“Bathukamma”- The Festival of Telangana

Bathukamma, also known as Bathukuamma, is a widely celebrated festival in the state of Telangana. It takes place between the months of September and October, coinciding with the arrival of the spring season. This festival is alternatively referred to as Aswiyuja and culminates two days prior to Dussera or Dushera, specifically known as Durgastami or "Saddula Bathukamma." Alternatively, it might be referred to as "Pedda Bathukamma".

Boddemma is a week-long celebration that ensues after the conclusion of the Bathukamma festival. Bathukamma marks the commencement of the Sharath Ruthu season, whereas Boddmma signifies the conclusion of the Varsha Ruthu season. Bathukamma is the embodiment of the essence of Telangana. This festival has emerged as a significant component of the cultural revival movement in Telangana and has been officially recognised as a state festival. Bathukamma is a distinctive ceremonial practice that commences with the vibrant display of flowers and ultimately concludes with their immersion in bodies of water, serving as a symbolic homage to nature. The aforementioned celebration serves as a representation of the cultural character of Telangana.

The term "Bathuku" signifies the essence of life, while "Amma" represents the concept of motherhood. These terms are commonly associated with women and are also attributed to the divine figures of Goddess Durga or Shakthi, who are regarded as the universal mother. Once again, the male members of society are expressing their desire or making an appeal to the female members, urging them to experience contentment and tranquilly, as the whole well-being of the family is contingent upon the happiness of women.

There exists a multitude of narratives pertaining to the celebration of the Bathukamma Festival. The origins of the Bathukamma festival may be traced back to the Chalukya Kingdom of Vemulavaada, located in the present-day Karimnagar District region. This festival holds significant cultural and religious importance, with its roots deeply intertwined with the renowned Sri Rajarajeshwara temple. The Telangana people held this temple in high reverence, considering it their cherished deity. Rajendra Chola, the son of Raja Raja Chola, assumed the throne from 985 to 1014 AD and engaged in a military campaign against Vemulavaada. The individual in question engaged in the act of demolishing the Rajeshwara temple and afterwards appropriated the Bruhat Shiva Linga, a significantly large religious artifact, as a gesture of offering to his father. This artefact was subsequently installed within the Brihadhishwara temple, which was constructed by the aforementioned individual. The disappearance of the Linga greatly disheartened the residents of Telangana, who interpreted it as an unfavourable sign and believed that the Lord had forsaken them. To appease the deity and serve as a symbolic gesture, the individuals sought solace by consoling Goddess Parvathi (also known as Bruhadmma), who exhibits a fondness for flowers. Consequently, an assortment of flowers was meticulously placed in the form of Meru Mountain. In addition, the participants positioned a representation of Gowramma, made from a mixture of turmeric paste, atop the structure. They proceeded to engage in a series of melodic performances and rhythmic movements, aimed at gratifying the divine entity. Ultimately, the individuals engaged in a prayerful act, beseeching the reappearance of the Supreme Deity Shiva alongside his divine partner Parvathi, resulting in the culmination of the floral mountain within the aquatic realm. This customary observance, which has persisted over an extended duration, has evolved into a festival commemoration that continues to be observed in contemporary times.

Nevertheless, it is imperative to acknowledge that women should be afforded the opportunity for self-expression, including the ability to engage in activities such as singing, dancing, and having personal time and space. The relationships among the women of Telangana are observed to be a source of hope for their families. This traditional travel serves to renew their minds and rejuvenate their souls. The Bathukamma celebration represents a representation of the intrinsic connection between nature, encompassing elements such as flowers and water, and human beings. The deity known as Goddess Gowramma is traditionally crafted using a type of clay referred to as 'Buddemma' prior to the commencement of the Bathukama festival. On the concluding day of the festival, both the Bathukamma and the Buddemma are ceremoniously immersed in bodies of water. Bathukamma is a traditional floral arrangement consisting of seasonal flowers arranged in seven layers, resembling a cone shape. This design symbolically represents the sacred mountain 'Meru'. The act of invoking the divine feminine being, sometimes referred to as the Goddess mother, is undertaken with the intention of seeking protection and ensuring the welfare of all living beings, encompassing both animals and birds. This prayer is recited by women as a means of protecting and preserving the sanctity of womanhood.

The commencement of Bathukamma preparation takes place in the afternoon of the initial day. The art of flower arrangement encompasses the acquisition of flowers in diverse colours, the careful trimming of their stems, and the practice of immersing Gunugu (Celosia) blossoms in various hues and fragrances. These flowers are then arranged on a broad plate surface, which is adorned with large leaves. The flowers are arranged in a specific sequential pattern to create a conical structure. In some instances, a lotus flower or pumpkin flower may be positioned at the apex, serving as a sign of purity or virginity. Gowramma is traditionally prepared by applying a layer of turmeric paste on its surface. The manufacturing of Bathukamma is such that when it is allowed in water it floats and stays on for some time and does not drown in the water. The Bathukamma festival is celebrated during the latter portion of the monsoon season, occurring far in advance of the arrival of winter. The monsoon rains bring an abundance of water into the ponds called ‘Cheruvu’ and the wildflowers that bloom in various brilliant colours all across the cultivated and uncultivated plains of the region add to the scenic splendour. Once again, it is widely believed that these wildflowers possess medicinal characteristics and are also capable of acting as water purifiers.

The inclusion of 'Gunuka Poolu' and 'Tangedi Poolu' flowers, as well as banti (Marigold), Chamenti (Chrysanthemum), nandi-vardhanam, and other floral varieties, is essential during this period. Additionally, the harvesting of 'Shilpakka pandlu' or 'Sitapala pandlu' (Sitaphal fruits), Jonna mokka, and 'mokka jona' (corn, specifically jowar and maize) occurs during this season. Among these, Bathukamma is celebrated with great enthusiasm, symbolising the splendour of nature via vibrant hues embraced by many devotees.

The configuration of Bathukamma, as previously mentioned, can be likened to a 'Meru' or a 'Gopuram' structure commonly found in temples. The term "Gopuram" refers to the grand towers typically found at the entrance of temples, particularly in Southern India. These structures serve as elaborate entrances that punctuate the walls encompassing the temple complex.During the vacation period in Telangana, individuals of all genders, ages, and social backgrounds engage in the practise of gathering various wildflowers such as 'Gunuka', 'Tangedi', 'Lotus', 'Alli', 'Katla', and 'Tekku' from the surrounding villages. These flowers are then utilised in the traditional arrangement of Bathukamma. The ninth day of the Bathukamma celebration, referred to as 'Pedda Bathukamma' or 'Saddula Bathukamma', is the great culmination of the festivities and occurs two days prior to Dusherra.The present moment presents an opportune occasion to embark upon a visit to one's parental abode, colloquially referred to as 'puttillu', in order to partake in the celebration of cherished childhood recollections, the reuniting of familial units, the rekindling of relationships with childhood companions, exploring the environs of the village, and indulging in the aesthetic allure of the natural surroundings.

During the Pedda Bathukamma festival, it is usual for the male members of the community to procure a significant quantity of flowers for the purpose of constructing large-scale Bathukamma arrangements. During the nighttime hours, a significant number of women congregate at a communal location, such as a temple, open space, playground, or in proximity to a lake, among other possibilities. The Bathukamma festival involves the ritualistic carrying of all the Bathukamma floral arrangements atop the heads of participants, who then gather in the central area. Women and children, attired in traditional attire, join a circular formation and engage in the collective singing of Bathukamma songs. Additionally, they synchronize their steps, clap in unison, and proceed to circumambulate the Bathukamma arrangement in a circular manner. The main singer assumes a leadership role while the remaining individuals participate in the chorus and adhere to the established rhythm. The majority of Telugu songs encompass themes that depict the state's abundant cultural heritage, folklore, and traditional practices. The term used to refer to this is "Bathukamma Atta." Following the aforementioned event, women partake in a ceremonial parade wherein they bear the Bathukamma on their heads and proceed towards sources of water, such as lakes or ponds, predominantly observed in rural areas. In urban settings, artificial ponds are also constructed to accommodate the Bathukamma ritual. In the end, the Bathukamma festival culminates with the immersion of the Bathukamma floral arrangements into the water. At this stage, individuals partake in the consumption of a confectionary item known as "Maleeda," which is prepared using sugar and corn bread, and thereafter conclude their activities and return to their respective residences.Within urban areas, it is possible to observe a convergence of both traditional and contemporary customs. This amalgamation is evident through the use of sound systems to broadcast music, the introduction of novel dance movements, the presence of disc jockeys, and the collective revelry that embodies the ideals of genuine affection, solidarity, and camaraderie among individuals.

Special thanks to my friend Shri Vishwanth Polepeddi for sharing pictures related to Bathukamma.