# When Woman Becomes a Goddess. By [Little Shepherd Network ](https://paragraph.com/@little-shepherd-network) · 2022-05-28 --- A sociopolitical examination of the Jagrata tradition for an upcoming independent feature-length documentary. This is a series of articles based on research through our pre-production process. A very limited number of NFTs will be minted. Holders of this NFT would be rewarded with extra benefits when our documentary is released through NFTs. The funds raised through this article will be used to realise our feature length documentary film. By Sunder Pal. **Introduction** In this article, the boundary between classical, folk, modern, and popular in the Jagrata tradition is largely dismantled in order to analyse and examine how their fusion with the past and present has, if at all, challenged existing viewing habits. Michel Foucault was a philosopher from France. When he spoke about European modernism, he presented a new way of conceiving the contemporary. This new way of thinking is called discourse analysis, according to him. According to him, discourse is a "thing of sequences," "a collection of statements," and, ultimately, "a system of representation." According to Foucault, discourse is not only about words but also how we see and experience reality. It exhibits the codification and comprehension of objects, topics, and experiences. I intend to grasp "Jagrata" by bearing in mind this broad analytical approach. This is accomplished with the enthusiasm of an ethnographer, not a historian. In this documentary, I will cover historical, legendary, and popular notions that have existed throughout history and have been explicated by philosophers and academics. Individual case studies will be included, as well as descriptions of the communities that support and organise these events. The primary objective of this documentary is to examine the significance of Jagrata in Delhi's urban life as well as to describe in depth how 'Devi Puja' (Mother Goddess worship) has become an archaic practise in the minds of the people and how it has affected the current sociopolitical life of city dwellers. In this video, I will try a critical examination of the expanding methods of Jagrata practised in Delhi, building on my own urban and rural experience with Jagrata. This study is also a record of my own observations and ideas about Jagrata during the past two decades. **The idea of the Goddess in Hindu mythology** In northwest India, the current Mother Goddess religion's rallying cry is "Jai Mata Di," which translates to "success to mother" in Punjabi. The worship of goddesses is one of the most prominent and visible religious phenomena in northwest India today. This cult is a regional variant of the pan-Hindu devotion to the goddess, which includes the names Durga, Kali, Chandi, and Amba. The Greater Punjab region consists of Punjab, Haryana, Himachal Pradesh, Chandigarh, and Delhi. She is also known as Mata. Her most common nickname is Sherawali (Lion Rider) (mother). Her cult is a synthesis of esoteric tantric rituals and conventional religious worship. The veneration of the divine feminine is one of India's oldest religious rituals. **Present context and shifting Positions** Jagrata is performed throughout the night to honour the holy mother for all the blessings and all the love she has bestowed upon her devotees. All of the world's major religions have authored prayers to the Supreme Being. Some prayers are intended to be whispered, while others are intended to be said aloud or sung. In Hinduism, there is also a vast area of devotional music. The majority of these songs were created thousands of years ago by rishis, munis, and other prominent Indian philosophers. Because the songs were typically written on dried leaves, it was difficult to preserve them. Despite the inherent anonymity of the authors, each century has contributed to this vast collection. Surprisingly, the vast bulk of their work has been transmitted from generation to generation by word of mouth and sheer popularity. In India's diverse culture, there are a number of distinct singing styles. In northern India, devotional music is categorised as Bhajan, Bhent, Mantra, Shlok, Kirtan, etc. The holy mother is invoked by singing loud devotional songs (Bhent) and is asked to bless jagrata/jagran. In modern Hinduism, Jagrata has grown into a popular culture that incorporates theatrical elements to some extent. A devotional hymn (Bhent) has been dramatised for the devotees. Present-day performances need substantial stage setup, costumes, live musicians, and acting training. The recounting of tales is one of the most important aspects of this jagrata performance (Tara Rani Ki Katha). Since the beginning of jagrata in Hinduism, it has been practised. **The Ritual Process and Performance** There are two types of jagratas in the Delhi region: those sponsored by a person or family for a small audience and those sponsored by an organisation or wealthy benefactor for a broader audience. The first is typically in fulfilment of a pledge or in celebration of significant family events, such as marriage, delivery, recovery from a major illness, moving into a new home, winning a lawsuit, or passing an exam, and is performed either in the home or in a tent on a nearby unoccupied plot. Usually, one set of performers is recruited for this sort of jagrata. As with a wedding, printed or digital invitations are regularly issued to friends and family, especially among the urbanised middle classes. Since the place is temporarily designated as Devi's temple, everyone is welcome to participate in a jagrata (darbar). Neighbors who hear the singing frequently stop by to honour the goddess and meet the host. The Vishal Bhagwati Jagaran, the second type of jagrata, is held on a much grander scale and is widely publicised in newspapers, billboards, and pamphlets. Multiple groups are scheduled to play in succession; the décor is more elaborate; and up to 10,000 people may attend. The relatively new Vishal Bhagwati Jagran is an annual event organised by a religious or secular organisation. In bigger communities, they seek the goddess' favour and earn honour by invoking her. Numerous organisations, such as the Sanatan Dharm Sabha and the Motor-rickshaw Drivers Union, support the yearly Vishal Bhagwati Jagran. The eighth day (ashtami), which is dedicated to Devi in her many forms, is historically Jagrata's favourite day. In recent years, Saturday night has grown in popularity as a result of the traditional work week. To be considered a jagrata, the ceremony must last all night, involve a lit flame (jot), and conclude with Queen Tara's report. Kirtan, Bhajan, and chauki are further musical styles strongly linked to jagrata. The ceremony begins with the lighting of a flame (jot), followed by devotional chants and the giving of holy food (prasad). A kirtan or bhajan session is often held in the afternoon for several hours and is favoured by women. The only difference is that chauki takes place in the evening and lasts for three to four hours. A jagrata meets the requirements for these performances, but not the other way around. Individually and collectively known as "mandali," Jagarata artists organise groups of five or more individuals to conduct rituals, sing devotional songs, and narrate stories. They are not regarded as professionals, but rather as devotees of Devi who engage in the practise as amateurs. The madali serves as an intermediary between the sponsor and the Devi. The Pradhan leads and organises the jagrata mandali, whereas the Mahant is the spiritual head. It is not unusual for them to be the same person. Some mandalis do not have their own mahant, but instead recognise someone from another mandali, typically from a distant city, as their mahant. Consequently, a mahant may have many mandalis in different regions that recognise him as their leader. Similar to classical music traditions, Jagrata mandalis are classed informally into gharanas or schools. However, additional mandalis are currently forming without a gharana connection. The Savaiyas execute the desi style, which is popular in Uttar Pradesh, Rajasthan, and Madhya Pradesh. The second type is Punjabi, where the Mahant wears a scarlet turban. In this style, there are two gharanas: the Kashi Mata Gharana and the smaller Mandi Gharana. Both are from Lahore, and there are no aesthetic differences between them. "Sharma is the only one who informed me about this classification, thus I am unaware of its prevalence." An individual joins a mandali by approaching the leader and accepting him as a guru. Mandalis' global composition is string. There are several casts, occupations, and ages represented. The bulk of mandali activists in Delhi emphasise the diverse composition of their organisations and the significance of caste in Devi worship. Jagratas were historically associated with certain castes, including Brahmins (priests) and Mehras (musicians). Currently, all castes are represented among Hindus, Sikhs, and, rarely, Christians. Kathleen M. Erndl describes a husband and wife of the lohar caste who were Christians as the most peculiar case she has encountered (traditionally a blacksmith, a low caste). They have their own madali, cassette recordings, and printed booklets with their "bhentan." Even though she is a Christian and was married in a church, the woman revealed to me that she worships Devi and plans to offer the first hair of her child to Jvala Mukhi, her chosen goddess (ist-devi). Bhentan refers to the devotional songs performed during a Jagrata. Their lyrics discuss the Goddess's enormous might, her triumphs in slaying the demon, her various temples and appearances, and the grace and favour she bestows upon her followers. Pakki (pure, solid) bhentan refers to songs sung to traditional folk tunes in an often archaic language, whereas filmi bhentan refers to contemporary religious lyrics sung to popular film tunes. Regarding the application of cinematic music, the madandalis hold diverse viewpoints. Some of them are pleased with it, while others are dissatisfied. Depending on the customs of a particular mandali and the wishes of the sponsor, the features of jagarat vary. Below is a list of ingredients that are usually believed to be required for a good jagata. When an individual decides to host a jagarata party, They approach the head of a mandali in order to select the date for the ceremonies and discuss the various requirements. In the larger mandalies, these items (samagri) and other superfluous instructions are listed on a written or printed handout page. At least in urban areas, loudspeakers and microphones are becoming increasingly commonplace, and they are usually available for rental through mandali. When the day is determined, the sponsor gives the head of the mandali a red cloth containing saffron-colored rice, raw sugar, a red thread, and 14 rupees. This contribution, known as Dal, serves both as an invitation from the sponsor and as a contract with the Goddess. I've met with a number of mandalis in the past, and they're all emphatic that once they accept the "dal," they're obligated to do the Jagrata on that day, even if a death in their family prevents Hindus from performing auspicious ceremonies. If the sponsor cancels or postpones the ceremony, the mandali is expected to carry out the jgarata at its own expense. According to one account, failure to do so would result in severe penalties, including seven terrible rebirths. The Jagrata begins between nine and ten o'clock at night and continues until six or seven in the morning. The sponsor designated a space in their house or constructed a tent outdoors for the darbar. Everyone must wash their hands and remove their shoes before entering. Sponsors usually rent a large mainiqense of the deity, which may include electrically moving parts and represents Seranvali on her lion, together with other gods such as Hanuman, Bhairo, Shiva, and Ganesha. The images of the goddess, on the other hand, are predominantly decorative. The 'jot', which is placed in the dough container with a thick cotton wick and fed ghee throughout the night, is the genuine representation of the goddess. As they enter or leave the jagrata region, worshippers kneel before the jot and make monetary offerings. Initially, a puja (worship) is performed in a jagrata by either the mahant of the mandali or a Brahmin priest who has been summoned for the occasion. Devi, Ganesha, and the nine planets are all worshipped. The mahant, or priest, then links the sponsor's wrists with a protecting chain and applies a red mark (tilak) on their forehead. The "enhancement of the flame" is the subsequent stage (jot prachand). While chanting mantras, the mahant suspends a piece of lit cotton from a pole above the jot till the flame falls and ignites the wick within. This dramatic moment is accompanied by shouts of "jay mata di" and "jaykara sherawali da: bol sache darbar ki jay". Due to the flame's empowerment, Devi has now appeared among the crowd in the form of a flame, prompting Jagrata to begin pleading earnestly. The turning of an ordinary room or tent into Devi's darbar elevates the sanctity of the location. The location's sanctity is limited to the duration of the Jagrata; thereafter, it reverts to its previous mundane life. After the 'jot prachand', bhetan singing begins. At least the first two pakkis are typical, praising Devi and all the gids, beginning with Ganesh. Then, cinematic music might be added. A devotee may make an ardas (offering) through the mandali at any moment throughout the jagrata. The mandali then says, "X rupees ardas, so-and-ardas, so's at ma's blessed feet; may his or her wishes be granted." The mandali acts as an intermediary between devotees and Devi, accepting contributions on her behalf. In addition, the money is contributed as a token of appreciation for the mandali's efforts. Consecrated food, such as sweets or salty snacks, as well as tea, may be delivered to the audience many times during the night after being offered in front of the altar. In between the bhentan singing, the mandalis offer speeches and narrate tales. Personal accounts of miracles performed by the goddess may be included. The sacrifice of Daksa and the establishment of the "shakti pithas," the slaying of Mahishasura and other demons, and the wedding of Shiva and Parvati are all examples of classic stories. Approximately halfway through the jagrata, the four night watches (pahas) are described in verse or prose. In the second watch, one obtains the light of wisdom (buddhi), food and wealth (aan-dhan), devotion (bhakti), and libation if one worships Devi during the first watch (mukti). Then, a lyrical recitation of the sixteen kalash, the sixteen consecutive entities that form in the cosmos, follows. This cosmogonic sequence acts as an introduction to the more immediate charter myths of modern times. The sponsor then delivers coconuts to Devi by holding them over the fire until they begin to burn. They will be broken and served to the audience as if they were holy food. One of the several explanations for why coconuts are supplied is presented. The most prominent and well-known of these fables is that of Dhyanu Bhagat, a semi-legendary devotee of the sixteenth century who severed his own head, delivered it to the Goddess, and received a blessing from her that a coconut would suffice in the future. Possession by deities is a possibility at the Jagrata. Typically, Devi possesses the unconsciousness of a female devotee. Nonetheless, such possession can happen at any time. In my experience, I have typically observed it late at night during times of intense singing and drumming. Possession is characterised by glazed eyes, rhythmic circular head movement, ecstatic dancing, and speaking in the voice of Devi, who is described as "playing" (khelna) in the individual. In rare circumstances, such objects are venerated as embodiments of the Goddess herself and become central figures in their own mythologies. The recitation of the story of Queen Tara, the charter myth, is the most important aspect of the Jagarat; without it, the jagrata would be insufficient. It is either stated in prose or sung in poetry, and it is intended to end just before sunrise. Depending on how many songs are interwoven and how many episodes are covered, the narration might take between one and three hours. The section that follows includes a summary and analysis of the tale. After telling the story of Queen Tara, an aarti is done, which consists of waving lighted oil lamps clockwise around the temple while singing "Jay Ambe Mata." At this stage, 'Havan' (fire sacrifice) and 'Kanya Puja' are two optional ceremonies (worship of young girls). Sponsors deliver a red turban and a sum of money, such as 2001 or 5001 rupees, to the head of the mandali. At the conclusion, the jot is extinguished and holy foods like halva (flour pudding) and chana (spicy black chickpeas) are distributed. The throng is at its peak during the first two hours, and then again in the morning for the finishing ceremonies and food distribution. The most effective way, however, is to remain awake throughout the entire jagrata. **About the writer** Sunder Pal is a self-employed artist and entrepreneur from India. He is now pursuing a doctorate in performance arts. VILOM, 2020 is an indie film made by Sunder Pal. He is also passionate about writing about art, culture, theatre, and movies. If you want to get in touch. I am @sunderlovely on twitter. --- *Originally published on [Little Shepherd Network ](https://paragraph.com/@little-shepherd-network/when-woman-becomes-a-goddess)*