Transcontinental Times

Sriwijaya-Nalanda Knowledge Trail

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June 6, 2021

INDONESIA: Having visited Nalanda two years ago in India, my newly acquired knowledge of its Sumatra connection was still fresh in my mind. When I visited Palembang (South Sumatra province) and Jambi province in Sumatra, it was with a heightened sense of expectation and excitement. The Muaro Jambi temple complex in Jambi presented a scattering of ruined and partially restored temples, much of it clearly required renovation and excavation. The Muaro Jambi temple complex was most likely built by the Royal Malay Kingdom in 7th century and later during the Hinduism-Buddhism era under the Sriwijaya Kingdom until the 14th.

Muaro Jambi Temple Complex. Photo Credit: Raghu Gururaj

Though not totally disappointed, it made me wonder as to whether visitors should be allowed to walk over these ancient and precious unexplored temple ruins.

Muaro Jambi, the largest Buddhist temple

Discovered as late as in 1824 by a British army official, the site comprises 82 ancient relics, but strangely only nine of them have been renovated so far. In addition, several statues, bronze pots, and Buddhist mantras written on gold foil were unearthed.

The remaining 73 structures have been largely left unattended and neglected. I found that many of the relics have been run over by thick vegetation and the local community were actually living in closely vicinity of some of these ancient relics.

In addition to these relics, water reservoirs and many man-made canals that skirted between these relics, were discovered, that pointed to the engineering skills and foresight of the people of those times to conserve water.

*Muaro Jambi Complex. Photo Credit: Raghu Gururaj*

Still, the Muara Jambi complex stands as a fine example of Buddhist heritage in Indonesia, alongside the majestic Borobudur Temple in Central Java. It is not only eight times larger but also predates the Borobudur temple.

Just 40 kms from Jambi city, the temple complex symbolizes the exchange of culture and human values during parts of the Hinduism-Buddhism era in Sriwijaya Empire, specifically in Jambi. It also alludes to the existence of advanced engineering and architectural skills and technological know-how to construct such a fine example of brick temple architecture. Both these temple complexes were closely linked to Nalanda in India.

Controlling the Malacca Straits, the Sriwijaya Empire (probably named after King Vijaya) became a supreme maritime power in the island of gold “Suvarnadeepa’ (Sumatra Island) between the 8^th and 13^th centuries and held a strategic post on the vital India-China trade route. By the 7^th century, Sriwijaya Kings had established absolute control over much of Sumatra, West Java and Malay peninsula, which included, modern day Malaysia, Singapore and Philippines.

Sriwijaya and Nalanda

With flourishing trade, the kings of Sriwijaya empire became prosperous, but more importantly played a defining role in the expansion of Buddhism across its empire. Strong trading and ensuing cultural contacts with India, China and Malay region, consolidated the presence of Buddha Mahayana and Vajrayana throughout its empire.

The kings entertained foreign traders, scholars and Buddhist monks from various countries, including India and China. Built by Shailendra dynasty, the fame and influence of Sriwijaya empire spread to India and China.

By then Nalanda had caught the imagination of Buddhist scholars who flocked to Sriwajaya for Buddhist studies. Built during the Gupta Empire, Nalanda was the location of an ancient university that attracted students from other countries, including China and Tibet. At that time, not only did students learn about Buddhism, but also astronomy, mathematics, medicine, Eastern philosophy and Greek philosophy.

Due to its pre-eminent position, Sriwijaya empire in Sumatra soon became a popular stopover for traders, scholars, students and monks on their journeys from China to India. It was also the major centre for learning of Sanskrit. The fascinating evolution of Sriwijaya and Nalanda into premier centres of learning in the same era has been documented by some historical scholarly accounts and a handful of archaeological discoveries.

The Tibetan Buddhist scholar and guru Atisha Dipankara Buddha who lived and studied at Muarojambi Temple, Sumatra for 12 years between 1011-1023 AD, wrote about similarities of the education centres at both the places. Chinese merchant I Tsing was one of the earliest to spend time at the Muaro Jambi complex. On his way from China to India, he stopped at Muaro Jambi in 671 AD and spent six months to study Sanskrit grammer.

On his return from India in 685 AD, I Tsing spent many years in Sriwijaya empire translating Buddhist Sanskrit texts into Chinese. In his two famous works Nan-Hai Chi-Kuei Nei-fa Chuan (Notes on Buddhist teachings in South Sea) and Ta-T’ang Hsi-yu Ch’iu-fa Kao-seng Chuan (Notes of priests who studied in India during the Tang Dynasty), I Tsing provided valuable information about Sriwijaya’s location and situation.

It was I Tsing who advised other monks to first learn Sanskrit in Sriwijaya before visiting Nalanda for higher studies. This encouraged regular a migration of scholars from China to Sriwijaya and then to India, and vice versa. This came to be known as the Nalanda-Sriwijaya Knowledge Route.

The Buddhadhamma records that before I Tsing sailed to India to study the scriptures, he had already studied several Sanskrit texts like Pancavidya, Sabdavidy, Silapasthanavidya, Chikistavidya Hetuvidya and Adhyatmavidya at the Muaro Jambi temple complex.

There are other archaeological discoveries that establishes the close connect between Nalanda and Sriwijaya. A 9^th century bronze inscription found in Nalanda narrates how Sriwijaya King Balaputradewa was allowed to build a monastery for Sriwijaya students studying in Nalanda. Even today this monastery, which contains a line of study rooms used to house Sriwijaya students and monks, can still be visited as a tourist in Nalanda.

The moonstone found in Nalanda bears similarities with the stone at Kalasan Temple in Central Java. It has also been assessed that the kind of cement used in the construction of Nalanda was found in Sari and Kalasan temples in Java. A ship wreck found near North-East Sumatra in 10^th century found many bronze Buddhist artifacts which bore similarities to findings in Nalanda.

An inscription from Tanjore dated 1030-31 AD records the conquest of Srivijaya in 1025 by a Chola armies and the subsequent surrender by King of Srivijaya who was taken to India. A copy of the Astasahasrika Prajnaparamita produced in 1071 mentions Java among important Buddhist centres.

Though the available body of evidence point to close linkages between Nalanda and Sumatra, much of it is anecdotal. The archaeological evidence has been mostly found in Nalanda but none in Sumatra. Surely, there appear to be missing links in this connection which is hindering a fuller appreciation of this unique knowledge trail between Nalanda and Sriwijaya.

Also Read: Indian Temples of Sumatra

There are several unanswered questions as well. What is mindboggling is the fact that a good number of Sanskrit texts were available in Sriwijaya Empire at that time. No doubt, there was a strong Buddhist network of several Indian, Chinese, Japanese and Javanese monks on this knowledge trail. Did revered Monks such as Subhakarasimha (637-735), Vajrabodhi (670-741), Amoghavajra (705-774), Huikuo (746-805), Kukai (774-835), Saicho(767-822) and Bianhong promote Buddhist concepts and texts ?

Even more confounding is who taught Sanskrit to the people in Sriwijaya empire at that time? How did the people of that age and region attain such high level of excellence in Sanskrit language? Were there regular language classes at Sanskrit schools? Not much literature or evidence is available to throw light on this. The answers may be found in Muaro Jambi, but only if extensive archaeological exploration and excavation are conducted jointly by experts from Nalanda and Jambi.

Mysterious Minangkabau

Raghu Gururaj

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May 19, 2021

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INDONESIA: From its beautiful highlands, lush green paddy fields, volcanoes, powerful rivers, stunning traditional architecture to its captivatingly vibrant society, rumah gadang traditional houses and the famous Padang cuisine, West Sumatra is easily Sumatra’s most authentic and interesting culture.

Read also: Indian Temples of Sumatra

I had the privilege to visit this province three times and was received by the local leadership with great warmth and hospitality and met some of the most amiable human beings, which is not easy to forget.

Padang state museum. Photo credit: Raghu Gururaj

Padang is the capital city of West Sumatra, but the most enthralling part of the region is surely its highlands.

A drive away from the outskirts of Padang city will give a fresh breath of air. Vast blankets of rich agricultural fields present themselves throughout the drive. Lake Maninjau, about 6 hrs from Padang city, is one of the most scenic, but more charming are the great views one can see on the way to the lake.

One can also see the village of Nagari Pariangan on the way, which is considered as one of the initial settlements of people in this region. This village reminds us of the originality of the village’s community life, layout and architecture.

This is the land of the Minangkabau community, a distinct ethnic group that forms 85% of the population of this province. The same name is used to denote the highland region as well. The word “MinangKabau” is a conjunction of two words, minang (“victorious”) and kabau (“buffalo”).

There are a few legends associated with the origin of this name, but the most compelling is a little folklore which is narrated to all visiting tourists. According to the story, when the Minangkabau heartland was confronted by a small Javanese army, the Minangs cleverly persuaded the Javanese to hold a fight between their respective buffaloes to decide the victor, instead of getting into a real ground battle.

So this little legend says that it was agreed that in the battle of the buffaloes, the Javanese would retreat if their buffalo lost and the Minangs would surrender if theirs lost. Even at this point in the saga, there are a few versions, but the most funny and widely believed tale is that the Javanese fielded a giant buffalo while the Minangs deliberately chose a calf, that had been kept starving for sometime. The Minangs also tied a sharp knife on the nose of the calf. So as the calf was set free, it made a natural dash to the female buffalo looking for milk. Not suspecting any danger from the calf, the giant buffalo’s motherly instinct allowed the calf to suckle, but in the process got knifed by the instrument tied to the calf’s nose. Thus the story of the victorious calf of MinangKabau. To commemorate this event, the West Sumatran named their land and people “Manang Kabau” (winning buffalo).

History

West Sumatra has an interesting history too. The Minangkabau land was probably ruled by a distant Melayu kingdom founded in modern day Jambi province of Sumatra, which explains the dominant Melayu influence on the Minangkabau region. In late 7th century, Melayu kingdom was overcome by the Sriwijaya Empire, which was then based in what is today’s Palembang city in South Sumatra. When the Sriwajaya and Sailendra dynasties declined around the 11th century in their fight against the Chola kings from South India, most likely Sriwijaya empire shifted from Palembang to present day Muaro Jambi in Jambi province.

In the 13th century, Minangkabau was fighting the Mauli and Singhasari kingdoms, both of which were predominantly Mahayana-Vajrayana Buddhists. Renowned historians reckon that it was under the rule of King Adityavarman that Minangkabau developed its unique culture which incorporated both Malay and Javanese elements.

The death of Adityavarman led to a civil war which created two factions, but the one which identified itself more with pre-Javanized Minangkabau and the matriarchical social system became the dominant one, thus laying the foundation of present day MinangKabau community. It also based its language on the Melayu language. As seen, this eventually led to the development of the Minang language, which is widely spoken in the region. With the rise of the Sultanate of Malacca in 15th century, the Minangkabau royalty became a major maritime gold trading power.

Batusangkar palace. Photo credit: Google Images

But what is most interesting is that until this point, despite the influence of Buddhism, Minangkabau had continued its belief in animism. But with the arrival of Indian Muslim Gujarati traders, and from the Middle East and the growing influence of Malacca between 16th and 18th centuries, Minangkabau came under the influence of Islam. Islam got entrenched in the region after 19th century. But the Padri war in 1837 resulted in a cultural revolution, after which the top leaders worked out an agreement which firmly placed Minangkabau societal values on Islamic law.

Matriarchical society

The Minangs draw their lineage from certain ethnic communities of Malaysia. But what sets this community different from the rest of Indonesia is that it was predominantly matriarchical and also one of the world’s largest. Women play a significant role in the society. But at the same time, it is also a complex social system where women and men share power and control based on a principle of interdependence and mutual responsibility.

Gender is a major factor in inheritance and the rules underpinning the matriachical system are based on a set of rules and regulations known as adat, that are applicable to the daily life of the Minangkabau. The adat is a highly internalised bunch of hereditary conventions that become applicable from one Minang generation to the next.

There are some fascinating details about adat. For example, ownership of landed property passes from mother to daughter, although a father can hand over his business, profession or earnings to his son. No wonder that a Minang family yearns to have a daughter ! I was also told by a local official that in case a family bears a son who looks like his father, then the son is given up to childless siblings to be raised by them.

It is adat that guides matrilineal inheritance, but the Minang are mindful of the fact that such a tradition might conflict with Islamic dictums. So to accommodate and harmonize both regulatory requirements, Minangkabau have skillfully made a distinction between high and low inheritance. “High inheritance” denotes property, including houses and land, which only women can inherit. A father can pass on to his children, assets which are “low inheritance”, like his earnings and savings. This latter inheritance follows Islamic law, a complex system which dictates, in part, that sons get twice as much as daughters.

But if a Minang family does not have a daughter, then the inheritance will go to the niece of the younger or older sister. The whole idea is to ensure financial independence and security of Minang women.

Fascinating ethnic customs

There are other equally intriguing customs. Minang girls who wish to get married, will have to buy their husbands. The purchase price is negotiated with the future groom. Obviously the price will vary depending how highly educated or rich is the potential groom. Not only that, the bride’s family are encouraged to pay for the wedding festivities also. These are especially true in a place called Padang Pariaman in West Sumatra.

The wedding customs are complex and even more intriguing. As in other cultures, the bride’s family visits the groom’s family (‘maresek’) – nothing strange there. The family of the groom visit the bride’s family to seek the blessings of her uncle (father’s brother or ‘mamak‘), The groom’s family present cigarettes and receive betelnuts in return. There is also the practice of picking up the bride to be brought to her father’s home (‘Babako’) and the henna ceremony (‘Bainan night’) for the bride. But then the groom is picked up and brought to the bride’s house on the Bajapuik night for formalizing the marriage contract.

After marriage, the groom seamlessly moves in with the bride at her house. It is common to see sisters and unmarried family members living in the same house or close to one another.

Minang women value their significant status in social and public life, especially during adat ceremonies and festivals. Tari Piring is one of the most famous traditional Minangkabau dances performed by both young men and women together.

Tari Piring dance. *Photo credit: Raghu Gururaj*

Rumah Gadang House

One of Minang icons is the Rumah Gadang or Rumah Bagonjong (“house for the Minangkabau people”), which is the traditional home of the Minang. It is part of Indonesia’s rich cultural assets with a high historical value and a social identity. The architecture, construction, internal and external decoration, and functions of the house all reflect the culture and values of the people. The Rumah Gadang House style of buildings features a string of buffalo horns, symbolising the victory of its buffalo over its opponents. Major government offices, residences, banks, public buildings and even private houses are built with this unique and fascinating architecture.

Unique ethnic traditions

Some of the region’s unique ethnic traditions and customary events are preserved to this day, like the ceremonies of Batun Mandi, Balimau, Makan Bajamba, Batagak Pangulu and Batagak Kudo-Kudo, Tabuik party, Pacu Jawi, and Pacu Itiak.

Batun Mandi Ceremony is a traditional ceremony to thank for the birth of a child and a way of initiating the baby into the world. This involves a special bathing ceremony, usually done at Batang Aia river and a festive procession.

Kudo-Kudo Batagak is associated with the building of a traditional Minang house. Relatives and friends are invited who usually gift some traditional materials for building the new house. This is interesting because the community expresses its support to the family that is about to build the house.

The Tabuik celebration is a tradition of the Pariaman community which commemorates the death of the grandchildren of the Prophet Muhammad. This is marked by a week-long procession (Tabuik Hoyak), which carries a pair of 10 metre high wooden statues of the grandchildren. The procession wears a very festive look, with tourists also participating.

The Pace Jawi cow race can be compared with the Kambala buffalo race practiced in South Karnataka. A similar tradition exists in Madura in NorthEast Java, where a buffalo race (karapan sapi) is held annually. But in Pace Jawi, the jockeys bite the tail of the cow to egg it on, instead of using a stick !

I was fortunate to witness the Pacu Itiak (Duck Race). The birds are released at the same time and the fastest to reach finish line is the winner. Usually the distance is about 1000 to 1200 metres to the dash line.

Indian connection

Early Chola Kings ruled over Sriwijaya and Sailendra kingdoms during 7th and 8th century AD. In the 13th century, Chetti traders from South India arrived in this region. Later in the 18th century, Indian Gujarati and Tamil muslim traders started coming to the region seeking gold, silk and spices in exchange for cotton and textiles. The distinct Indian influence can be seen today is many of the cultural mores and cuisine of West Sumatra.

One specific Indian muslim tradition still being practised in West Sumatra is the Serak Gulu. Each year, after the call for prayer on the day coinciding with 1 Jumadil Akhir 1441 Hijriah, (end January), the ‘Little India’ enclave in Padang is buzzing with activity. Tons of granulated sugar wrapped in colourful small sacks are readied to be thrown by important personalities from the rooftops of buildings, which are gratefully accepted by the people. This tradition is still practised in parts of muslim inhabited regions of Tamilnadu. This tradition is so important to the local leadership to forge communal bonding and harmony with people of Indian descent in West Sumatra, that it has included this festival in their annual calender of cultural events.

Padang Cuisine

Minangkabau has a proud cuisine tradition, which many consider as the best in the whole of Indonesia. One of the hallmarks of Padang food are their famously savory and spicy taste and flavour. There is a strong Indian influence in their cooking tradition. Chilli, cardamom, ginger, garlic, onion, coriander, curry and coconut milk have become an integral part of Minang cuisine.

The iconic ‘Rendang’ (chicken or beef dish with special curry) is the show piece of Minangkabau cuisine. It was declared the most delicious food in the world by CNN in 2017. Indonesia is considering to file documents to include rendang on the UNESCO’s world cultural heritage list.

It is so much loved that today that ‘Padang’ chain restaurants dot the streets of every city in Indonesia. Dont be surprised to see Padang restaurants in some world capitals of Europe and North America.

Realising the special nature and uniqueness of the Minangkabau culture, there have been calls from the community to rename the province of West Sumatra as the land of Minanakabau.

The Aura Of Indonesian Batik

Culture

Raghu Gururaj

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May 6, 2021

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INDONESIA: Indonesia’s love affair with “batik” began centuries ago, but unlike human love affairs, it has endured the test of time and continues to remain strong and unwavering. When an Indonesian wears batik, he or she literally wears it on his or her heart. This love is not an infatuation but a deep felt identity with one of Indonesia’s cherished cultural heritage. To an Indonesian, Batik is a product of their innate culture and an expression of who they are and where they came from.

Origin of Batik

Evidence of Batik dates back 2000 years or more and by all accounts, it may have independently evolved across different geographic regions of the world like South East Asia, Central Asia, Middle East, Far East, India, China and parts of Africa. But its spread was greatly facilitated by the ancient caravan trade routes which got further strengthened by the 17th century trade routes between Indonesia, Indian sub-continent, Persia and China. Surely, this cross culture exchanges greatly contributed to the development and spread of this art form.

It would be a fallacy to say that it originated in Indonesia. But Indonesia is widely considered as the cradle of batik as no other country has achieved such a high level of sophistication, variety, intricacy and appeal of the Batik art form, which has made it an icon in Indonesia.

This traditional skill was practiced and well developed over hundreds of years in Central Java around the cities of Yogyakarta and Solo under the patronage of the Sultan and his family. Since the designs were imbued with meaning and powerful symbolism, the initial designs were restricted to certain people only – specifically the Sultan himself, or his wider family, or the court servants and retainers. Making batik was seen as an important skill for a young woman of noble birth. Such was the devotion that it has been said that before conceptualizing the design she would spend a night in meditation and prayer. The designed cloths she made over many months of long and painstaking work, would be revered and preserved as heirlooms for future generations.

Batik art creation

The word batik is derived from the Javanese word ‘amba’ which means write and ‘tik’ which means a dot. The art creation essentially involves three basic steps – waxing, dyeing, and scraping (removing). The wax is used for creating designs on certain predefined areas on the fabric. In one style, the cloth is hung over a frame and the design is drawn on with a canting, a small copper cupped spout, with a bamboo or wooden handle. The canting is dipped into a pot of hot wax and then allowed to flow through the spout on to the fabric. To make a strong resist both sides of the cloth are waxed. In the hand stamped batik style, the cloth is placed on a padded table and a copper stamp (cap or tjap) is used to apply the wax. The cap is heated in a pan of hot wax and then pressed on to the fabric. Both sides of the cloth are usually waxed.

The second step involves dyeing. Traditionally the dyes used were deep blues obtained from plant indigo which used to grow in abundance in Java and yellows to deep browns called “soga” obtained from a variety of tree barks, and roots and sometimes combined with a brilliant red from the “mengkudu’ tree roots. In the third step, the wax is removed by either scraping or boiling the cloth till the wax peels off. The end product is a colourful and beautiful piece of cloth which can any combination of designs.

A fascinating aspect of Indonesian batik is the sheer variety of styles, designs, motifs and colours, each of which indicate status, mystic or ritualistic connection, symbolism, social stratification, geographical location and meaning. Unique variants are used for special occasions such as marriage, pregnancy, childbirths or funerals.

Significance of Batik in Indonesian culture

Indonesia’s emotional attachment with Batik stems from the belief that certain patterns carry special meanings and which are thought to bring the wearer, good luck, wealth, prosperity, health, etc. As a tradition that is deeply enmeshed with the cultural identity of the Indonesian people, batik techniques have been handed over from generation to generation and so many of the designs have survived to this day.

Another intriguing aspect is that each province has its distinctive style of batik. In Central Java, it usually comes in the form of subdued colours and stylised imagery, whereas in other provinces, batik is is brightly-coloured with naturalistic figures.

Throughout its history, Indonesian batik has evolved by imbibing different influences or traits from foreign cultures through the trade route or the impact of colonization. These external influences helped Indonesian batik art form to develop a large variety of styles to suit different strata of people, occasions and purposes. For example, Batik Kraton style, regarded as the basic batik of Java, is replete with Hindu motifs of the 5^th century such as the sacred bird of Lord Vishnu ‘Garuda’, sacred flower(lotus) and revered animal Naga (snake). However, Indian Islam brought in stylized symbols like floral and geometric patterns.

Batik Belanda variety which appeared in 1840s, has Dutch influence and is clearly recognized through works of great European designers. Batik Cina is easily recognized by the use of typical Chinese motifs like dragons, phoenix, snakes, lions, traditional Chinese flowers and chinaware designs. Designed specifically to suit the tastes of the Japanese during their occupation of Indonesia (1942-45), Batik cina continues to be popular today.

The most important and commonest variety is called the Batik Indonesia. This style which emerged in the 1950s after freedom from Dutch rule, is a symbiosis between various styles of batik.

In India, the roots of Batik can be traced to the 1st century AD. Mural paintings in Ajanta caves indicate presence of Batik art form before the 7^th century AD. From such frescos, it is clear that traditional Indian batiks often made use of indigo, brown and white colours as a tribute to the three Hindu Gods – Vishnu, Brahma and Shiva.

The Khatri community of Gujarat were known to be the original artisans of batik printing. Over time, the technique of batik appears to have spread other regions of India. Cholamandalam near Chennai become a major centre for batik as also other places in Rajasthan, Andhra Pradesh, West Bengal, Maharashtra and Madhya Pradesh.

Rabindranath Tagore visited Indonesia in 1927, he was so fascinated by the Javanese Batik that he took back many samples with the hope of reinvigorating the flagging batik tradition in West Bengal. A two year course on Batik was introduced at the Vishwa Bharati University in Shanti Niketan. This led to a brief resurgence in Indian batik for a few years, but it never went on to achieve the glory heights that the Javanese batik has been able to achieve.

In Indonesia, the prints flourished for many years, particularly in Java, primarily due to the robust trade between Indonesia and other countries like India, China, Middle East and parts of Europe. It was at its peak until the late 1800s, after which it declined following the Japanese occupation of Indonesia. Textile producers in Netherlands mechanized the production of batik, but when they confronted resistance in the Indonesian market, their products were diverted to West Africa. Imitation batik flooded the markets of European countries in 20^th century.

Also Read: Indian Temples of Sumatra

The onset of mechanization of batik prompted Indonesian batik artists to innovate and adapt to modern techniques like wooden block printing, but could not arrest its decline in Indonesia.

But Indonesian batik made a strong comeback after the decision of the United Nations to recognize it as one of the world’s significant cultural traditions and the decision of UNESCO to include it in its Intangible Cultural Heritage list in 2009. From a traditional piece of adornment to a fashion statement, it has witnessed a fascinating journey. Due to its simplistic designs and delicate art forms, it is sought after worldwide.

This recognition also had a catalytic effect on its brand image, making Batik a significant export item for Indonesia, especially to the Western countries. Modern batik industry has incorporated many modern techniques such as silk screen printing, spray dyeing, block printing and bleach discharging. Today, it is a huge industry employing millions, not just as a specialized craft but also as a powerful link with the past.

Batik Museum of Indonesia. Photo Credit: Google

October 2 is celebrated as ‘Batik Day’ in Indonesia to mark the UN recognition and since then the Government of Indonesia has encouraged all its employees to wear batik on Fridays. It is also featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore airlines, Garuda Indonesia and Malaysian airlines. The batik uniform of Garuda Indonesia female flight attendants is a modern interpretation of the Kartini style Kebaya with parang gondosuli motifs. With the recognition and success, it can be said that Indonesia has claimed the bragging rights to Batik as its own textile tradition.

The Jamu Herbal Tradition Of Indonesia

Raghu Gururaj

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April 25, 2021

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INDONESIA: Where I was living in Medan, I was amazed to see several herbal plants like Tulsi, Turmeric, curry tree, ginger and tamarind growing all across our compound. Having experienced frequent heavy downpours in the city, I was sure that the water table in the city was substantial enough to make the soil fertile, but was intrigued by the ubiquitous growth of these herbal shrubs. When someone gifted me bottles of ‘Jamu’, a local herbal health drink, my curiosity was further aroused.

‘Jamu’ turned out to be a tasteless yellow and reddish coloured beverage made from fresh ingredients like leaves, roots, fruits and spices. I later found that ‘Jamu’ is being sold in the open local street markets by street vendors, which led me to believe that Jamu could perhaps be an Indonesian variant of a herbal health drink.

Actually, in Indonesia, ‘Jamu’ is not just referred to a bottle of herbal health drink, but more so to a system of traditional medicine based on a certain structure using herbal medicinal plants as a deterrent and inhibitor to various ailments. Others refer to Jamu to mean “healing through herbs, flowers, and roots”. Jamu is being used widely by the people of Indonesia and has become a matter of pride as it is with Ayurveda in India and Zhongyi of China. It carries many similarities to Ayurveda and Traditional Chinese Medicine.

The collective use of a variety of herbal formulations under the term “Jamu” constituted an important element of Javanese folk medicine, especially for the royalty of the times. These formulations were classified under curative, preventive and situational remedies. They were being used to treat variety of physical disorders, chronic ailments and for rejuvenation, from treating common colds, stomach pains, fevers to specific afflictions like chickenpox, jaundice, measles, skin diseases, Asthma, ulcers etc.

Derived from a variety of herbal plants, spices and sometimes, animal extracts, they come in syrups, compound mixtures, tablets, powders, ointments and even roots. What is interesting is that a Jamu gendong (typically a woman vendor) carries half a dozen bottles of freshly prepared or pre-mixed Jamu in a basket casually slung over her shoulders or bicycle. Some vendors even use pushcarts to sell their wares on a door to door basis or at roadside Jamu kiosks in the market. But there are also special stores specializing in the sale of Jamu. I was surprised to find Jamu bars where customers can sit and consume Jamu drinks.

Published accounts vary about its origin and are at best murky. One theory is that the then royalty of Indonesia instructed their traditional healers about 1200 years ago to come up with herbal solutions for medicinal and cosmetic treatments. These family held secrets were then passed down from generations onwards. Another version states that Jamu, derived from ancient Javanese words, ‘Djampi’ (healing) and ‘Oesodo’ (health) originated in the Medang or Mataram Kingdom, a Hindu-Buddhist kingdom that flourished between the 8th and 10th centuries CE in Central Java. A third version states that ‘Jamu’ came in 1300 AD and was derived from Javanese word Djamu, which in turn has its origin in the Sanskrit wordजप (‘japa’), meaning pray.

Origin of Jamu

Central Java is generally believed to be the origin of Jamu as revealed by the inscription panels at the Borobudur Temple complex and also its mention in the Javanese classic Serat Centhini (a 12 volume compilation of Javanese tales and teachings published in 1814.) Although heavily influenced by Ayurveda, which is a very ancient traditional of herbal medicine of India, it is a bit surprising that the Jamu tradition in Indonesia is relatively much newer, despite the age old cultural exchanges.

It was during the Dutch colonization, Indonesian herbs and spices sparked a renaissance in European medicine in 17^th century, because the Europeans coming to the Dutch East Indies were confronted with unfamiliar tropical illnesses and had no choice but to take recourse to local herbal medication and since then, it is claimed that Jamu has charted its own course and identity through the use of different herbal plants and processes in Indonesia.

Ayurveda and the Jamu Tradition

Both Ayurveda and the Jamu tradition use a variety of common herbal plants and spices in their formulations. Turmeric, ginger, cardamom, clove, nutmeg, lemongrass, tamarind, coriander, aloe vera, vanilla, curry leaves are some of the common herbs and spices used in both systems, but which also figure prominently in Indonesian cuisine just like in Indian cooking tradition. However, the range of herbs and spices used in Ayurveda is definitely much more vast and diverse.

There are other differences too. Many Indonesians vehemently deny that the Jamu tradition is not, as some people would think, a list of grandmother’s remedies put together, but is instead an elaborate system of medicine using a combination of natural herbs in medical formulations in the form of drink, powders, pills, ointments, lotions and cosmetics. But unlike Ayurveda, which is a proper science founded on classical ancient texts such as the Charaka Samhita, Sushruta Samhita, Ashtanga Hridayam and others which were written around 400-200 BC, there are no classic texts in Indonesia that spell out the principles, approach and philosophy of the Jamu tradition.

The biggest difference between Ayurveda and conventional medicinal system lies in the very definition of what health is. Western/modern medicine describes health merely as the absence of a definable disease, while Ayurveda defines health as the harmonic and vibrant functioning of mind, body and spirit, whose primary goal is to promote good health and not fight disease. On the other hand, Jamu does not seem to have an underlying approach to healing. It appears to focus on a qualitative approach to study the utility of plants and herbs on the human body, instead of studying the human body itself.

Another difference is the knowledge about Jamu has for many years been passed down from generation to generation, whereas Ayurvedic principles are firmly founded and prescribed in its many classic texts and by its continuing legion of practitioners.

Notwithstanding these differences, Jamu has evolved a great deal over the years and has achieved a degree of recognition and of course, local acceptance.

Jamu’s existence in the Indonesian culture

Indonesia’s founding father Sukarno was a fan of Jamu and propagated growing of herbs and spices in personal gardens of people as he was convinced that Jamu had the potential to become a national asset. In 1963, Indonesian law officially declared Jamu as the national herbal medicine replacing its earlier limited Javanese identity. The nationalization of Jamu continued under Suharto in the 1980s during which Jamu’s regional identities of Madura or Bali or Java were discounted as it was reimaged as part of Indonesia’s cultural heritage.

Sometime in 2007, Jamu got embroiled in a cultural heritage skirmish between Indonesia and Malaysia, in which Indonesia accused Malaysia of adopting its song “Rasa Sayang” and the Pendet dance for its tourism outreach campaign “Malaysia, Truly Asia.” This cultural clash clubbed Jamu, Batik, Pendet all under the “Truly Indonesia” campaign and prompted the “Jamu Brand Indonesia,” with the aim of propelling Indonesian ginger (Temulawak) to a global brand like the Korean Ginseng. The clash with Malaysia over Jamu intensified in 2014 when Indonesia accused Malaysia of stealing the term Jamu, which made Indonesians to consider applying to register Jamu as its cultural brand with UNESCO. Interestingly, when current President Jokowi went to the hospital for undertaking the mandatory medical exam for presidential candidates in 2014, he made it a point to invite three Mbok Jamu (Jamu ladies) to accompany him and drank Jamu at the hospital.

Some headway was made towards a scientific study of Jamu when Indonesian law established the Jamu Saintifik (scientific Jamu) standard in 2010 which also set up the Centre for Research & Development of Medicinal plants and Traditional medicines (B2P2TOOT). The Centre conducted scientific research, experiments and clinical trials leading to around 20 Jamu formulations under the new scientific standard. Under the new standard, specific rules on use of precise combinations of herbs, brewing practices, places and times of their harvest etc have been codified to a certain extent.

In last few years, Jamu is being used as a dietary supplement, immunity booster and as a traditional body scrub. Several Jamu products are mass produced and marketed under local brand names, which are easily available in supermarkets and shops across Indonesia.

But despite the popularity and the emotional attachment of the people, the tradition of Jamu never got mainstreamed in education, pharmaceuticals or research. For one thing, very little scientific research has been conducted. Universities do not offer formal courses on Jamu tradition which means, there are no professional Jamu practitioners like in Ayurveda.

With its relative affinity to Ayurveda in some ways, Jamu traditions can lean on the more established science and pharmocopia of Ayurveda for a regular and sustained engagement so that the two rich traditions can identify common areas of convergences, adopt best practices and intensify common research. As the world gropes in darkness amid pandemic and epidemic times, their collaborative engagement assumes immediate criticality. It is time that both these alternative systems step up their research activities and come up with solutions and in the process enrich their respective traditions.

Relevance Of Ramayana In Indonesia

Raghu Gururaj

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March 31, 2021

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INDONESIA: It is generally believed that Hinduism came to Indonesia in the first century through traders, sailors, scholars, and priests. It soon integrated into the preexisting Javanese traditions. Hinduism also adapted to Buddhism which arrived in Sumatra in the sixth century and this adaption evolved into an Indonesian version of Hinduism. However, with the demise of the Srivijaya and Majapahit empires, Hinduism weakened slowly in Indonesia.

Indonesian version of Ramayana: Kakawin Ramayana

The epic of Ramayana came to Indonesia around the 8th or 9th century. Written in the old Javanese language, it became known as the Kakawin Ramayana. It was used to revive Hinduism at a time when Buddhism was well established in Sumatra, West and Central Java through shadow puppetry (Wayang Kulit and Wayang Purwa). Stories from the Mahabharata have also been traced in some Indonesian islands to the 1st century and whose versions almost mirror the Indian version.

Ramayan ballet at Yogakarta. Photo Credit: Google

It is believed that the Kakawin Ramayana was written during the Medang Kingdom (732-1006 AD) in Central Java in the old Javanese language. The other Indonesian version of Ramayana is the Balinese Ramakavaca, which is a developed version of the Kakawin Ramayana.

The Javanese consider the Kakawin Ramayana, derived from an array of Sanskrit-based metrical patterns, as the pinnacle of artistic expression and remains the lengthiest of all Old Javanese texts. A large number of preserved palm leaf manuscripts of Java and Bali attest to its popularity and adaptation.

Divergences

But the Kakawin Ramayana differs from the original Indian version in some ways. According to several literary scholars, the source of the old Javanese Kakawin Ramayana was possibly the Sanskrit poem Bhattikavya written by Indian poet Bhatti around the 7^th century AD as the first half of Kakawin Ramayana is almost identical to the rendering of Bhattikavya. But Indian scholars find that the latter half almost unrecognizable from the original. Though the characters of Rama, Sita, Lakshman, Hanuman, Ravan, etc remain fundamental to its narrative, the Kakawin Ramayana also has several Javanese indigenous deities like Dhayana, (regarded as the Guardian God of Java Semar or ‘Twalen’ in Balinese literature) and four his sons called the four Punokawan or “clown servants”. However, these characters are most popular and figure prominently in all Wayang performances.

A significant difference however is how Sita is depicted. While the Indian Ramayana paints her as a soft, beautiful, demure, loyal, and patient woman, Kakawin Ramayana portrays her as bold, strong, and is seen fighting with Asuras in Ravana’s Lanka instead of waiting for Rama to rescue her.

It is not uncommon in Indonesian Wayang performances to see Sita’s character being played with her chin and head up in a defiant position. She is portrayed as a bit weak for desiring the golden deer, while Rama is shown as a bit imperfect since he trusted people over Sita after she was rescued from Lanka.

Hanuman is a much-revered character in Indonesia as he figures in many of the historic dance and drama artworks such as Wayang Wong found in Javanese culture and Odalan celebrations and other festivals in Bali. In many medieval era Hindu temples, archeological sites, and manuscripts discovered in Indonesia, Hanuman features prominently along with Rama, Sita, Lakshmana, Vishvamitra, and Sugriva.

Also Read: Cultural Sutra: A Bollywood Connect Between India And Indonesia

Reliving Ramayana through Wayang and dance

Ramayana is such an ingrained aspect of Indonesian culture, especially among Javanese, Balinese and Sundanese people, that it has represented a source of moral and spiritual guidance as well as an aesthetic expression, especially through Wayang and traditional dances.

Wayang puppet traditions

The Ramayana-based Wayang puppetry also ensured that the epics of Ramayana and Mahabharata became embedded in the cultural matrix of Indonesia. The prominent puppet theatres in Indonesia – Wayang Golek (wooden rod-puppet play) of the Sundanese and the Wayang Kulit (leather shadow-puppet play) of the Javanese and Balinese—draw much of their repertoire from indigenized versions of Ramayana and Mahabharata. It also provides source material for the Wayang Wong (human theatre) of Java and Bali. Although the vast majority of Javanese are Muslims, these art forms still survive and are a great source of entertainment.

Reliving Ramayana through dance and stone

The Balinese Kecak dance delineates the Ramayana saga, with dancers donning the roles of Rama, Sita, Laxmana, Jatayu, Hanuman, Ravana, and other characters. The performance also has a fire show depicting the burning of Lanka by Hanuman. Similarly in Yogyakarta, the Wayang Wong Javanese dance retells Ramayana through the famous Ramayana Ballet performed on the Trimurti Prambanan open-air stage, with the renowned Prambanan temple as the backdrop.

Bali is the perfect example of the living legend of Ramayana in Indonesia. One can see ornate and exquisite statues of Arjuna with his bow, Rama, Hanuman, Sita, Shiva, Jatayu, Vishnu, etc literally at every nook, corner, and roundabouts in Bali city.

Rama Statue in Bali. Photo Credit: Google

So why is Ramayana still relevant in Indonesia?

Though being a minority religion, Hinduism has influenced the way of life in Indonesia. Aside from theatre plays, books, stories & artworks depicting Ramayana, Indonesia has issued many Ramayana post stamps on Rama, Sita, and Hanuman, to date.

For many Indonesians, the legend of Ramayana is part of their culture and goes beyond the barriers of religion and ethnicity. They have not merely romanticized the idea of Ramayana but also approached it as a philosophy of life that is integral to daily living. To them Rama and Sita are not just heroes but torchbearers of good values, bringing relevance to modern-day living.

Former President of United States Barack Obama once famously mentioned that he had a special place for India in his imagination and the reason cited was that while living in Indonesia, he was often told the story of the Ramayana and Mahabharata, which seems to somewhat reinforce the connect these tales have to daily Indonesian life.

The older generation still reminds the new generation that before they get charmed by western superheroes like spiderman or batman, they should not forget Rama, Sita, and Hanuman. Younger generation Indonesians are now learning that they too are a part of a rich and ancient Hindu culture which gave them Ramayana and Mahabharata.

Indian Temples of Sumatra

Raghu Gururaj

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March 2, 2021

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INDONESIA: For the devout and pious Indian (or Indian Indonesian), the province of Sumatra is like comfort food. Replete with Indian temples of bewildering variety and preferences, Sumatra offers spiritual solace to seekers on a daily basis and draws them on festive occasions. There are more than 70 Indian temples of varying sizes and importance in Sumatra.

In North Sumatra alone there are 40 of them. Given the size of the Indian origin population in Sumatra, estimated between 100,000-125,000, it may not be incorrect to say that there are more Indian temples in North Sumatra per person than in India itself.

Opinions may be divided as to how Hinduism came to Indonesia – one theory attributes it to South Indian sea traders, scholars, and priests bringing it with them to Sumatra, Java, and Bali in the 1st century AD. The other theory is that the then-existing Indonesia Royalty actually invited Indian priests to bring their spiritual ideas and culture. However, the former theory is widely considered as valid.

But whatever the theory, it should be remembered that there already existed a Javanese tradition based on certain Hindu and Buddhist ideas in Indonesia, which made it easier for Indian culture, spiritualism, and ideas to fuse seamlessly into the pre-existing Javanese folk religions, traditions, and animistic belief system.

The advent of early Indian settlers led to the creation of early Kingdoms of Indonesia in the 4th century such as the Kutai in East Kalimantan, Tarumanagara in West Java, and Holing (Kalinga) in Central Java. Excavations made between 1960 and 2005 at the Cibuaya and Batujaya sites unearthed the Tarumanagara revered deity Wisnu (Vishnu). Ancient Hindu kingdoms of Java built many square Hindu temples and named local rivers on the island as Gomati and Ganges. These ideas continued to develop during the era of the Srivijaya Empires in Sumatra.

However, it is widely reckoned that the tradition of Indian temple building took a firm foothold in parts of Indonesia around the 8th century when the first Shiva Hindu priests arrived in Bali after traveling through Myanmar, Cambodia, Sumatra, and Java in their search for a place similar to their homeland of Mahabalipuram, an area near today’s Chennai in India.

Beautiful Indian Temples in Indonesia

In Indonesia, there are three types of Hindu temples – the ‘Candi’ which is the Javanese style, Puras of Bali, and Kuils which is the traditional Hindu temple of Sumatra. The architectural features of the Indian temples in Indonesia differ widely among various ethnic groups. For instance, Balinese Hindu temples do not have a Gopuram adorning the top of the temple, unlike the Hindu temples in South India, where a Gopuram is a prominent feature.

Another distinction is that while Indian temples in India are primarily indoor places of worship, Balinese temples are designed as open-air structures enclosed within a walled compound that is adorned by decorated roofed gates. However, the Indian temples in Sumatra follow the structure of the South Indian temples.

Today Sumatra boasts of the largest congregation of traditional South Indian temples. Built by early Indian settlers, mainly from Thanjavur in 1850-60s, the Mariamman, Kartikeya & Shiva temples in Binjai, 40 km from Medan, today serves as important places of worship to 6000 Indians in North Sumatra and happens to be one of the oldest structures to be built.

Mariamman Koil, Binjai. Photo Credit: Raghu Gururaj

The Mariamman temple in Medan city is one of the oldest Hindu temples in Indonesia. Built-in 1884 by early Tamil settlers & traders and located in the ‘Little India’, area, it is a meeting point for people of Indian descent during the festive season.

*Mariamman Temple Binjai. Photo Credit: Raghu Gururaj*

*Marriaman Temple, Medan, built in 1884. Photo Credit: Google*

*Inside of the Mariamman Temple, Medan*. Photo Credit: Raghu Gururaj

The local authorities of Sumatra actively support the celebration of major Indian festivals like Diwali, Thaipusam, Pongal, and Navaratri by the Indian Indonesians. In particular, Thaipusam is celebrated with much devotion by the Tamil community in Medan who gather at Little India (Kampung Madras) to accompany a 125-year-old chariot or Radhoo through the street leading up to the Mariamman temple. The Kavadi Attam (dance) can be witnessed even to this day, along with the traditional practices like carrying a pot of milk, mortification of the skin through piercing of the tongue or cheeks with vel skewers (spears).

The Balaji temple on the outskirts of Medan is one of the modern structures. The construction of Shri Balaji Venkateshwara Koil was based on the request of the Indian Hindu community who live around the temple, which requires the presence of a house of worship. Built about 20 years ago, this temple is modeled on the Tirupati temple in India and some local Indians even refer to it as the mini-Tirupati, though it does not measure up to the Indian version in any way.

*Balaji Temple, Medan. Photo Credit: Google*

The Sitti Vinayagar, Hanuman, and Ganesha Temples of Medan draw devotees all through the festive seasons.

*Sitti Vinayaka Kuil, Medan. Photo Credit: Google*

*Hanuman Kuil, Medan. Photo Credit: Google*

The Balaputradewa Museum, Palembang, West Sumatra has as one of its collections, a statue of Ganesha dated back from Sriwijaya Kingdom (7th – 13th Century).

The Palani Andawer Koil (temple) in Banda Aceh City in Aceh Province has been in existence since the 1600s. However, it fell into disuse and disrepair till the 2000s. This small temple was rebuilt by the local government with the contributions received from Hindu communities in Malaysia and India. The Aceh Government officially inaugurated this temple in 2012 after the 2004 tsunami.

Today this is the only place of worship in Aceh province for Hindus. Like in other parts of Indonesia, Hindu believers in the sharia-based region of Aceh Darussalam province continue to practice their traditions to this day. This Lord Murugan temple is flourishing today and thronged by Acehnese of Tamil-Indian descent and other Hindu devotees.

Traditional practices such as the piercing of cheeks with metal rods during the rituals to mark the Panguni Uthiram festival, playing of Indian percussion instruments as the flower-covered status of Lord Muruga is carried around in a procession on the roads of Banda Aceh, continue to be practiced to this day.

*Palani Andawer Kuil, Banda Aceh, Aceh Province. Photo Credit: Google*

During the procession, Hindu devotees even break coconuts on the road, like it is done in South India, as a tribute to and plea for a blessing from the deity. Even Muslim Acehnese join the procession which is exotic for them.

What distinguishes the Indian temples in Sumatra from the South Indian temples is the vibrant colors painted on them. It is clear that these temples drew inspiration and financial support from similar temples built across Southeast Asia, particularly in Singapore and Malaysia.

The Magic Of Lake Toba Region

Raghu Gururaj

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February 11, 2021

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INDONESIA. Sumatra: The enormous crater lake of Lake Toba in North Sumatra must surely count as one of the natural wonders of the world. Holding an island almost the size of Singapore in its cradle, the lake is over 1200 sq km and 400 meters in depth. As the largest lake in Southeast Asia and one of the deepest in the world, one cannot fault the tourist for mistaking it for an ocean.

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Located about 90 km from Medan city, Lake Toba can be reached through a combination of toll road, winding highland paths and a ferry ride (with the car). The drive away from Medan city itself could be exhilarating as one is transported through a breathtaking experience of the highland country scenery where the air got cooler and fresher and surrounded by lush green landscapes and pretty, quaint looking towns.

*View of Lake Toba. Photo credit: Raghu Gururaj*

The immensity of Lake Toba, located in the Parapat region, is simply overwhelming. Surrounded by cool blue waters on all sides, its volcanic origins have endowed the lake with enviable foliage. Narrow roads flanked by rows of traditional houses, roadside eateries and shops wind up and down right through to the city center. Looking at such unbelievable surroundings, one is consumed by a strange liberating feeling, as if nothing more really mattered in life! Not just for its expanse, also for its purity, colour, tranquility and the pleasure it gives to the viewer.

Also read: On The Rugged Road To Revelation

Born out of the caldera of a supervolcano several years ago, at first sight, it looks like a sea, though without the currents and waves. As the largest lake in Southeast Asia, Lake Toba snakes all around the region touching several land points including Parapet and Samosir Island. Don’t worry about getting a room with a lake-view – all hotels, inns and motels are a stone-throw distance from this great lake. Most unlikely that one will not able to see part of the lake from your room.

Most travellers visiting Lake Toba as part of their Indonesian vacation look forward to beautiful sights and visual delights, but very few are prepared for the cultural feast that awaits them. Lake Toba region is not just an aesthetic marvel, but also a treasure hove of cultural delights.

Samosir is the largest island on the lake. Aside of its advantages of natural beauty, Samosir has an intriguing culture. It is populated by the Batak people, who are predominantly Christian (as contrasted with majority Muslim populace in North Sumatra and Indonesia in general), though there are practicing Batak Muslims as well, with a tiny minority being agnostic.

Also read: Denmark Reaches Agreement To Build World’s First Energy Island In The North Sea

European missionaries in the late 19th century introduced Christianity. As the largest indigenous tribal groups in North Sumatra, Bataks are believed to have their descendants from ancient Burma. Some say there is an Indian connection, though nowhere corroborated.

Batak Houses. Photo credit: Raghu Gururaj

Batak architecture is a sight to behold and gives you a surreal feeling. A traditional Batak house (‘jabu”or rumah bolon’) is a wooden construct made of special palm fiber. Made entirely without nails and anywhere between 40 to 60 feet tall, it has no doors and can only be entered using a ladder via a trapdoor through a raised floor or stilts. And No windows! With sharp jutting rooftops, it is decorated with colorful mosaics and carvings of animals and birds (to denote fertility or protection of the house). There is a water buffalo head looking down from the roof, signifying blessings to visitors with prosperity.

Traditional Batak House (notice the buffalo head on top). Photo credit: Google Images

Also read: Cultural Sutra: A Bollywood Connect Between India And Indonesia

Their unique culture is also manifested in the ‘Ulos’, a typical traditional woven fabric symbolizing filial bonds. Worn usually during traditional rituals and occasions, it is a signature status symbol of Batak culture and used as gifts on ceremonial occasions. A highly signature textile product of this region, it comes in a variety of colors and designs and the preparation of the fabric is a painstaking affair. Some of the cotton yarn is imported from India.

A visit to Samosir is incomplete without witnessing ‘Tor Tor’ traditional dance at Tomok Village. The cultural village comprises a line of huge traditional wooden houses with thatched roofs in the shape of a boat, made of sugar palm fiber (‘ijuk’). Huge stilts on strong wooden planks support it, apparently to guard against floods and wild animals in those days.

Also read: Enchanting Pokhara

The dance is performed by a group of people, characterized by the sounds of pounding of feet and accompanied by ceremonial music using instruments such as the gondang. There is a large open courtyard in the middle of the cultural village for the dance. At festive events, the rhythm of music is more upbeat and cheerful compared to the more solemn ceremonies such as funerals. An Ulos is worn by each dancer.

The Tombs of Sidabutar Kings: An interesting tourist spot

History indicates that King Sidabutar was the first to set foot on Samosir Island. The place where he and subsequent Kings lived is what is today known as Tomok, which is where most of the ‘must-see places’ are located. Before the Europeans arrived, the Sidabutar Kingdom practiced an indigenous belief known as ‘Parmalim”, basically a form of animism.

Also read: Great Bouddhanath Stupa At Kathmandu

The Huta Bolon Simanindo Museum is the traditional house inherited by Raja Sidauruk, since converted into a museum. It showcases all elements of fascinating Batak culture –rituals, artifacts, traditional house dwellings, puppets etc. An hour inside the museum will take you back several years back in history.

Bukit Holbung Hill, somewhat reminiscent of the ‘Telebully Hills” and in fact, locals love to call it so. Covered by healthy green grass all over, one can get a bird’s eye view of the geological contours and features of Lake Toba.

Also read: The Charming Lady Of Tadoba Tiger Reserve

The Tomok Market is a world in itself. A couple of long winding lanes, it comprises hundreds of shops selling decoratives, curios, ethnic products, local textiles (including Ulos) and souvenirs.

Street view near Tomok Village, Samosir. Photo credit: Raghu Gururaj

The local crafts are truly reflective of the Batak culture, exquisitely made, especially the miniature Batak houses, wall masks, wall hanging holders, etc. Though their initial prices would be steep, the shopkeepers are not averse to bargaining and in the end, become amenable to work with the tourists.

Indian Railways: A Key Driver Of India’s Economic Growth Amid COVID-19

Culture

Raghu Gururaj

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January 26, 2021

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Indian Railways: A Key Driver Of India’s Economic Growth Amid COVID-19

INDIA: While other sectors of the Indian economy were forced into reactive or passive mode by the COVID pandemic, Indian Railways has been chugging along manfully throughout the entire lockdown and semi lockdown periods making a difference on the ground. Though the pandemic did apply brakes on the Indian Railways, it has managed to reinvent and rediscover itself during this critical period.

World’s 4th largest Rail Network

Known for its punctuality and bewildering scale, India’s national transporter is the world’s 4th largest rail network, the largest in Asia, largest employer in India and among the top 10 largest employers globally. Employing about 1.4 million staff, Indian Railways ferries 23 million passengers and 1 billion tonnes of freight annually across 8200 rail stations through its network of almost 70,000 km.

Since its inception in 1853, this massively extensive network is today a key lifeline to millions across a huge and widely populated landmass. It is operating both suburban and long-distance services, not just across major cities and towns, but also to some of the remotest regions of India. As India’s most accessible, inexpensive, environmentally friendly and most dependable mode of transportation, Indian railways is playing a critical role in aiding the economic and social development of the country through connectivity, mobility and commercial activities, especially so during the raging pandemic.

The key driver of ‘Make in India’

Under the ‘Make in India’ initiative, Indian railways is well on its way to sourcing 95% of electric locomotive components locally. Joint Ventures Agreements worth US$ 560 billion have been signed by the Ministry of Railways with several Indian and foreign companies like M/S Alstom Manufacturing India & GE Global Sourcing India Pvt Ltd for setting up diesel locomotive factories, production of rolling stock, electrification of communication infrastructure and installation of optical fiber. Alstom’s Sri City factory in the province of Andhra Pradesh, is manufacturing rolling stock for urban metro projects in India and delivering metro trainsets to cities like Mumbai, Chennai, Lucknow, Mumbai, Montreal and Sydney and already exporting to neighboring countries and parts of South East Asia and Africa. Chittaranjan Locomotive Works produced 250 electric locomotives (WAG-9 HC, 33071) in a record 188 working days in 2020.

Semi-high speed trains running at up to 160 km/h connecting key cities are already operational.

In a massive boost to ‘Make in India’ for Indian Railways, the Government of India announced the running of passenger trains by private operators on the Indian Railways network and redevelopment of railway stations across the country. These projects have the potential to attract investment of over $7.5 billion in the next five years. The national transporter has stated that it is eyeing over $4 billion in investments with private passenger train services.

Up-gradation in railway technology will be driven by a mix of indigenous innovations and through technology transfers. For this purpose, Indian Railways has identified 12 independent clusters with 109 origin-destination routes. On these routes, as many as 150 passenger trains are expected to be operated by private players. This may be seen as a paradigm shift as it will rewrite the growth story of India. Private entities will source and operate trains using the Indian Railways infrastructure and components manufactured in the country, which is a win-win situation.

Dedicated Freight Corridors (DFCs)

The Indian Railways carries the 4th highest tonnage of freight globally at over 1,200 million tonnes. While there has been a jump of over 700 million tonnes of freight in India in the last decade, there has not been a corresponding increase in the loading capacity of the trains. Resultantly, a large part of the freight movement in India takes place through road transport raising the logistics cost of goods. Indian Railways is already building dedicated freight corridors to enable freight trains to run as per a schedule.

The Dedicated Freight Corridor (DFC) is one of the largest rail infrastructure projects undertaken by the government. The Dedicated Freight Corridor Corporation of India Limited (DFCCIL) has been entrusted with the task of developing the Eastern and Western freight corridors with a cumulative length of over 3,000 km. These two corridors will change the way India transports goods. Once fully operational, 70% of the goods trains will shift to the DFC, thereby freeing up the existing tracks entirely for passenger trains.

Since these freight corridors will be exclusively meant for goods trains, they will have one station every 50 km as compared to the existing railways, which have one every 10 km. This would mean that the cost of manpower, maintenance and operation for the DFC will be much lower. Several sections on these two corridors have already been completed and inaugurated. Now freight trains will not have to slow down on the 351 km-long section on the Eastern Dedicated Freight Corridor, which is touted as one of unique elements of the two dedicated corridors.

New Technologies

India became the first developing country and 5th in the world to roll out the first indigenously built “state-of-the-art” high horsepower three-phase electric locomotive It also produced the state-of-the-art 4000 HP AC/AC diesel locomotive in April 2020, which are capable of hauling 4,800 tonne freight trains at a speed of 100 Kmph for continuously up to 90 days at a stretch without any major maintenance. The newly developed vista dome modern tourist coaches by the Integral Coach Factory in Chennai recently completed the 180 kmph trial run.

COVID Response

Indian Railways has been at the forefront of optimal utilization of existing infrastructure to fight against COVID-19. It upped the ante during the pandemic by playing a crucial role in the transportation of bulk commodities such as coal, iron ore, foodgrains critical aid, machinery, medicines, etc. across the country during the pandemic.

The Railways converted 5,000 trains into isolation wards and 40,000 beds. One stand out innovation was the conversion of stationary coaches into self-contained quarantine or isolation wards with toilets bathing rooms, oxygen cylinders and fixtures for medical equipment. Another major initiative was to put to use the extensive health facilities of Indian railways for COVID patients.

Its medical infrastructure includes 586 health units, 45 sub-divisional hospitals, 56 divisional hospitals, eight production unit hospitals and 16 zonal hospitals across the country, with more than 5000 beds. Indian Railways also pitched in with the production of 1500 PPEs per day, reusable masks, hand-sanitizers etc to supplement efforts of the Ministry of Health.

In an unprecedented move, two sets of long-distance, super-heavy, fast freight trains were introduced – Annapoorna Trains by Northern Railways and Jai Kisan Specials by South Central Railway to ferry around 2,600 tonnes of foodgrains, basic vegetables, fruits, milk and medicines to hard-hit zones. Mobile kitchens were set up to serve cooked meals to about 50,000 in remote unconnected areas each day.

An entire train was converted into a mobile hospital named ‘Lifeline Express’, which provided healthcare facilities to the people in rural areas free of cost. It is the world’s only such moving hospital, with full medical facilities including 2 operating theatres, 5 operating tables and X-ray center.

New initiatives

India’s largest employer has commenced the digitalization of its services operations. The network will collect about 100 datasets per user. This passenger booking plate already has 25 million users, leading to approximately 800,000 daily transactions. Last month, Indian Railways introduced the Freight Business Development Portal, which is aimed at enhancing the ease of doing business & provides existing freight customers with enhanced GIS-based track and trace features.

Signifies hopes of an entire nation

Whether it is upgrading stations or tracks, using solar-power optimization, ending unmanned crossings, accident prevention, coach manufacturing & digitization for ease of travel, Indian Railways has been on mission mode in the last few years. Describing the importance of the Indian railway for the people of India, the Chairman of the Mahindra Group Anand Mahindra aptly put it “When those iron wheels start turning, you can feel this giant nation begin to reconnect. There is something so uplifting about this. The second-largest rail network in the world is not only India’s life-blood, it signifies the hopes, dreams & ambitions of a billion people.

Medan City: A Culinary Cauldron

Raghu Gururaj

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January 22, 2021

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INDONESIA: Located in Sumatra Island and in touching distance of the major cultures of India, China and ASEAN countries, the pluralistic cultural fabric of Medan has imbibed and adopted a bewildering variety of food cultures in its fold.

Medan is 4th largest city in Indonesia, but when it comes to cuisine, it can give Singapore a real run for its money. Though Indonesian cuisine varies by region and has many influences, until a few years ago, Sumatran cuisine had a predominant Middle Eastern, Indian and Chinese influence.

But today, from the Indian, Malay, Thai and Chinese cuisines to the Japanese, Korean and Vietnamese to the Middle Eastern, Italian, Continental, French and Dutch, Medan presents a down founding melange of food traditions.

Read also: The Royal Taste Of Mughlai Cuisine

From roadside eateries, traditional food carts to fine dining, one would need to summon all five senses to savour them. Merdeka Walk is one such place in the heart of the city, a real hangout and a culinary cauldron.

Merdeka Walk is also a good place for expatriates to hang out. Photo credit: Raghu Gururaj

One is spoilt for choice whether it’s a Mie Pangsit (Wanton Noodle), the classic Tiong Sim, Soto (coconut milk broth) that can tame any acerbic tongue or other savoury dishes such as Rendang (dry chilli curry made with coconut broth and secret spices and flavours), Gulai (curry-like sauce), Mie (noodle), Sayur Lodeh (vegetables with coconut broth), Gudeg (with nut sauce), Opor Ayam (chicke cooked in coconut milk), etc.

Other classic examples are curry chicken (Indian influence), Nasi Kerabu (blue rice with fish), Laksa (spicy noodle), Char kway teow, Nasi Lemak (fragrant rice dish cooked in coconut milk and pandan leaf) etc.

Beware of red hot spice up Nasi Padang (a miniature banquet of meats/fish, vegetables, and spicy sambals eaten with plain white rice), not everyone can handle it. Other local popular snacks like the Risol (spring roll with any filling), Bolu Meranti (roll cakes) or Bika Ambon (sweet sponge cakes) are other popular dishes.

When you go to a restaurant, don’t be surprised if the waiter brings out all the dishes on the menu on to your table, even before you place your order. Those who do not know, it works like this – thumb rule is you are supposed to choose those dishes you like to eat and pay only for those. Rest are taken back, to be served at another table!

Medan is a few minutes away from Penang by air and so several of its dishes share much with Malaysian food recipes and Malay cuisine. The widespread use of coconut milk, shredded coconut, beans, rice cakes, chilli coated potato or tapioca fries and chilli point to Malay influence.

Early Chinese settlers, mostly Hokkien, brought their legacy of Chinese cuisine and as they slowly integrated into Indonesian society, changed some dishes with the use of Indonesian ingredients, such as kecap manis (sweet soy sauce), palm sugar, peanut sauce, chili, santan (coconut milk) and local spices to concoct a hybrid Chinese-Indonesian cuisine.

They also introduced stir-frying technique, noodles and soybean processing technique to make tofu. Subsequently, soybean processing led to the possibly accidental discovery of Tempe (fermented soybean cake). Elements of Chinese cuisine can be seen in Medanese cuisine, such as the noodles, meatballs, and spring rolls.

Since some early Indian settlers came from Malabar, Tamilnadu and parts of Gujarat to Sumatra, the influence of Indian cuisine on local food culture has been largely restricted to a particular variety of South Indian cuisine. Spices such as black pepper, turmeric, lemongrass, shallot, cinnamon, candlenut, coriander and tamarind were introduced from India from ancient times, and today they have become integral ingredients in Indonesian cuisine.

Obvious manifestations of Indian cuisine in Sumatra are the local Pakora (Bakwan), Roti canai (like a Kerala Parata), Appam, Puttu, Ayam Tandoori (chicken tandoori), Martabak (parata variety), all of which are now an integral part of Sumatran Cuisine. Many local dishes incorporate Rempah, a spice paste or mix similar to Indian Masala.

Unlike in other major cities of Indonesian, Medan does not boast of an authentic “Indian“ restaurant. However, ‘Cahaya Baru’ run by an Indian Indonesian, dishes out 12 varieties of dosas and makes a valiant attempt to serve authentic South Indian food.

Though Indian cuisine in some form or the other is commonplace in Sumatra as a whole, but unlike the Malay and Chinese culinary traditions, Indian cuisine has not mainstreamed itself into modern day Indonesian cuisine.

One feature of Medanese cuisine (Indonesian as well) is the liberal use of peanuts in several of its dishes, such as satay, gado-gado, karedok, ketoprak, and pecel. This was introduced by the Portuguese and Spanish merchants from Mexico in the 16th century and since then bumbu kacang (peanut sauce) has assumed a central place in local cuisine. Soy sauce is another important ingredient. Kecap asin (salty or common soy sauce) was adopted from Chinese cuisine, however Indonesians developed their own kecap manis (sweet soy sauce) with the generous addition of palm sugar. Since coconuts are abundant in tropical Indonesia, the broad use of coconut milk in Indonesian dishes is not surprising, though its use is not exclusive to this region.

It would be a sin not to taste Sumatran coffee. Omnipresent in every nook and corner are roadside coffee stalls.

One will be befuddled with options – from the traditional Sumatran black, Kopi Susu Dingin (iced café latte) to Mandheling (local black) and Machete or durian ice coffee.

Don’t be surprised if Medanese people coax you into eating Durian. It’s a Southeast Asia fruit which you either simply love or hate. Its smell is so pungent and overpowering that it’s banned in many hotels or carrying on public transport including aeroplanes.

Will India’s New Agriculture Marketing Reforms Make It A Leading Agricultural Power?

Raghu Gururaj

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December 30, 2020

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Will India’s New Agriculture Marketing Reforms Make It A Leading Agricultural Power?

INDIA: The recent agricultural reforms introduced by the Government of India through its Farm Bills, are nothing short of historic and revolutionary. The three new ordinances have the ambitious intent of ‘Doubling Farmers’ Income’ through unshackling of the agricultural marketing structure and integrating Indian agriculture as ‘One Nation, One Market’.

Agriculture is a priority sector for India, contributing about 17% of India’s GDP and being the largest source of livelihood in India. Reform of the agriculture marketing system has been an ongoing process over the years. It would be useful to provide a context to the evolution of the three new farm bills.

Indian agriculture prior to Independence

Before Independence, India’s agricultural policy was largely driven by concerns of food security and so it prioritized on ensuring on keeping prices of raw materials, food grains and agricultural produce low for consumers, end industry and the public. Besides, India used to suffer regular droughts and famines on a regular basis. After gaining independence, India changed tack to augment production through incentives for farmers through remunerative prices in a fair and transparent manner.

The Green Revolution in India from the 70s onwards propelled India from a food deficit nation into a food surplus country. The introduction of High Yielding Varieties of wheat and rice and the amount of scientific research conducted by Indian scientists played a huge part in this. India’s agriculture policy saw its genesis when India was a food deficit nation, and regulation was needed to incentivise production and protect the rights of farmers.

Liberalization of the Indian economy in the 90s

However, in 1991, when India liberalized its economy and opened up its markets, the agricultural sector still remained largely unorganized and at the same time protected and insulated. In the years post liberalisation, it became apparent that while industry, manufacturing and services prospered under the reformed system, the agricultural sector lagged behind and remained disconnected from the beneficial effects of globalization. While incomes of industrial and services businesses grew manifold, farmers continued to struggle to eke out a living as the regulations of the day prevented them from seeking optimum prices for their produce, thereby reducing the incentive to increase production.

While there has been a clear demand for agricultural reforms for a long while, cutting across political party lines, the challenge partly emanated from the fact that the subject of agriculture was a State subject and not a central one. A national committee recommended in 2002 to “develop a National Single Market for agricultural produce, by removing all the existing physical, legal, and statutory barriers. It also recommended a Central Legislation to deal with “Inter-State Agricultural Marketing, promotion of agribusiness, trade and commerce at the national level” and creation of multiple marketing avenues for farmers and contract farming

However, in the 70s, low prices, high costs of marketing and substantial post harvest losses due to several factors lead to the institution of regulated primary wholesale markets called Mandis. The States (provinces) were empowered to set up such mechanisms, which they did under the Agriculture Produce Markets Regulation (APMR). The objective of APMR was to ensure to ensure a fair and transparent environment for agricultural trade and commerce.

Though a semblance of order was introduced into the agricultural sector, it did not yield the desired results. Over years, it became apparent that the system designed to protect farmers, was in fact, proving to become somewhat detrimental to them. It became clear that the agriculture produce could only be bought by traders registered in the market area. This meant that anyone who was not a registered trader could not procure from farmers, even outside the physical boundaries of the market yard.

Each wholesale (APMC) market yard functioned as an independent entity, but was totally disconnected to any other market. Nor was there enough markets. What was initially designed to be a transparent price discovery system became a structure where prices were decided by traders and middlemen. The wholesale markets also levied a series of fees and commissions raising the cost of the product which resulted in farmers receiving a smaller share of the final price paid by consumers as numerous intermediaries grew in the middle.

Indian agriculture began to suffer losses also due to inadequate and outdated wholesale markets, even though the APMCs were earning substantial revenues from fees and taxes. The primary reason for this was due to the fact that the extant policy discouraged private sector investment in the agriculture cold chain. We needed cold storages to store produce, we needed packhouses to sort and grade produce and we needed refrigerated vehicles to transport the produce. All of which did not happen.

The system further discouraged linkages of farmers to food processors and exporters. Despite being one of the largest producers of agriculture commodities globally, India only processes 10% of total production. Similarly, India’s exports in global food exports stands at 2.3%, well below its potential.

Need for a new policy paradigm

This situation called for a new policy paradigm under which the focus of policy needed to shift from deficit management to surplus management. This is precisely what the present Government did when it promulgated three ordinances in September 2020: (a) Farmers’ Produce Trade and Commerce (Promotion and Facilitation) Bill (FPTC Act); (b) Farmers (Empowerment and Protection) Agreement of Price Assurance and Farm Services Bill (APAFS Act) and (c) The Essential Commodities (Amendment) Bill, 2020.

What does the Ordinances Mean?

The FPTC Act merely offers farmers multiple options to sell their produce. They have now the choice to sell within the Government regulated physical markets existing prior to the passage of ths Act or outside it; to private channels, integrators, Farmer Producer Organizations, or cooperatives through a physical market or on an electronic platform; and directly at farm or anywhere else.

The second law, APAFS Act, is a simplified and improved version of the Contract Farming Act that has already been adopted by 20 Indian states. It enables creation of agreements between farmers and buyers for production or rearing of any farm produce, enabling trade at (i) farm gate, (ii) factory premises, (iii) warehouses (iv)silos and (v) cold storages. The price of the produce will be clearly defined in such contracts and a dispute resolution mechanism will be in place to protect rights of both farmers and buyers.

The third law, the Essential Commodities Act allows the Central Government to impose stock limits based on price rises in extreme cases where there is a 100% increase in retail prices of perishable goods and 50% increase in retail prices of non-perishable produce.

Do the New Laws do not override existing ones?

It is important to note that the three new acts do not dismantle existing structure of State APMCs; rather they provide competition to this system by opening up alternative marketing structures, direct buying, and contract farming. Nor do these bills replace the prevailing system of public procurement at Minimum Support Price (MSP). The MSP is a minimum price guarantee that acts as insurance for farmers when they sell particular crops, which are procured by government agencies at a fixed price to farmers. Since the MSP cannot be altered in any given situation, it protected the farmers from crop prices fluctuations. Over 20 crops, including wheat and rice, are procured under MSP. The new laws simply provide more options to the farmers in addition to the MSP.

Benefits of the new reforms

These Bills are an attempt by the Government of India to address many of the prevalent shortcomings in the agriculture market and to fulfill long-standing demands of reforms in this sector. The main objective is to double the income of farmers through key structural changes as delineated above. They are also expected to unshackle agricultural marketing practices with an eye on a meaningful integration of Indian agriculture with the global agricultural scene.

It is also expected that the incentives being provided will allow for alignment of private sector investments across the entire cold chain, reducing post-harvest losses and ensuring better prices received by farmers. Better backward linkages will ensure better quality of produce, leading India to capture a bigger share of global export markets by linking it to global food chains. Employment in the food processing sector is expected to increase, which may a crucial factor that could put India on the path towards becoming the leading food exporter in the world, while maintaining its food security at the same time.

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