Bahinabai, Maharashtra’s beloved poet and torchbearer of women’s literature, uses the ovi as a tool to talk about the issues that the mainstream literature of her time ignored - women and their negotiations with societal norms, their relationships with their immediate environments of the kitchen, pantry and backyard.įood imagery does not stay limited to oral literature it has also percolated to common parlance.
A woman farmer who ploughed the field and a Brahmin woman who pulled water from the well, both usually unlettered, composed in the same metre. The ovis were composed by women of all social strata. Sometimes, these are also songs in praise of mythological characters and legends, but they tackled subjects ranging from societal perceptions of morality and questions of theology, becoming an important facet of feminist literature in India.
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Most often, these were songs of lament, calls to their fathers and brothers to rescue them from the drudgery of married life and take them back to the innocence of childhood. For instance, jaatyavarchi ovi (songs sung over the quern), as they’re known in Marathi, are songs composed by women as they went about their household chores like grinding grain. The rest of the story is obvious, but even today, when I narrate the story, at least one of my children pipes up to ask, ‘Amma, can we make kheer tomorrow?’įood forms an important leitmotif in adult Marathi literature as well. To catch the culprit, the three friends decide that each of them must stand on an inverted clay pot in the river and that the clay pot would sink the moment the culprit stood on it. The resultant kheer was so delicious that the cat stealthily lapped all of it up while the other two waited for it to cool.
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The story goes into excruciating detail about who procured what ingredients like milk, sugar, ghee, vermicelli and saffron (the mother or grandmother narrating the story would add or remove ingredients depending on her patience that day), followed by instructions on how to cook it. This is a story that I loved as a child, one that my children love today, and it is about a cat, a monkey and a dog who decided to make kheer one day. There are also many bedtime stories in Marathi that use food to sneak in comfort or morality as you will see in the following story. The folk tale of the Little Red Hen may appear at first glance a lesson in communism, but is it not also about the cycle of farming from sowing to harvest? As I retell this classic fable to my children, I am reminded yet again of the important role that food played in helping urban children picture the image of a field and how the food got to their table. Stories and songs have been agents of education across all the cultures of the world. City bred, he had only seen milk arrive at the doorstep in plastic packets, and was turned off by the offer of a cup of fresh, frothy milk, unpasteurized and sans packaging, still warm from the cow’s body temperature! There is an almost forgotten rhyme, which starts and ends in praise of god but is really about the life cycle of milk, and it goes something like this:Ī perfectly legitimate choice, if you ask me!
Why, my own brother was once stunned to witness a cow being milked in a sleepy little village in the interiors of Maharashtra when he was about seven years old. Many children these days do not even know that there’s a connection between milk and ghee. What is this if not a recipe for a delectable chutney, a perfect balance of tart, pungent and sweet? Do you know whatĪ tiny piece of coconut! Old Granny came along A raw mango, chilli, coriander and ginger
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