Bloodthirsty, or Not, That Is the Question: An Ethnography-Based Discussion of Bhadrakāḷi’s Use of Violence in Popular Worship, Ritual Performing Arts and Narratives in Central Kerala (South India)1
Violence is a characteristic that has somewhat become definitional for the Hindu goddess Kālī. But looking at it through the lens of folk narrative and the popular, devotion-infused and highly personalised opinions of her devotees shows that not only the understanding, but also the acceptance of thi...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2020]
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| In: |
Religions
Year: 2020, Volume: 11, Issue: 3 |
| Further subjects: | B
muṭiyēṯṯu’
B Bhadrakāḷī māhatmyaṃ B popular Hinduism B ritual performing art B Hindu goddess B Dārikavadham B Kerala |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
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| 520 | |a Violence is a characteristic that has somewhat become definitional for the Hindu goddess Kālī. But looking at it through the lens of folk narrative and the popular, devotion-infused and highly personalised opinions of her devotees shows that not only the understanding, but also the acceptance of this violence and the connected anger and bloodthirst that are usually attached to it, as well as the feelings of fear and danger that arise from them on the devotees’ end, are subjects open to discussion. This article, at the juncture between anthropology, performance, and Hindu studies, analyses and compares discourses about her Malayali counterpart, Bhadrakāḷi, drawing simultaneously on various versions of her founding myth of Dārikavadham (‘The Slaying of Dārikan’), ritual routines of her temples in Central Kerala as well as ritual performing arts that are conducted in some of them. The concluding discussion of her alleged thirst for blood and identification of the ’real‘ addressee of blood offerings made to her particularly illustrates how far the negotiation of Bhadrakāḷi’s use of violence and her very definition as violent goddess reaches deep into the worshipper/deity relationship that lies at the heart of popular worship. | ||
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