Gondhal, an established religious practice of most of the castes in Maharashtra, is an educative, entertaining and important tradition. It is believed that if the Gondhal is performed in the house during auspicious occasions like weddings and thread ceremonies, then our life doesn’t become chaotic.

In order to obtain the blessings of Goddess Renuka or Goddess Tulajabhavani, devotees invite the family’s traditional Gondhali (artists who perform the Gondhal) and request them to perform the Gondhal in its entirety. Gondhal is one of those few important folk arts of Maharashtra that has become an inseparable part of the lifestyle of the people. It is said that the tradition of Gondhal originates from the homage paid to the Goddess Mother by Parashuram. The story goes that Parashuram killed a demon named Betasur, cut off his head, sowed his arteries and veins through the crown of his head and made a musical instrument out of it. Making a sound trinun trinun from that instrument, he went toward Goddess Renuka and worshipped her. Scholars opine that the Gondhal originates from this worship. The Gondhali believe that Goddess Jamadagni and Goddess Renuka are their ancestors, and Mahur is their place of origin. Some researchers have proved that Gondhal is an art, which is related to the Goddess who is the totality of all Being, and her devotees.

While tracing the origins of Gondhal researchers have found that they could trace veneration of Goddess Tulajabhavani back to before 1000 AD and that of Goddess Renuka to times even more ancient, and the origins of Gondhal were linked to those of Goddess Renuka. Samarth Ramdas has deduced that the origins of Gondhal can be traced back to the fifth century in Karnataka. According to him, one of the verses in the songs of Gondhal mention the currency kavdi which was extensively in circulation during the Kadamba family’s reign in Karnataka. Also, the tutelary Goddess of the Kadamba family was Tulajabhavani and Gondhal was prevalent then.

As time passes, this centuries-old tradition practiced with reverence has undergone positive as well as negative changes. One feels that the Gondhal of a decade ago was very different than the one performed now as the new generations of the Gondhalis with their increasing knowledge and changing times have incorporated many new changes in their performances.

The Act

A new unused cloth is spread on a low, flat rectangular stool decorated by rangoli from all sides. In the centre of the stool, a handful of rice grains are arranged into a square and a kalash is placed on it. On the stool are arranged several articles of worship like betel leaves, areca nuts, a clove of the root of turmeric, dry dates etc. The culms of Sorghum, which are dried for fodder is matted into the shape of a door and are tied on all the four corners of the stool. A circle of a several round pieces of paper is tied onto these doors. Torches composed of a stick with rolls of oiled cloth tied around it are lit and the Gondhal begins.

Gan: As with all auspicious occasions, Gondhal too begins with the Gan. Lord Ganesh is worshipped with the following verse penned by Saint Tukaram:

Ganraya laukar yave, Bhet sakalala dyave
Ale Ganpati nachat, Payee Ghagarya vachat
Angi Shendurachi uti, Keshar kasturi lallati
Sond firvito gomati, Naamalgaavcha Ganapati
Tuka mhane shodhuni pahe, Vitthal-Ganpati duja nahi

(O Lord Ganpati, come fast to meet your devotees
Ganpati has come dancing, with his anklets tinkling
He is covered in Shendur, Saffron and Kasturi on his countenance 
He swings his trunk entrancingly, He is Namalgaav’s Ganpati
Tuka says you can try searching, but you won’t find such a Vitthal-Ganpati)

Avatana: After the Gan, the thirty-three crore Gods and Goddesses are invited for the Gondhal. As per tradition, the Gods from the earth, heaven, and netherworld are invited to shower their blessings on their devotees with the following song:

Aai Ambabaichya navaana… udo udo
Mayecha nijrup Aaicha Gondhal mandala
Ude ude ga ambabai Gondhala ye
Moreshwar Gana…Gondhala ye
Satarchi Manglai…Gondhala ye

(In the name of Goddess Mother AmbaBai… Rise up!
Gondhal begins in the name of Goddess, full of compassion
AmbaBai… come for the Gondhal
Moreshwar’s Ganapati… come for the Gondhal
Goddess Manglai from Satara…come for the Gondhal)

All the important deities are thus called and the remaining miscellaneous deities are invited Rahile Sahile Gondhala Yave … which completes the program of inviting deities. Next, the Goddess is worshipped, praised and then begin the stories – some educational, some highlighting the greatness of Goddesses, some impromptu poetry, all of which is performed to the accompaniment of the strains of the sambal, tuntuna and the cymbals. This Gondhal of stories, music, and poetry mesmerizes all those listening.

Gaar dongrachi hava an, Baaila sosena Gaarva
Kunku, naral gheuni hati, Ya AmbaBaila vinvu kiti

(The cold wind blows from the hills, The lady cannot bear the chill
With Kunku, coconut, in my hands, How much do I entreat this AmbaBai)

Songs of this type have become more popular than others. Nowadays, the songs have been adapted to suit the changing times. Humour is incorporated into the songs to cater to popular demand.

Kaay karu mi ata baai, Mazhya nashibala
Mala milala navara mela, Nusta mhasoba

(O, fate, what do I do? I got a husband who is just like a bull

OR

Vaat lavliya mazhya sansarachi
Vadh maherchi hila vadh maherchi

(My family life is disrupted; my wife thinks only of her parents’ house)

Gondhali try to incorporate social messages in their songs like correct behaviour of mothers-in-law and daughters-in-law, respect for one’s father-in-law, dedicating mind, body and money for one’s family. The Gondhali make themselves eligible for educating the society through their smattering of knowledge on various subjects, their traditional knowledge, and close observation of the society and by treating everyone on par – the educated as well as the uneducated, the rich and the poor.

The Gondhal is more impressive than any other medium in rural as well as urban areas. In most societies, as it is the established practice of their caste, it has a greater spread and since it is performed in front of a limited number of people, it does not get the indifference that an auditorium performance may receive.

 

The institution of marriage is one of the most important institutions in the society. Social norms and peace are based on this institution. The tradition of Gondhal is important and necessary as it provides knowledge through experience and also indicates dangers coming in the future and gives a correct direction to the institution of marriage and family.