The Cholas were a Tamil Dynasty, the ruling South India from the 9^th to 13^th centuries AD. They are important, because they built one of India’s greatest naval and cultural empires of those time. Their rule combined military power, temple patronage and global trade networks. The Cholas expanded Indian influence across Sri Lanka, South East Asia and China. They created strong ports, merchant guilds and naval fleets. Their empire blended economic prosperity with cultural and religious exchange.

The Maritime Legacy of the Cholas was a naval and trade power that flourished between the 9^th and 13^th centuries AD. It began in Tamil Nadu, expanded across South India, Sri Lanka, South East Asia and thrived under the rulers, like Rajaraja Chola I and Rajendra Chola I. Their fleets reshaped the Indian Ocean trade and cultural exchanges.

From Thanjavur to the World: Cholas Command the Waves

The Cholas built one of the greatest maritime empires of India. Their legacy combined naval strength, trade expansion and cultural influences. It remains a defining chapter in the history of the Indian Ocean. The maritime legacy refers to the Chola’s naval dominance and overseas trade. It included shipbuilding, naval expeditions and merchant guild networks.  The Chola fleets connected India with Sri Lanka, South East Asia and China.

The maritime tradition began in the 9^th century AD. It originated in Tamil Nadu with Thanjavur as the Capital City of the Empire. The Chola power spread across South India, Sri Lanka and the Malay Peninsula. The Cholas built strong ports, like Nagapattinam and Poompuhar. They developed advanced shipbuilding and mastered the Bay of Bengal sea routes. The Merchant Guilds, like Manigramam and Ayyavole 500 expanded the trade overseas. The Naval Expeditions of the Cholas reached Sri Lanka, Maldives and Srivijaya in Sumatra.

Rajaraja Chola-I strengthened the naval power and expanded into Sri Lanka. Rajendra Chola-I led the famous Srivijaya campaign in 1025 AD. Kulottunga Chola-I maintained stability through efficient administration and trade reforms. Together, these rulers ensured maritime dominance and cultural exchanges.

Echoes Across the Waves: Forgotten Truths of the Chola Maritime Power

The Cholas began as river kings in the fertile Biver basin of Kaveri Delta. They shifted from agriculture to maritime dominance in the 9^th century AD. This transformation was unusual for the dynasty, which was rooted inland. Nagapattinam Harbour became a bustling port, where merchants from China, Arabia and South East Asia gathered. It was a cosmopolitan centre of trade, diplomacy, and naval power. Envoys negotiated on the privileges, while the Chola warships guarded the coast.

Rajendra Chola-I launched a naval expedition in 1025 AD against Srivijaya in Sumatra. His fleet struck fourteen cities in a single coordinated campaign. This was one of the earliest examples of large-scale overseas warfare. The Brihadeeswara Temple in Thanjavur functioned as an economic hub. It was a sacred place that redistributed rice and employed thousands of people.  The Temple wealth supported shipbuilding, trade and naval expeditions.

Guilds, Dams and Diplomacy: The Cholas Shaping Oceans and Empires

The Merchant Guilds,like Ayyavole 500 and Manigramam operated across South East Asia as Global Players. They secured trade rights in foreign ports and spread the Tamil culture across South East Asia. These guilds acted like multinational corporations of their time. Karikala Chola built the Kallanai Dam across the Kaveri River in the 2^nd  century AD. It still irrigates the agricultural fields  even today. This engineering marvel supported agriculture and indirectly funded maritime activities and expansion.  

Flashback with Palki Sharma on the YouTube handle https://youtu.be/XBcK10rBJAw

In a beautiful description about the Cholas, Ms. Palki Sharma states as under:

“The Cholas brought the golden age in the Tamil kingdom. But did you know they once invaded Southeast Asia? So how did a kingdom in Southern India reach across the oceans? It was because of their powerful navy – the first naval fleet of India. Ms. Palki Sharma tells us all about the naval warfare of the Cholas on this episode of the Flashback.

On the Youtube handle  https://youtu.be/ueQVIrI9kcs

 Crazy Colour Facts gives a captivating explanation about the Chola Empire in the following words:

“They help us delve into the rich history of the Cholas, tracing their rise to the power in the ninth century CE and their profound impact on South India. Uncover the secrets of their efficient administration, organized local governance, and fair taxation system. Marvel at the strength of the Chola army and navy, which secured trade routes and expanded their influence. Explore the vibrant daily life, flourishing education, and stunning temple architecture. Witness the legacy of visionary kings like Rajaraja Chola and Rajendra Chola, and the enduring cultural contributions that continue to inspire.”

The Cholas Reshaped Indian Ocean Geopolitics

This matters in the Indian History as the Cholas proved India could project power beyond its borders. It influenced South East Asian art, architecture and trade. This created a massive and long lasting ‘Global Impact’. They showed that the naval strength, cultural diplomacy and economic networks must work together. The Maritime Legacy of the Cholas is about vision, diplomacy and cultural resilience across oceans. Its forgotten facts remind us that India once ruled the waves. It is noteworthy that the Cholas connected India with South East Asia through trade and cultural exchanges. They influenced temple architecture in Thailand, Cambodia and Indonesia. Their naval campaigns reshaped the geopolitics of the Indian Ocean and commerce.

It Influences Modern Day

The Chola Legacy inspires India’s maritime vision and global trade ambitions  even today. Their example shows as to how the sea power can shape the cultural and economic identity. Modern Tamil pride often celebrates the Chola naval achievements as its heritage. The Cholas taught the value of strong trade networks and cultural diplomacy. They showed that the naval power may balance conquest with exchanges in trade and culture. They proved that art, religion and commerce can travel together across the oceans.

Conclusion

The Maritime Legacy of the Cholas was more than ships and battles. It was a vision of India as a global cultural and economic power. Its lessons still echo in the modern trade, diplomacy and heritage. The Cholas transformed the Indian Ocean into a cultural highway. Their Maritime Legacy blended trade, conquest and devotion. It remains a symbol of Tamil seafaring brilliance and global influence.

Check out our latest article on “Moonlit Salt Plains, Mirages and Voices of Resilience” Here!

The ‘White Desert of India’, the Rann of Kutch, is unique in its own way. It is one of its kind in the entire country of India. It is neither a sea nor a mountain. The Rann of Kutch is towards the north of Gujarat and shares the border with Pakistan. It is not only a desert, but also a stage, where salt plains shimmer under moonlight. Also where mirages dance with mystery and human voices echo resilience. The Rann of Kutch in Gujarat used to be a shallow sea and part of the Arabian Sea. The rivers ‘Luni’ from Rajasthan and ‘Machchu’ from Saurashtra empty water into it.

A massive earthquake struck the Rann of Kutch in 1819. The quake measured over 8 on the Richter Scale. It lifted land along river paths. The uplift stretched 90 kilometers long and 25 kilometers wide. Rivers changed their courses after the quake. Their connection to the Arabian Sea broke. Groundwater gradually dried up. The quake left behind the salt desert called the Rann of Kutch. People call the northern part Greater Kutch. People call the southern part ‘Little Kutch’.

It is fondly called the ‘Dam of God’. There is a bowl-like structure of land present in that area, even today. This allows it to be seasonally connected to the Arabian Sea. It gets flooded in the Monsoon for almost four months.  Then it eventually dries up, leaving behind the well-known ‘salt desert’.

Voices Speak of Moonlit White Desert-Culture Shining on Earth’s Horizon

(i)    Mr. Amitabh Bachchan passionately described the Rann of Kutch as white sands lit up by the moonlight. It feels like the moon has stepped onto the earth. He mentioned the wonderful shimmering white salt flats and rich cultural heritage. Mr. Amitabh Bachchan famously described the Rann of Kutch with the iconic Hindi slogan, which translated to “If you haven’t seen Kutch, you haven’t seen anything.” 

(ii)    The Youtuber, Ms. Kavya of KK creations on her Toutube handle, https://youtu.be/TdYCKNtgnHE, has done a fantastic job to show all about the Rann of Kutch. She quotes “The Rann of Kutch is one of the most stunning places I have ever seen. But its people are what will stay with me forever. This is the real story behind every pinch of salt you have ever used.”

(iii)  The Youtuber, Mr. Kanishk Gupta on his Youtube handle, https://youtu.be/ROgPMyNEIMI, explains the mesmerising beauty of this place. “Gujarat’s Rann of Kutch is the only white desert in India, and its stunning beauty will amaze you. You can reach this destination via one of the most picturesque roads in India, often referred to as the ‘Road to Heaven’. This route leads you to the breathtaking salt desert landscapes that are rich in culture and the fascinating stories of Dholavira village.”

Road to Heaven: A Journey Across Salt and Sky

The ‘Road to Heaven’ is one of the most beautiful roads in India. This road is a stretch of 30 Kms and is visible from the starting point. It seems to be a never-ending road to eternity, leading to a village called ‘Dholavira’. The travellers feel they are moving on the horizon. The scenes on both sides of the road alternate between white crystal-like salt and patches of water. The salt accumulated in patches also resemble ice. When sunlight reflects from it, it looks like diamonds. The sight of all this is mesmerizing. The area near this ‘Road to Heaven’ is the ‘Kutch Lake’. It is filled with water for almost 6 months of the year. Across this road, there is a beautiful island called ‘Kadir Bet’.

Conflict is Clear

Salt sustains the nation, yet its makers remain invisible and vulnerable. Salt farmers in the Rann of Kutch face harsh living conditions, legal uncertainty and economic exploitation. Their struggles highlight deep conflicts between heritage, livelihood and conservation.Salt farmers work under extreme heat without proper housing or clean water. The families migrate for eight months, living in fragile huts across the desert. The Government surveys recognize the rights of only a few lease holders. The farmers face exploitation by the traders, who control the salt trade and its prices. The welfare schemes rarely reach the Agariya community.  The women and children endure unsafe, labour‑intensive conditions. The conservation policies prioritize wildlife over human survival. Lack of education and healthcare deepens generational poverty. The communities remain marginalized despite producing most of India’s salt.

It matters much, because the salt farmers of the Rann of Kutch produce nearly 30% of India’s salt in the Little Rann of Kutch. Their rights remain unrecognized, leaving their livelihoods insecure. The exploitation and neglect threaten both heritage and human dignity.

Rising Temperatures, Ecology and Geopolitics Collide

The silent sky and land are decorated with some beautiful birds. The black-winged-stilts fly above the water. Some other beautiful birds also visit the place. There are some ‘Wild Life’ sanctuaries in the Rann of Kutch. However, these days, the Rann of Kutch faces climate stress and border tensions. The Nature is powerful; it could change anything at any time. It is not a guarantee that geographically things would be the same for ever. The rising temperatures threaten migratory flamingos and pastoral livelihoods. Its proximity to the India-Pakistan border makes it a zone, where ecology and geopolitics collide.

Craft, Conflict and Cultural Celebration

Rann Utsav transforms the White Desert into a vibrant tent city with culture, crafts and adventure. It attracts global tourists, boosts local economy and showcases the heritage of the State of Gujarat. The Rann Utsav is carried out in the months from November to March each year. This is mainly in Dhordo, Great Rann of Kutch, Gujarat. The duration is around 100 days of festivities. During this period of festival, the tourists could have the pleasure of tent city, folk culture, crafts, adventure sports and full moon desert views.

At ‘Rann Utsav’, theorganizers set up a luxury ‘tent city’ in Dhordo. The folk artists perform traditional music and dance during the nights. The artisans display crafts like embroidery, pottery and woodwork. The visitors enjoy camel rides across the salt desert. The adventure seekers try parasailing, all-terrain vehicle (ATV) rides and star gazing.  The wellness retreats offer yoga, meditation and spa therapies. The cultural evenings highlight Kutch’s legends and rituals. Special full moon nights create magical desert views. Local cuisine stalls serve authentic Gujarati flavours. The handicraft fairs connect artisans directly with buyers.

White Desert, Living Culture, Global Journey

It boosts tourism as ‘Gujarat Tourism’ promotes ‘Rann Utsav’ globally. The festival attracts thousands of domestic and international visitors. The tourists extend their stays, exploring Mandvi Beaches and Dholavira ruins. The local hotels, transport and shops thrive during the season.  The artisans earn direct income from craft sales. The adventure activities draw younger travellers, seeking unique experiences. The media coverage and celebrity visits increase visibility worldwide. Dhordo village gains recognition as a ‘UNWTO Best Tourism Village’. The seasonal employment rises for guides, performers and service staff. The festival strengthens Gujarat’s image as a cultural tourism hub.

Cultural Insight

The Rann’s ‘White Desert Festival’ transforms silence into celebration. The folk dances, camel rides and moonlit music show as to how the communities reclaim harsh terrain as their cultural heritage. The desert becomes a background, where identity, resilience and joy are performed under starlit sky. This is an opportunity for ‘Rann Utsav’ to promote culture through vibrant folk dances and desert performances. The artisans showcase their crafts, embroidery and pottery. The musicians fill moonlit nights with traditional melodies. The camel rides immerse visitors into desert heritage.  The organizers highlight Gujarat’s identity through cuisine, rituals and storytelling.

Conclusion

The Rann of Kutch is more than just salt and sand. It is a living paradox, where moonlight turns barrenness into beauty. The mirages whisper forgotten trade routes, artisans stitch memory into cloth and modern conflicts test resilience. Its nights remind us that even silence carries stories, waiting to be heard. The salt glows under moonlight, whispering history. The conflicts test resilience. One should visit the Rann of Kutch to see and feel its strength.

Check out our latest article titles “Labour Day: Honouring Struggles, Voices, Conflicts and Culture“

What happens when a system is not broken, but works exactly as it was meant to? That is the question at the heart of A Burning, Megha Majumdar‘s. debut novel. Set in Kolkata, it follows three people whose lives collide after a terrorist attack on a train. And it refuses, until the very last page, to give you any comfort.

The Story

Jivan is a young Muslim woman from the slums. One evening, she witnesses the train attack and does what many of us would do — goes home and posts about it on Facebook. The post says something she probably should not have. She asks why the government did not protect the people on that train.

That one post costs her everything.

The authorities arrest her. They try her. And they eventually hang her, all for a crime she did not commit.

Alongside Jivan, we follow two other characters. Lovely is a hijra who dreams of becoming a Bollywood actress. She is also Jivan’s only alibi, the one person who can prove Jivan is innocent. PT Sir is Jivan’s former gym teacher. He joins a right-wing political party and as the novel progresses, chooses ambition over truth.

These three lives are deeply connected. But only one of them pays the price.

The World Is Not Fair, And the Novel Does Not Pretend Otherwise

Here is what makes A Burning different from most stories about injustice.

Most stories give you hope. A hero rises. The truth comes out. The system, however slowly, corrects itself. Majumdar does none of that.

Jivan does not rise above her circumstances. She does not deliver a speech that changes minds. She understands, very clearly, what is happening to her. At one point she shouts at her lawyer: “The country needs someone to punish. And I am that person?” She is right. And nobody saves her.

This is not a story about a broken system. This is a story about a system that works,  just not for everyone.

What Jivan’s Story Is Really About

Jivan is not perfect. She is angry. Reckless, sometimes. But her flaws are ordinary. What condemns her is not what she did. It is who she is.

Poor. Muslim. A woman with no connections and no one powerful enough to speak for her. In the world of this novel, a world that feels very close to our own, that is enough.

She dreams of small things. A job at Pantaloons. A smartphone. A salary slip. She writes: “I hoped that after a few more salary slips… I would be free in this way too.” Freedom, for Jivan, is not a grand idea. It is something very simple that other people already seem to have.

She never gets it.

Near the end of the novel, she imagines the morning she will be free: “In my mind, every morning I dress smartly, clip on my badge, and take the bus to my job at Pantaloons. That morning will come again.” It is quiet and heartbreaking. Because as a reader, you already know, that morning will not come.

Lovely: Welcome to Bless, Not to Belong

Lovely is one of the most memorable characters in recent Indian fiction. She is funny, bold and full of life. She narrates her chapters in a present-tense English that carries the warmth of her actual speech. “Even a future movie star is having to make money,” she says, and you cannot help but smile.

But a painful contradiction shapes Lovely’s life.

As a hijra, people invite her to bless newborns and newly married couples. The community believes hijras carry a direct line to god. “So if we bless,” Lovely explains, “it is like a blessing straight from god.” They welcome her at the door for the ritual. But they do not welcome her to stay.

Her guru puts it plainly: “To be putting fish on the plate, we are having to sacrifice dignity on the streets. We are having to beg. Why? Because we would be liking to eat.” That is the deal society offers the hijra community. You may exist, but only on our terms.

This is one of the novel’s sharpest observations. Society calls upon the hijra community when it suits, at a wedding, at a birth and pushes them to the margins the rest of the time. Majumdar does not let us miss this irony.

Lovely’s Impossible Choice

When Jivan’s trial begins, Lovely is the only person willing to speak up for her in court. She says: “She was spending her time on teaching the poors. How many of you are doing that in your own life? Who are you all to judge her?” It is one of the bravest moments in the novel.

But then Lovely’s acting career begins to take off. Producers call. Brands come knocking. And they make it very clear, associating herself with a terrorism case is bad for business.

So Lovely makes a choice. She distances herself from Jivan. In public, she says: “She was my neighbour, but I am understanding now that maybe I was never really knowing who she was.”

It is a devastating line. Not because Lovely is cruel but because she is cornered. She has spent her whole life fighting for people to see her as a person, not a spectacle. Now, for the first time, she has a chance at something real. And she takes it, even though it costs Jivan her life.

Both Jivan and Lovely are victims in this novel, not just of their gender, but of their class. Neither of them was ever given a fair chance. The difference is that Lovely finds a door, just barely and steps through it. Jivan finds no door at all.

PT Sir and the People Who Get Away With It

PT Sir is perhaps the most uncomfortable character in the novel because he is so easy to understand.

He is not evil in any obvious way. He is a gym teacher who feels overlooked and unimportant. When a political party offers him a sense of purpose and power, he takes it. Slowly, quietly, he becomes the kind of person who testifies against an innocent student in court.

And he faces no consequences. His career grows. His life improves. The novel watches him rise without blinking.

This is what the novel is saying about class and power. PT Sir can access systems, the party, the media, the courtroom, that Jivan and Lovely cannot. When he speaks, people believe him. When Jivan speaks the same words, they convict her. The law does not work the same way for everyone. It bends toward those who already hold something.

The Hook the Novel Sets and Never Releases

A Burning pulls you in with three very different lives. And just when you think one of them might find a way out, Majumdar tightens the thread.

The novel ends not with justice, but with its absence. Jivan is executed. PT Sir gets his political career. Lovely gets her film career. The journalist who twisted Jivan’s story moves on. The system that killed an innocent woman keeps running, unchanged.

Majumdar has said in interviews that Jivan is someone “let down by the police, let down by the courts, let down by nationalist media.” What is remarkable is that she does not frame this as unusual. This is just how things work. And that is the most unsettling part of the novel, not the cruelty, but the casualness of it.

Why This Novel Matters

A Burning is not a comfortable read. It is not supposed to be.

It holds up a mirror to a society where some people will always become scapegoats. Where class, religion and gender decide, long before any trial, who is guilty and who is not. Where the hijra community is sacred enough to bless a baby but not respectable enough for a courtroom to take seriously.

Majumdar writes with restraint. She does not raise her voice. She does not need to. The story does all the work.

A Burning is a short novel. But it stays with you for a long time, the way injustice does, when you have no power to stop it.

Whenever people honour and celebrated a particular day, it is in reverence to the importance it holds. This is to remember all those people and their efforts for provision of the basic human rights for the humanity. They reshaped our society. The particular day belonged to them that the humanity could successfully restructure the labour laws. These people helped the humanity get the benefits of the 8 hours work a day, along with a weekly holiday. They also enabled job security in the work place whether for a woman or a man.

Today, if the workers have these rights as an employee, it is because of them. The people did not get these rights easily. Before this, some people struggled to give the entire working class the basic rights, the humanity enjoy today. All the facilities that the humanity have got today from the employers are the results of the efforts and struggles of those people,

Unbearable Hours, Rising Voices, Global Revolt

Earlier in the 1800s, employers made people work for 12, 16 or even 18 hours a day.  The workers never raised their voices against this. The workers obeyed and followed the dictates of the capitalist masters and their managers without realizing that it was inhumane. They could never realise that there was another way out or that they didn’t deserve that inhuman treatment. The workers did not have any facilities or even basic necessities for their jobs. There was no job security.

The conditions in which people worked was inhuman and unbearable. Every one needed to compete and earn money. They did not dare to go against all these inhuman treatments. The business owners of that time wanted to make more and more profits. Employers could achieve this only by getting out maximum work from the workers and labourers on minimum wages. If Employers gave any facilities to workers, it would cost the owners and they would make less profits.

Revolt Against Oppressors

The workers of the United States of America raised their voices and revolted against the oppressors, who were the capitalists and owners of the businesses and factories. The revolt against this type of conditions took form and gained momentum overseas. It spread to the Europe and then to France and gradually to the whole world.  When the conditions of the workers were hopeless in Chicago, on 1^st May, 1886, there was a worker’s strike.

It was in this revolt that they demanded an 8-hour work day, higher wages, some basic facilities and better working conditions. This was in a democracy and not in a monarchy. This made it effective and the idea gained power and momentum. As the United States of America was a democratic country at that time and the workers were in large numbers. Most of the population was of working class. The movement gradually built strength. Many workers lost their lives in the clash.  

A Historical Fact

History has recorded a commemoration of sacrifice (Haymarket Martyrs) of the workers fighting for justice for the working classes. Workers gave up their lives at the place known as ‘Haymarket Affairs’.. This attracted the attention of the whole world. The whole world started questioning about the happenings. It raised awareness about the dignity of the workers and labourers all over the world. Workers and labourers alerted themselves that they could demand rights.

In 1889, ‘Second International Organisation’ passed the rule to commemorate the sacrifice of the workers, who lost their lives. Every year on 1^st May, the humanity across the globe remembers the sacrifice of these workers. The importance of the Labour Day is to remember the sacrifice and pay homage to all those great pioneers, who thought for the first time that the workers and the labourers are also human beings and like others, they also deserves respectful and safe work places and working environments.

From Haymarket to Chennai: Roots of Labour Day

Labour Day in India has deep roots in Chennai (Madras). It was first celebrated on 1^st May, 1923 by Singaravelar Chettiyar. He was a freedom fighter and labour activist. Tamil Nadu later became the first State in the country to declare 1^st May of every year a holiday. Then in 1967 and in 1990, international organizations and places recognized it.

It was under the leadership of Singaravelar Chettiyar that for the first time, the workers and labourers raised their red flag.  Singaravelar Chettiyar was the chief leader in the Communist Party of India in 1924-25. People regarded him as one of the most influential leaders in this movement. The red flag is significant in ‘Labour Day’. ‘Labour Day’ has great significance as it reminds the humanity that the workers and labourers are the backbone of the economy and society. The entire existence of the humanity is based on the struggles and efforts of the workers and labourers, who are the chief architects of agricultural and industrial productions. The progress of the countries across the globe rests on the struggles and efforts of the workers and labourers. The people realise that no factory, institution or company can function properly without the active participation and cooperation of the workers and employees.

Respect Worker’s contributions

The most important thing is that the employers should take proper care of their workers. This is necessary since employee’s contribution is irreplaceable. Everyone should respect the contributions of these workers in the agricultural and industrial productions and thereby in the growth economy and society.  The employers should ensure that they get appropriate wages along with judicious place in the economy and society.  The workers should also get equality of all kinds, because they are the base of the economy and society.  The strength of an establishment is in the base itself.

Voices of Labour: Power in Work and Dedication

A quote by Indira Gandhi “My grandfather once told me there were two kinds of people those who do the work and those who take the credit. He told me to be in the first group; there was much less competition”. This shows the power of labourers.

The Indian Express quotes “You have the power to change this world if you have the power to work with commitment and dedication”. This proves that the dedication accompanied by hard work is the real power.

Modern Gig Workers and the Fight for Dignity – A Modern Conflict

Even these days, there are some places, where the capitalists, business and factory owners do not provide the workers and labourers with their rightful statuary dues. Many employees suffer from insecurity of jobs. In many places, employers deny workers and labourers statutory wages and health insurance. Society and the country face this collective problem. Leaders must tackle it urgently and humanely to secure industrial peace, boost productivity, and grow the economy.

Now-a-days, the gig workers in the economy, likedelivery riders, app‑based drivers or platform freelancers struggle for recognition under the labour laws. Traditional unions often exclude them. The companies classify them as ‘partners’ rather than their employees. On May Day, the protests increasingly spotlight this conflict. Their demand is for social security, fair wages, facilities and collective bargaining rights.

Cultural Insight

Singaravelar Chettiyar, a freedom fighter and labour activist organized the public meetings. He did this under the banner of the ‘Labour Kisan Party of Hindustan’. This marked India’s entry into the global labour movement. This cultural moment fused the workers’ rights with the independence struggle. Tamil Nadu played a pioneering role. In 1967, Chief Minister C.N. Annadurai declared May 1 a state holiday. In 1990, Prime Minister V.P. Singh made May 1 a Central Government holiday. This was after the request by Durai Vaiko. This shows how Labour Day in India is about the workers’ rights, regional pride and political recognition.

Visual/Archival Reference

One striking archival image is the 1923 Madras Beach Labour Day meeting. Here people raised the banners demanding justice for the workers and labourers, against the colonial rule. Such visuals remind us that May Day in India was not only about the workers and labourers. It was also about human rights, freedom and dignity for the workers and labourers. Another reference is the 2006 Indian Postal Stamp honouring‘M. Singaravelar’. This symbolizes his role in bringing May Day (Labour Day) to India.

Conclusion

Labour Day is not just remembrance, it is also the responsibility to contribute to the achievement of humane working environments, human rights, respect and dignity for each and every worker and labourer not only in the country but also in all the countries of the world. The sacrifices of the workers and labourers in the past gave the humanity the rights we are enjoying now. But the rights remain fragile unless we act upon them continuously. Employers must ensure fair wages, safety, and equality for workers and labourers. Citizens must honour and respect labour as the backbone of the economy and society. The workers should unite to demand justice and equality of all kinds. When each of us does our part, Labour Day becomes fruitful. This transforms memory into progress and reverence into real change.

India codified new labour laws in 2020 and implemented the same in 2026. The authorities debated that shaped the future of work. Four‑day week proposals stirred strong voices. Daily hours may rise, sparking concern. Employers must set minimum wages with fairness. Workers demand dignity, not exploitation. Organizations must consider women’s safety in night shifts. Employers and Organizations must guarantee protection without any compromise.

The question of Provident Fund highlights financial security. Labourers deserve stability, not uncertainty. These reforms test balance between progress and justice. Labour rights must remain the nation’s backbone. Let us all be a part of the solution and raise our voice for the justice for the workers and labourers. Conforming with error would not help the country to progress, therefore let us all strive for a better future.

Check out our latest article “Kathakali’s Painted Faces: Living Epics of Timeless Art” here!

Kathakali is a classical dance-drama from the State of Keralam. The art blends painted faces, epic storytelling and martial arts together. It remains a living cultural epic, rooted in the temple traditions, yet evolving into the modern theatre. Kathakali originated in the 16^th and 17^th century. This dance form developed from the earlier temple and folk arts, like Krishnanattam and Ramanattam. The King of Kottarakara created new plays based on the Ramayana. These further evolved into Kathakali. The word itself combines Katha (story) and Kali (performance/play).

Roots, Royals and Patronage

Other classical dances were rooted mainly in the temples. Kathakali flourished in the royal courts and temple forecourts. This made sacred stories accessible to the common people. By the 19^th century, the colonial disruptions weakened the royal patronage. Small troupes (Kali Yogams) and Namboodiri families kept the art alive until modern revival movements. It fuses painted faces, epic storytelling, martial arts and music. This enables the art into a single ‘total theatre’.  Its elaborate costumes and powerful facial expressions are famous. It has the ability to transform myths into living performances.

Kathakali is Unique

It depicts painted faces as symbolic language. The makeup (chutti) uses colours to instantly identify the characters. Green is for noble heroes, red for villains, black for hunters/demons and yellow for saints. This visual code makes Kathakali instantly recognizable. Unlike other classical dances, Kathakali dramatizes the entire episodes from the Ramayana, Mahabharata and Puranas. That is why it is  also considered as the living epic.  Movements draw from Kalaripayattu, the martial art from the State of Keralam. This gives Kathakali its athletic dynamism and combat-like choreography. The performers are trained for the years to master nine facial expressions (navarasas) – love, valour, anger, fear, wonder, peace etc., creating emotional depth unmatched in the other forms of art.

Kathakali is Famous

The elaborate costumes and headgear enable it. Towering crowns, layered garments and intricate jewellery make Kathakali spectacular to watch. The grandeur of the art mesmerizes the audiences worldwide. Keralam’s kings and temple festivals support it. Kathakali became a ‘golden art form’ (suvarna kala). It is deeply connected into the cultural identity of Keralam

History Hides the Forgotten Layers

These are the royal rivalry, temple innovation and community resilience. Kathakali’s fame is built on centuries of survival against decline, colonial disruption and cultural shifts. In the 17^th century, the King of Kottarakara invited the Krishnanattam troupe from Calicut. They refused and therefore, the King of Kottarakara created Ramanattam, based on the Ramayana. Later on this, evolved into Kathakali. It proved that the art can emerge from the political rivalry also. Early performances used Sanskrit, which limited access for the commoners. The King of Kottarakara introduced Malayalam lyrics. This made Kathakali accessible to common people in the temple forecourts. The Curtain Ritual – Thiranukuu was incorporated. The characters were introduced from behind a satin curtain (Tereshiela). This dramatic reveal pioneered in the 17^th century. It gave Kathakali its theatrical suspense.

Powerful Innovations Create Improvements

The survival of the art is through patronage by the families. By the 19^th century, colonial rule and loss of royal patronage nearly destroyed Kathakali. Small troupes (Kali Yogams) and Namboodiri families, like Olappamanna sustained it for 300 years. This kept the art alive. The artists also introduced musical innovations.Vettathu Raja introduced two singers, cymbals (chengila) and the temple drum (chenda). These innovations gave Kathakali its powerful rhythm and soundscape.

The people often overlook the cultural layers. The main part of the training is in the monsoon.  The performers rehearsed during the monsoon season of Keralam. This linked art to nature’s rhythm. There is a shared community ownership for Kathakali. Unlike Bharatanatyam (temple-centric), the courts and villages share belongingness for the art of Kathakali. This bridges the gap between the elite and common audiences. Eye Exercises (Netra Abhinaya) are of utmost importance.  The performers are trained to control  their eye movements. This is a skill unique to Kathakali.

These facts show Kathakali as tool of political resistance, cultural democratization and community resilience. The art’s fame in the modern days consists of grand costumes, painted faces or epic narratives. However, it rests on centuries of adaptation and survival. Kathakali is the living epic of the State of Keralam. It is shaped by forgotten kings, families and rituals.

Artisan’s voice:

Dr. Ramakrishnan, is a sixth-generation Kathakali artist. He is the secretary of a 43-year-old ‘Natishala Vidyam’. His main idea about the art is “Take the story out.” He emphasized on what it truly means to become a Kathakali artist. He explains how an art form survives, transforms and struggles across generations. It is not merely about performance, but also about the lives lived beneath the paint. He speaks about understanding how the natural pigments are ground and mixed for makeup. Kathakali also traces the mythological epics that the body comes to narrate.

Kalamandalam Ravi Kumar

A Kathakali – vesham teacher named ‘Kalamandalam Ravi Kumar’, expressed his views “Kathakali is an artwork based on Hindu legends. The biggest specialty of Kathakali is that is synthesizes music, vocal performers and choreography. The hand and facial gestures express these stories. Facial and eye movements are very important in conveying expressions in Kathakali. So, the control of eyes is developed through practice.  Students who attend that Kathakali school are 13 years old.  It is approximately 12 years of study. Costumes and make up are beyond imagination. It takes about 4 hours to prepare for the performance. Traditional art forms help in cultivating the culture within us.”

Nelliyode Vasudevan Namboodiri

Eminent Kathakali actor ‘Nelliyode Vasudevan Namboodiri’ has about six decades of experience in the art of Kathakali. His interventions in the age-old dance drama are flavoured with great intensity of thought. He specializes in thadi (beard) characters. His innovations in the make-up or performance have led to the development of his signature style. This has consistently won critical acclaim. In conversation with V. Kaladharan, he talks about “his beginnings in the field and how he came to perform thadi veshams”. He says that “his borrowing of certain elements from Kutiyattam led to the enrichment of his thadi characters”. He also talks about “his innovations in various aspects of the art form, like the attam, costume and make-up”.

A renowned Kathakali artist from Chemancheri.

Chemancheri Kunhiraman Nair is a renowned Kathakali artist from Chemancheri. He completed 95 years in 2013. Chemancheri Kunhiraman Nair spent the last eighty years in learning Kathakali and teaching it. He has done the role of Krishna alone more than a thousand times. The Government of India awarded him with the fourth highest civilian honour of the Padma Shri in 2017.

The modern conflict

The modern conflict in Kathakali lies in its adaptations to contemporary realities. It was once restricted to the male performers. The art now embraces inclusivity with women artists stepping onto the stage. Global troupes expand its reach by reinterpreting Shakespearean plays and even Christian narratives. This proves Kathakali’s versatility and universal appeal. At the same time, its deep roots remain visible through links to the Keralam’s older theatre art form, Koodiyattam. UNESCO recognizes as a Masterpiece of Oral and Intangible Heritage of Humanity. Together, these shifts highlight the tension between preserving tradition and embracing modern transformation.

Kathakali dramatizes Hindu epics.

The artists perform the stories of the Mahabharata and the Ramayana through gestures, expressions and rhythmic footwork. Painted faces and towering headgear symbolize heroes, villains, hunters and saints. This transforms performers into living myths. The movements draw strength from Keralam’s martial art Kalaripayattu. This gives Kathakali its athletic dynamism. The music in Sanskritised Malayalam with drums and cymbals, fuses sound and gesture into total theatre.

The Keralam Kalamandalam, founded in the 20^th century, saved Kathakali from the decline and trained generations of performers. School for Kathakali – Keralam Kalamandalam – http://kalamandalam.ac.in/

Some artists have played significant roles in preserving and promoting the tradition globally.

Few of the most influential Kathakali performers from Kerala include:

Balakrishnan Nair, Sadanam Puthiya Veettil Balakrishnan popularly known as Sadanam Balakrishnan  popularized the art internationally.

The legendary actor-manipulator G. M. V. S. Nair, is known for his innovative character portrayals.

Kottakkal Sivaraman is celebrated for his mastery in the portrayal of divine roles and for training numerous successful artists.

Kalamandalam Gopi is renowned for his emotive performances and contributions to choreography. These artists have enriched Kathakali with unique interpretations, enhanced training methods, and

Some contacts who support and promote Kathakali:

https://www.instagram.com/yakshagana.kathakali_artist_pg?igsh=MWoyZHhnZjZpb3YyNw==

https://www.instagram.com/_.story_of_dance._?igsh=MWRhNjBwZTR0bTQ5eA==

https://www.instagram.com/kerala.kalamandalam?igsh=ZjRrM3d3a25jZjc3

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