Folklore, Religion, and Good Storytelling

It’s a strange fact of modern life that we like to sanitize whatever we can to avoid offending people. This is necessary for the most part, of course, because when dealing with research and writing about another culture or belief system it’s paramount that the subject be treated fairly and sensitively.

But there’s another challenge that confronts the researcher in the presentation of folk materials: whether or not to sanitize the religious associations when discussing a story or folk tale. In many epic myths from around the world, things simply don’t happen in the story without the intervention of the gods. Can you imagine how short the Odyssey would be if Odysseus wasn’t tossed about the Mediterranean by Poseidon? Could we have a popular story like Dracula if the main character hadn’t renounced God and become a servant of evil? How short would Wagner’s “Ring” cycle be without entire operas devoted to the activities of Wotan?

OK, that last one might not be so bad.

But many of these are past traditions, and those gods are no longer worshipped (except in the case of Dracula, of course). When dealing with living traditions things get trickier. In The Legend of Ponnivala, for example, very little could happen without the intervention of divine forces. The accidental killing of sacred cows in the first generation wouldn’t lead to the cursing of an entire family line, because there would be no Shiva to become angry. Kunnutaiya wouldn’t be revived by Vishnu, because there would be no Vishnu in the story. But he wouldn’t die anyway, because there would be no Gates of Heaven for Kunnutaiya and Tamarai to journey to in the first place.

There is a big difference, however, between a sacred text like the Vedas and a folktale. For one thing, gods are frequently presented in folk tales as characters, but primarily they’re like forces of nature. Things happen because of them. Second, the other characters in the story are rarely presented with a simple moral dilemma. Instead, every move they make, and every consequence they face, is the result of a decision. These ethical dilemmas, and their reward or punishment at the hands of divine forces, are the driving force behind the lessons of folk tales. And so, even with the involvement of gods and goddesses, the tales are less about theology and more about how the human characters handle the challenges placed before them.

With this in mind, how do you think researchers and storytellers should treat religious motifs in folk stories? Should the involvement of gods and godlike characters be eliminated, or celebrated as part of the mythology that informs the life of the culture the story reflects? Post your comments below.

The Meleager Story and Ponnivala

In a recent post, we discussed the similarities between The Legend of Ponnivala and the Calydonian Boar Hunt from Greek mythology. In both stories, the giant boar was sent to ravage the farmers’ land in revenge for a great insult. And in both stories, twin warriors figure very prominently in the battle (in Ponnivala they’re the heroes, while in the Illiad they’re helpers on the hunt).

There is, however, another set of curious parallels that bears some interesting discussion. One of the reasons Artemis is so insulted by Oeneus’ neglect of a sacrifice is that she is the goddess of the hunt, while he is a farmer. Although in Greek mythology these castes are not always as opposed as they can be in Indian tradition, this parallels the basic reason for the fight between Komban and the kings of Ponnivala. They have stolen a parrot, which provokes the vengeance of the forest princess Viratangal. In the war between the farmers and the hunters, Komban is a major combatant on the side of the hunters.

A similar theme occurs where Atalanta the huntress joins Meleager’s hunt (it’s her arrow that kills the boar). Despite generally accepting her skill, the other farmer/warriors of Calydon don’t trust this forest dweller. In the Roman version it’s assumed it’s because she’s a woman; in the Greek version, hero females who follow Artemis are quite common, and the aversion appears to be because of her caste as hunter. Following the hunt Atalanta is awarded the boar’s hide, which is an insult to Meleager’s farmer uncles. In the ensuing fight the uncles are killed, and their sister, Meleager’s mother, curses him and he dies.

Meleager’s death causes his sisters (called the “Meleagrids”) to weep so profusely that Artemis takes pity on them and turns two of them (Eurymede and Melanippe) into birds. This isn’t a direct parallel, but in Ponnivala the two parrots who live in Tamarai’s nose while she meditates outside Lord Shiva’s chamber also represent an avian pair that has a great deal to do with the fate of the heroes. Their separation at the hands of Ponnar and Shankar is what incites violence between the forest kingdom and the young kings.

Are there other instances in folk tales or myths when differences in occupation or social caste is an underlying force in personal or political conflict? Share your thoughts below!

Dr. Beck Attends Veerashaiva Samaja Meeting in Mississauga

Veerashaiva Samaja of North America Meeting in Mississauga, May 14, 2012

Organizer Vijay Aivalli addresses the audience.

Brenda gave a presentation to about 30 families at a local Catholic school in Mississauga on Mother’s Day at a meeting of the Veerashaiva Samaja of North America. She decided to show a video version of one part of The Legend of Ponnivala called "Gateway to Heaven"; a shortened 30-minute excerpt taken from Series One, Episodes 12 and 13. She chose this because it tells the story of Tamarai’s twenty one year pilgrimage to Lord Shiva’s Council Chambers high in the Himalayas. There she obtains the grant of three very special children from the great Lord himself. She also returns to Ponnivala with a pot of magical water that bestows this wonderful gift of fertility with everyone in the kingdom. All the beings in Ponnivala “capable of drinking water” get pregnant from this moistening after a long spell of barrenness.

Musical prayer to Guru Basavanna

Brenda thought it would be an especially appropriate sub-story to share on Mother’s Day. The video was well received and many people told her how much they had enjoyed the presentation and her brief comments afterwards. In her comments she stressed the correspondence between Arjuna as he prays to Shiva asking for a great weapon of war (the Pashupata) in the Mahabharata and Tamarai who stands in exactly the same spot to ask for sons! One can almost say that Arjuna shows up in this story as a female! And that instead of being given a weapon for fighting war she is gifted three children. These are her “weapon” one might say, as they allow her family line to continue to rule. Her sons will protect her family in the future and her daughter will lend them her magical power.

Yes, the women in this epic are very strong--it is a lovely and very different Mahabharata, a great legend reworked and reinterpreted through a regional lens.

Dr. Beck receives a certificate of appreciation from
event organizer Vijay Aivalli.

Vijay Aivalli was a key organizer of the event. Vijay spoke to the crowd and also presented Brenda with a certificate of appreciation and a small gift. Brenda’s talk was followed by an excellent musical prayer session addressed to Guru Basavanna a 12th century teacher, statesman and social reformer from Karnataka. The crowd was mostly made up of Kannada speakers. The scholarly author Teri Degler also spoke about the life of the female Kannada Shaiva saint Mahadevi Akka towards the end of the evening. Her talk paired nicely with Brenda’s kick-off video. The two presentations blended well together and helped to accentuate the female focus of this Mother’s Day Veerashaiva celebration. The evening ended with an excellent feast made up of authentic Kannada foods.

Odin’s Ravens and Tamarai’s Parrots

In The Legend of Ponnivala, Queen Tamarai must do penance by sitting in meditation for twenty one years before being permitted to take counsel with Lord Shiva. During this protracted meditation, two parrots take up residence in her nose. Before Tamarai awakens the parrots are shooed away by Lord Vishnu, and seek refuge in a forest kingdom under the protection of Viratangal.

The idea of birds nesting in someone’s nose seems a bit strange to Western readers, but there’s some significance to this occurrence when Eastern alchemy is considered. It is believed that when one enters a deep state of meditation, the physical body actually becomes hollow, making a potentially suitable residence for something like a bird (if the meditation is long enough).

Birds often represent some aspect of the spirit or mind in various mythologies, and this is even more important when we realize that many species of parrots mate for life. So it is that the parrot couple, husband and wife, are symbolic of family and marital loyalty. When their bond is disrupted by the capture of the wife-bird by Tamarai’s sons, Ponnar and Shankar, a war results, bringing an end to the family dynasty.

In Norse mythology, Odin; father of the gods and ruler of Asgard; had a pair of ravens named Huginn and Muninn. Their job was to fly around the world during the day and return to Odin in the evening with news of what was happening on Earth (Midgard). Their names mean “thought” and “mind” (or “memory”) respectively, and it’s believed that they represented these aspects of Odin’s daily meditation. While the lord of gods meditated, his thought and mind ventured out to open his consciousness to the goings on of the world under his protection.

Huginn and Muninn also represent the ideas of the fylgia; a supernatural companion that takes animal form in order to accompany a person in relation to their fate or fortune; and hamingja; the personification of the good fortune of a person or family, often in shape-shifting animal form as well. This ties the connection together nicely, as the fortunes of the ruling family of Ponnivala, as well as their enemies, are intimately tied to the treatment and deeds of their close animal companions.

Are there other mythic examples of birds representing these aspects of the mind and spirit in meditation? What about other duties they may be assigned? Share your thoughts below.

Naming a Legend

Although there is no "real" place in India called "Ponnivala," we have chosen to use this poetic name to refer to our retelling of this ancient Tamil epic. But how did we arrive at this title?

Traditionally our story is known by the name "The Elder Brothers' Story," which refers to the brothers Ponnar and Shankar, who are the elder brothers of a third triplet: their sister Tangal. The story, however, is vast, and includes the history of the land in which these hero-brothers were born, and their lineage from the founding of their family line with their grandparents Kolatta and Aryanacci.

"Ponnivala" is our unique way of shortening the Tamil word Ponnivalanadu to make it more accessible to English speakers. Deep in the interior of Tamilnadu lies a plain called Kongunadu, through which the Kaveri River flows. Because Ponni is another poetic name for this beautiful river, we've translated the meaning as "The Land Where The Golden Kaveri River Flows."

What Is The Legend of Ponnivala?

The Legend of Ponnivala is a vast epic story, once widely celebrated in the Kongu region of South India. It is a gem of Tamil storytelling, and a tale normally sung by bards. The Sophia Hilton Foundation of Canada, in association with Soft Science, has produced a twenty-six episode animated DVD series with accompanying print and digital comic books and teaching guides.

The colours and character designs in these short graphic novels present the reader with a new style that is not Manga, not Disney, and not Bollywood. Instead, each page draws inspiration from authentic, traditional Indian folk art. Akin to a regional Mahabharata, this significant and hitherto largely unknown folk epic describes life in medieval South India. Because of the legend’s authenticity, depth, and extensive social significance, this story can be enjoyed at many levels. Building on 45 years of scholarship by Dr. Brenda Beck, it is anticipated that all 26 comic books will hold the interest of kids, families, and even attract academic scholars. In fact, one elementary school student from New Jersey wrote:

I read the entire set of books in 3 days.
The Legend Of Ponnivala was a very interesting, happy, and fascinating story.
I liked the book titled 'The Book Of Fate' the most.
My favorite character was Tamarai. Your stories are excellent.
Thank you for the books.
~ Janani S. (2nd grade), Metuchen, NJ

Locally the epic is known as the Annanmar Kathai, or "The Elder Brothers' Story," and is named for the principal characters of the third generation, the twin brothers Ponnar and Shankar. Like all good folk epics, Ponnivala takes place in the real world, with locations and landmarks that still exist today. Yet its great age (easily over 500 years old) provides a remarkable insight into the society and culture of medieval India, especially as played out in the Kongu region of Tamilnadu.

New releases planned for 2012 include Tamil, Hindi, and French language versions, and “Ponnivala Parcheesi," an educational game intended to provide teachers with fresh comparative material, for use in the classroom or lecture theatre.

These comics (and their video counterparts) provide viewers with a fresh and informative folk perspective on South Asia’s pre-colonial history. The material also has great mythological and cultural appeal.