WHEN DOES A SIMPLE BOUNDARY STONE SPELL TROUBLE?

We now enter a new era, so to speak, in The Legend of Ponnivala story. The immigrant farmers have already arrived and are ready to settle in. And, after the happy outcome of Vishnu’s impressive ceremony, they are able to claim a legitimate god-given right to bring the lands of this remote region under the plough. These same plough-wielding farmers also have the clear backing of the powerful Chola king. After all it is he who has sent them to this area in the first place. These men are thus doubly empowered to begin their new way of life in, what is to them, a new land known as Ponnivala.

The Chola king’s influence does not stop with his gift o the lands of Ponnivala to Kolatta, however. He knows that his favourite and loyal ploughman who came to him from Vellivala has eight younger brothers. He wants to ensure their prosperity as well. So the Chola grants them rights to an adjacent territory known as Tangavala. All we know about Tangalvala from the story is that it lies right next to Ponnivala and that the land there is not quite as good. It also does not seem to be a large place. It is certainly not larger than Ponnivala. And so asking eight brothers to share that, while Kolatta, the eldest gets a very fertile and large area all to himself might seem a little unfair. None the less, the Chola king proceeds with his plan. The brothers get together and set up a boundary stone to mark the line that divides Ponnivala from Tangalvala. That is that. In this clip we see that stone being planted. There is an inscription on it that simply demarcates the two territories. The clip is a simple one. But it set in motion a jealousy between brothers, and especially between their descendents. Those males of the next generation, male cousins sharing the same lineage, will be rivals throughout the story. Perhaps the Chola king did not have much choice. Nonetheless, his decision to divide the land in this unequal way will be the cause of much animosity in the future. Although this cousin-to-cousin enmity does not provide an exact parallel to India’s great epic, the Mahabharata, the rivalry between cousins set in motion here, will nonetheless become a prominent theme in a number of episodes to come!

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 21 ==>

<== Read Part 19

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

IS THE OUTCOME OF LORD VISHNU’S COVENENT FAIR TO ALL?

I have essentially already answered this question in the negative, in several previous blogs. However, the actual contract Vishnu imposes on these farmer–artisan rivals is worth reviewing in detail. It is that contract which I will discuss in more depth here. Vishnu starts the clip by publically declaring that the lands of Ponnivala will now be given over to the newly arrived farmers so that they can create fine, ploughed fields. He then lays out the exchange rules. These are to consist of a mix of two kinds of payments. One the one hand each farmer will pay four measures of grain to an artisan every time he accepts a new plough from that craftsman’s hands. But then there will also be a second kind of payment, 3 more measures as a yearly retainer. In return for that the artisan must keep that farmer’s existing ploughs in good repair. And finally, a farmer must supply his artisan-ally with enough dairy produce to sustain his family comfortably. The artisans show their respect to Vishnu and promise to obey his words.

In a broad economic perspective this is a “fair” arrangement between families on the two sides of this farmer-artisan divide. The craftsman gets rewarded for each specific piece of work (a new plough) that he delivers. But he also is given some security against drought, famine or an economic downturn. As in a sort of “pension” arrangement he is guaranteed three measures of grain a year, plus ample dairy produce to feed his family. This exchange plan guarantees a traditional patron – employee relationship will likely persist between two families over long periods of time. After Lord Vishnu makes his pronouncement he declares that all these exchange rules have now been properly defined and publically declared. From now on his will shall rule. Everyone then pays the great god their respects and he graciously takes his leave. A new order has just been established in the land of Ponnivala. How well will it fare? What new challenges now lie ahead for both rival groups? These questions will provide a core theme around which I hope to design many future blog posts. 

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 20 ==>

<== Read Part 18

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

WHAT ALLOWS THIS FARMER TO ESCAPE HARM?

This next clip begins with a view of the neat layout of eighteen ritual offerings on a large cloth. Soon several artisan arms (that we know belong to the artisan’s side in this contest) are then seen picking up the four swords lying there. But now the scene is interrupted by a brief conversation. In this exchange, the words spoken between two lead artisans, both holding swords, provides reinforcement for several points made in my last blog. In this conversation we hear the artisan who is closest to the viewer express anxiety by saying “Oh, this will be tough!” He then asks his associate sword thrower what plan he thinks Lord Vishnu has in mind. Of course his query implies that there may already be some grand scheme or outcome in place. The second artisan then replies, “I don’t know, but whatever it is, it must be for the good of all!” This settles the issue. As anxious as they may be, the artisans’ have now expressed their consent. Whatever will happen in the contest ahead they will not question it, let alone voice any suspicion that the outcome has already been “fixed.” These men are trapped by circumstance. Perhaps “fate” is the right word to use here. Vishnu will steer this event to its conclusion. The will of this great god is going to rule, no matter what. The artisans will try to cut off Kolatta’s head as he rises out of the earth, but realistically, their heroic efforts are very unlikely to affect the outcome.

Next we see Kolatta being placed in the earth by Vishnu. He uses a magical beam emanating directly from his right hand. A crack opens in the center of a cleared ground ringed by observers. Now the lead farmer is made to appear in the soft light of that shinning beam, deep down inside the soil. Kolatta is seen in a praying position, with his hands placed together and his eyes closed. He knows that only Lord Vishnu can determine the outcome of this fearsome test. His life is now in the Lord’s hands. As he starts to rise and his head appears above ground the four artisans throw their swords, one by one. But all four weapons stop short of cutting his neck. Instead they come to rest in a way that forms a neat square that is almost a garland. They also come to rest on four neatly defined sides of their intended victim, as if dangers emanating from having come from all four cosmos by some magical force. The farmer is safe! All the preliminary signs have pointed to something like this. We viewers knew it would happen.

The narrator interposes an explanation here. He articulates a perspective that falls in line with the general biases of this legend. Vishnu feels there should be a “balance” achieved between artisans’ existing rights and those now to be given by the Chola king to a group of newly arrived immigrant farmers. Vishnu declares that the artisans have lost their bid and that they will now have to accept food from the farmers, in return for the fruits of their own skilled labor. The outcome seems fair. But is it really? We will see how the artisans’ discomfort with this new arrangement will surface several times in later story episodes. What seems to have been put “to rest” by a great ceremony will simmer underground for a long time. A revolutionary socio-economic system has just been imposed on the Ponnivala area. It is to the farmers’ benefit, no doubt. But the artisans will continue, throughout the story, to feel that they have unfairly had to cede both status and power to a much of immigrant rivals, due to a most unfair twist of fate.

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 19 ==>

<== Read Part 17

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

SHOULD THE ARTISANS AGREE TO VISHNU’S RITUAL TEST?

This clip actually precedes the previous one. I have chosen to discuss these two excerpts in reverse chronological in order to clarify the “set-up” these artisans are faced with, first. It is now appropriate to ask why do they agree to this contest? After all, they walked out of the Chola palace in protest. Why don’t they walk away from this ritual as well?

The answer seems obvious from the artisan’s behaviour. They worship Lord Vishnu and call out his name the moment that he (magically) appears. These men then listen to the Chola’s question, put to the great Lord, about to whom he should grant the power to rule over the lands of Ponnivala? The biased “set up” becomes even clearer now. The king has been clever in his decision to call on Vishnu. He knows that no one will contest the power of this great god or question his choice of a dispute resolution mechanism. 

Once again, in this clip, the artisans attempt to say “no” to the king, but they speak in vain. Vishnu follows the king’s statement of the problem by saying that he himself has chosen the ritual means to be used to resolving the issue at hand. The great god even uses the words “this is my covenant” to pronounce his firm decision to all preseent. And he even goes so far as to explain the outcome to the artisans. If these craftsmen fail, they will have to accept their food from the hands of the farmers (which they will find demeaning). Nonetheless, the artisans must show deference to Vishnu. They have no choice. He is the great god. So they bow to Vishnu’s edict and hope for the best. Everyone is now holding their breath.

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 18 ==>

<== Read Part 16

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

WHO IS GOING TO WIN THIS KEY CONTEST: THE FARMERS OR THE ARTISANS?

The story now reaches a crisis point. Lord Vishnu himself is calling for a formal ritual confrontation between the two contestants in this major socio-economic dispute. Everyone has gathered at the ritual ground, right at the edge of the Kongu (Ponnivala artisan) territory. The location is next to the great Kaveri river. There is a ceremonial platform (mandapam) already here. The place has been used for ritual gatherings before! The mountains in the background proclaim that we are up river from the Chola’s place, near the ring of hills that encircle the Kongu area. All three kings (the Chola, Chera and Pandya) are standing on the ceremonial platform when Lord Vishnu makes himself visible (a preliminary event not shown or discussed until post 1.17). The great god first announces that the Chola King wants to give the Ponnivala area over to a group of farmers to plough and to plant, but that the artisans have refused. His tone alone suggests that he disapproves of the artisan’s stand and that he backs the Chola’s plan.

Vishnu then proceeds to announce the terms of the contest. Interestingly, there will be eighteen offerings presented t the gods. This is the first time that an elaborate set of offerings is mentioned and although there is no Brahman priest present, it does suggest the ritual “tastes or customs” associated with the worship of a pan-Indian, high status god. All the offerings are of assorted flowers and fruits, but there are also four swords laid out with this display, an addition that would certainly be part of the display at a standard vegetarian ritual. These swords imply the possibility of a sacrifice, and of the blood that would ensure. Also, in terms of manpower, the sides are equally matched. There are nine farmers and nine artisans ready and waiting.

Lord Vishnu now announces that he will cause the lead farmer, Kolatta, to rise up out of the earth. The best fighters among the artisans, four in total, are to have one chance each to throw a sword and try to cut off Kolatta’s head as he rises up. Of course the fact that Kolatta is to be placed (magically) underground and made to rise up out of the earth is symbolic. These are farmers. They have already been “born” or created once in the land of Vellavala. Now there will be a second “origin” myth of their birth from the earth. Here their leader will rise out of the land, where as earlier the whole group appeared to descend from the sky. Furthermore, that first birth was from the hand of a goddess, now this second one with be from the hand of a god. The farmers are thus given two “sacred” or divine starting points. The artisans, by contrast, have none. This is one of many indications that the Ponnivala story has been “tilted” in favour of the farmers, at least in the version being retold here. Furthermore, the artisans are not warriors or even fighters by habit. They are skilled makers of swords, yes, but not skilled users of this vicious tool. One can already guess who will win this contest. But how will this be accomplished? That will be the subject of my blog post 1.18. But first, in 1.17 I will briefly ask why the artisans agree to this means of dispute resolution in the first place? After all, they must already sense the possibility of failure, given terms that do not play to their strengths. This is something like the choice of a mediator in a modern dispute resolution setting..... a choice that one side in the controversy suspects is biased!

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 17 ==>

<== Read Part 15

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

WHAT SOLUTION DOES LORD VISHNU PROPOSE TO THE WORRIED KING?

The Chola king is faced with a difficult political problem. He wants to send a group of his best plough-wielding farm workers to Ponnivala, an outlying area where he has little control. He wants them to settle there and bring the land under cultivation by cutting down trees and creating a wide open, fertile landscape. Essentially he wants to create a new area yielding economically valuable crops that he can tax. But the artisans who are living in the area now (and probably have been there from time immemorial) are refusing to allow this. They currently control the territory and they want to keep it that way. Short of going to war and trying to conquer the area, what can this Chola king do? Answer: He calls upon Lord Vishnu for support!

Lord Vishnu appears to the praying king, riding his conventional vehicle of choice, his personal Garuda (a mythical man-bird combo). He has all the traditional attributes of the great Hindu Vishnu. The Lord has bluish skin, four arms that hold several items that clearly state his identify, and more. There is no need to discuss his importance further at this moment. What is clear is: a) Vishnu comes immediately at the ruler’s call, b) he listens to the Chola’s explanation of the problem, b) he listens sympathetically and says that he understands, c) he proposes a solution via the use of a ritual. The nature of that ritual and its stunning outcome will be the subject of my next blog post.

The king’s main motive is to “reward” his favoured labourers with land and to benefit from their potential ability to open up a new area. But one could also add that the king, too, sees these ploughmen as essentially outsiders. They have come to him from the Vellivala area, as strangers. He now wants to move them on, by sending them to Ponnivala. These men are true “migrants.” They have had to move from their first area on account of drought and famine, now they are being asked to move from a second and start “all over again” for a third time. This is a theme one can use to link this story to present-day problems. Can the students identity with these farmers as skilled workers, migrants for years together, who are now in search of a homeland where they can to settle, apply their skills, gain respect and raise families in peace?

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 16 ==>

<== Read Part 14

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To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

HOW DOES A LEAD ARTISAN RESPOND TO THE KING’S PROPOSAL?

This blog continues where my 1.13 post left off. Here we see that the artisans who have been called to the Chola king’s court have dutifully traveled all the way from Ponnivala to appear before him. The audience of onlookers fills the room. Representatives of those 56 powerful agricultural families mentioned in my last blog are surely there. Territorial rights are very important to them and they want to see the king back the farmers in the stand-off they expect to witness between their King’s nine loyal ploughmen and the Ponnivala delegation.

The king starts with his well-chosen words of praise for both sides. His own workers are skilled ploughmen whose skills produce neat furrows that form straight lines. Their work produces much wealth (a matter of key interest to him) and their presence will cause the land (and his economic networks) to flourish. By implication the audience understands that the pre-existing way of life in Ponnivala is neither neat nor very profitable (for him). Nonetheless he praises the artisans for their skill in making beautiful and useful things, items such as ox carts, stone carvings and jewellery. The king sees these two modes of livelihood as “best kept distinct.” He is not talking about caste differences (marriage rules and food exchange matters) but strictly about the means of production and of payment. When his friend and equal speaks next this interest in the social foundations of his economic system become clear. This high-status associate (likely a Pandiya or Cera king from a neighboring territory) makes it clear that these three rulers want to see a polity where the artisans are service providers. They are to make things on demand and be paid accordingly. Implicit in his statement (as we will see spelled out further in my subsequent blog posts), there lies a broad economic vision: the farmers will produce food while the artisans will be skilled manufacturers essentially doing piece work. The farmers will be expected to hand over agricultural produce, in fixed quantities, to artisans in return for their goods and services. These payments will be measured and countable.

The artisans understand, of course, but they cleverly do not reply to these kings using the same framework. They know that, in this worldview, handing over objects they have manufactured in exchange for fixed payments will be demeaning. It will lower their social standing. Instead of being proud and independent, as they are now, that they will become like servants. They will become subject to the whims of the farmers’ need for specialty items, and even to their willingness to “pay.” So the artisans speak of their existing identity, their residence in and control of a known territory: Ponnivala. This is a political argument, not an economic one. In turn they speak of their social identity vis-a-vis the Chola’s ploughmen. Speaking from the perspective of these current Ponnivala “rulers” these men are outsiders. The Chola’s farm laborers are without territorial claims in their beloved and beautiful area. The lead artisan, who speaks for all of his colleagues, then adds a little taste of insult, a social put down that reflects his own feelings of superiority: These men, he blurts out, are nothing more than a “hungry and impoverished” bunch of ploughmen.

The argument last for three days but the artisans will not back down. Finally they stage a “walkout.” The king and his supporters are left in turmoil. What should they do now? The Chola’s decision about what to do next about this intractable problem will be discussed in my next blog.

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 15 ==>

<== Read Part 13

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com. 

WHAT IS THE KING’S RESPONSE TO A WARNING?

This is a key clip because the Chola king’s associates clearly warn him, in advance, that his plan to give the lands of a place called Ponnivala to nine loyal farmer brothers may bring trouble. But, as we will later see, the king proceeds to execute his plan anyway. The king’s associates tell him that the area is already occupied by a group of artisans and that they may object to losing control of the lands they are currently using for their own sustenance and livelihood. Of course these “friends” of the king are right. Why would they welcome newcomers whose clear objective is to take over their own territory (which was likely communally managed)? The Chola king has an interesting response. He orders an assistant to call all the resident artisans to a meeting at his palace. But he also orders all the 56 powerful families in the area to attend. It is not quite clear who these powerful families are or where they really come from. But they are likely all (or at least mostly) farming households located in places closer to his palace, since we have been led to believe (assume) that there was no plough-based farming within the Ponnivala area itself at this time. What kind of meeting can this be? Surely the Ponnivala artisans will feel pressured and also outnumbered by these many strangers that the king has called to a meeting with them, a meeting in a distant palace that will seem strange and uncomfortable to them.

In essence we can say that this king is “blinded” by his own ambition to expand his farming empire. He wants to send nine loyal ploughmen into Ponnivala precisely to convert its (likely open scrub forest) landscape and bring this still-marginalized area under a new ecological regime: wide-scale crop-based cultivation. The king clearly “stacks the deck” in preparation for this meeting important. How can a small band of artisan, who undoubtedly have walked miles and miles to reach his palace, speak up freely in such an alien atmosphere? Will they be brave enough to express their views and ask for their rights in such an atmosphere?

In teaching this particular clip one can easily refer to modern “citizens’ meetings” called by government officials to gather public input on a new economic policy destined to affect a particular area (say new mining activities, a new pipeline, new windmill construction or whatever). Often the scene that develops is quite similar to the one we will see in the Chola’s own palace courtyard. Meetings then, as now, can be “stacked” with those recruited by the government side. Afterwards the officials preset hope that they will be able to report that little or no resistance to the new idea was encountered. In reality, however, the citizens may have felt too intimidated to speak up. However, nowadays, citizens’ protests at such events are often common as well. What will happen in this ancient story, one may ask? How was the fear of local protest handled way back then?

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 14 ==>

<== Read Part 12

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com.

WHAT LAND GRANT PROPOSAL IS THE KING DISCUSSING?

Again, like the last few video clips (blog 3 1.11 and the several postings preceding it) this Legend of Ponnivala excerpt is quite simple in its basic construction. This makes it a good “teaching clip” for younger students. This particular scene conveys just one key message: the king has had a very prosperous growing season. The harvest has been abundant. The fields are lush and green. The king’s explanation for all this beauty and wealth around him is straight forward. He attributes it all to the skills and hard work of the nine farmer-brothers from Vellivala who happened to seek out his goodwill sometime back, because of a drought in their own Vellivala region. He had agreed to hire them and clearly he now feels that he made the right decision. Somehow these men’s presence was auspicious. They had brought him good luck. In exchange the Chola king wants to show his gratitude by giving them land in an area called Ponnivala. We have not learned much about this area from the story, yet. But Ponnivala must lie at some distance (upstream) and the king must have a reason for choosing this particular place. Likely his reasoning has been influenced by three (unspoken) factors: 1) He trusts these nine men to work hard, 2) He believes they will make good envoys who will be loyal to him because he has shown them generosity and kindness, and 3) He hopes these men will help fulfill his broader ambition to expand his own territorial influence and thereby further enhance his own good name. Clearly this king believes his generosity will make a good impression and solidify the bond he now has with these men. He is in the process of transforming them from loyal workers into loyal political allies.

There is also a possible incongruity in the king’s reasoning. Why did these men’s earlier farming efforts in Vellivala come to naught if these men are all such good farmers, and when their presence the king’s own local area has been so helpful? Why did the first situation end in both drought and a terrible famine, while in the second there is record prosperity? Could could these men have brought abundance to the Chola’s lands, but have failed to do the same in their own homeland? The story is mute on this important point. However, one possible explanation may be that the big drought in Vellivala was due to trying to farm this “Eden,” a place of forests and the story’s own primal landscape. Maybe Eden is a place of “nature,” without farms and without ploughs? There is a certain amount of evidence from details that surface later in the f=story to suggest this interpretation and way-of-thinking. And, furthermore, there is no goddess temple ever mentioned, neither built or pre-existent, in Vellivala. These men did not worship their creatrix, nor did they build a temple honouring one of her multiple earthly stand-ins. They could have chosen from an abundant pantheon of Hindu village goddesses to worship, all of whom are understood to be earthly “reflections” of the goddess Parvati herself. Perhaps the men were deficient in not doing this? Or, from a more secular standpoint maybe, these farming men needed to “make contact” with a wider society outside of their Eden, their birthplace? Maybe they needed to find a king and gain his trust? Maybe plough-based farming is not something wild and natural but rather a way of life that better suited to large-scale settlements, business, trade, hierarchical relationships and a more sedentary life-style? The story is silent on these much wider but obviously important issues. Where there is silence... we can only speculate.

Signing off for now,

“Blogger” Brenda Beck

The Sophia Hilton Foundation of Canada

Read Part 13 ==>

<== Read Part 11

Have you experienced The Legend of Ponnivala on TV or in print? Let us know your thoughts in the comments below!

To find out more about The Legend of Ponnivala -- the legend, the series, the books, and the fascinating history behind the project, visit www.ponnivala.com.