family gatherings.

The programme itself was presented in a make-shift stage – usually the cows and the cars were driven out of the two sheds, an area cleared for the performance and seating organized for the audience – relatives, friends, neighbours. It was a mini-event in the neighbourhood. Consenting friends were roped in to act and participate.

Sometimes these theatre productions even garnered enough attention from passers-by on the street, as they crowded behind the wall to witness this unexpected event, uninvited though they were. Once, in fact, the proceedings got very exciting when an unknown member from the janta outside, proceeded to fling a pebble over the wall and into the stage proceedings. There was a furore and while my male cousins swore vehemently to pursue the suspect, they were cajoled to give up and continue the programme indoors.

It didn’t matter to me much, whether the proceedings were disrupted or continued as planned. It was all dramatic and a very engaging childhood adventure.

An open-mouthed audience through practice and performance, I got the opportunity to potentially make my stage debut – at the tender age of about 5! While I was witnessing one of the practice sessions, my cousins were hard pressed for someone to play the role of a female character. The male-dominant production team had short supply of willing female players. In desperation they saw me sitting and watching and proceeded to enroll me into the act. “It’s nothing much” one of my annas said, “All you have to do is to strike a pose like this”. Director-like he mimicked the action that I was to enact. I agreed heartily.

My epic role consisted of standing in a corner of the stage in the manner suggested, while the remaining dialogues of that one scene, played out for the next few minutes. I practiced furiously for the next couple of days. (This was saying something, as actually I had nothing much to practice except stand and leave at my cue).

The day of the programme dawned. The preparations hit a feverish pitch. A short while before the production was due to be staged, thatha called out to me. “Going up to the shops for a few errands, would you like to come with me in the car?” Driving out in the car was always a delight and I loved hanging around when thatha went shopping. He usually commanded the shopkeepers and made determined purchases, so much that the shopkeepers looked doubtful, if they should charge him or actually pay him for shopping! Excited I jumped into the car behind him, forgetting completely that I was to make my maiden effort on stage soon.

A string of errands later, we returned, just in time for the magnum opus. A harried cousin met me at the door – “Where have you been,” he hissed “You were supposed to get ready for your role. Now we had to make emergency changes.” The emergency change consisted of my brother, doubling up for the role I was supposed to have played, attempting to look unconvincingly coy and feminine right after the scene of a battle.

I didn’t mind much not having to play the part, so long as I could see the programme. My cousins came and went in their assigned roles. I sat, right next to thatha during the show, enjoying every minute and laughing loudly whenever he laughed. There was some battle, some mythology, some religion all in it – none of which I understood, but nevertheless found exceedingly enjoyable. Soon the show ended. There was much mirth and excitement all around when it finished. My uncle, usually the one who gave the verdict and the critics’ views, especially on those who had acted well, commended the show and thereby it was declared a certified success.

Over the years, as my cousins grew older and as they began finishing school and college, the enthusiasm and focus given to the show steadily decreased. By the time I was old enough to actually participate or contribute in these shows in a concrete manner, they had virtually stopped as we, the younger lot of cousins, were not as enterprising as to put up our own show. 

Summer holidays still continued to be time of fun and games, gathering of cousins, laughter and ragging. With 25 of us, we were capable of much noise and disruption. 

Though I never actually made it to the stage in that childhood phase, till today, some of my most memorable childhood summers, my moments of nostalgia, remain the ones which had seen the staging of the 'Gokulam Family Summer Theatre Production'. It was an era, etched into my memory with the colour, glamour and glory of modern-day film productions, only at a much more personal level - a world where we could be producers, we could be kings & queens and we could be just a bunch of young people, living life to the fullest. It was our Gokulam family of happiness.