CUP OF LIFE

Midnight tea party will bring together Indian and global artistes

    For a city weaned on cutting chai on the run, a tea ceremony which commences at midnight and continues over 12 hours across different sites might sound like a touch too leisurely if not radical. But on December 22, Miko Kuro’s Midnight Tea hopes to do just that when it invites individuals to be part of one such elaborate tea ceremony.
    Started by American artist Natasha Marin in 2008, Miko Kuro’s Midnight Tea is a community arts endeavor designed to create moments of meaningful interaction between strangers. Marin has hosted these gatherings at galleries and art spaces in Greece, France, China, Canada and the United States before bringing the project to India.
    In Mumbai, the evening will be led by Marin and twelve artists from the USA and Canada who will work across genres and spaces to create an (art) experience that will come together around tea. Marin and her collaborators will be joined by about 48 Indian artists, singers and poets who will also participate at various junctures of the project.
    “The project is built around the traditional Japanese tea ceremony where more than one person can explore the relationship of giving and receiving. We’re all projecting ourselves into the world, and if with the help of some instructions we could get all our perspectives to coalesce for at least the duration of the tea ceremony, then that would be amazing. I really believe that at any point in time, people can come together and make magic happen,” explains Marin, who has adopted Miko Kuro as her Japanese name.
    The event titled ‘12 Artists. 12 Hours. Once in a lifetime.’ will begin at Tao Art Gallery, Worli, and conclude at Lakeeren Gallery, Colaba. Marin elaborates, “When one is working across cultures and disciplines, finding familiar territory is very important. For the Mumbai ceremony I’ve chosen the broad theme of the elements because people everywhere can relate to the elements of Fire, Water, Earth and Air.”
    The cycles of Fire and Water will be performed at Tao whereas Air and Earth will take place at Lakeeren Gallery, Colaba. The ceremony will be a mix of predetermined and improvised performances, readings, interventions and the like. The programme for the evening will be led by Marin and her band of 12 interdisciplinary collaborators, including Bonnie Brooks, a fashion designer, textile artist, and alternative healer, Zac Buschmohle, a photographer and Jumanne Donahue, a writer and game designer. The lineup also includes Namrata Bhawnani of Visual Disobedience. Bhawnani and Visual Disobedience, a webzine and support-indie-art initiative, have been integral to bringing Marin tea party to Mumbai.
    Marin was drawn to India and Mumbai because some of the artists who featured in earlier sessions were from Mumbai and attended art school here. According to Marin, finding artists for each session is never difficult; there are times, however, when language comes in the way. “In China, I wished for more language to communicate with, but my
daughter who came with me speaks a little Mandarin so that made it easier to connect. My hosts in China at 943 Studio were beyond gracious! It would have been impossible without their hands-on assistance. Being a citizen of three countries, I often feel like I should speak more than just English,” she confesses.
    While finding intrepid artists who’re ready to move out of their comfort zones may come easily to Marin, her search for them in Mumbai has been made singularly easy by Visual Disobedience, which caught Marin’s attention when she was researching online for potential collaborators. “Natasha was looking for a local support system, a one-stop shop that would help her plug into the scene and also work with her on all the logistics. Some of these 48 artists—such as Tarini Dixit, Jai Ranjit, Sujay Saple and Nishith Mehta—are part of the Visual Disobedience community while others were invited after they successfully met some criteria laid out by Natasha,” explains Bhawnani.
    Despite Mumbai’s repeated claims of being a city that doesn’t sleep, it has been caught napping on more than one occasion. When asked about midnight, her preferred time, Marin responded, “It’s the most magical time. Don’t you think?”

HOT STUFF: An artistic enterprise curated around the Japanese tea ceremony will take place on Dec 22

ON THE GO Of warm bun maska, spicy baida curry and Scotch broth

ON THE GO

Of warm bun maska, spicy baida curry and Scotch broth

Mumbaikars Give Their Wish List Of Iconic City Eateries They’d Like To See Reopened

    The recent reopening of an iconic café in South Mumbai had us put the nostalgia broth on the front burner. In a city where fickle tastebuds, combined with an equally fickle hospitality industry, have together ensured the expiration of several old favourites, the broth, as you can imagine, had many takers.
    Cartoonist Hemant Morparia finds that places with character are increasingly rare. “Either one has to endure global levels of standardisation with places like Starbucks. Or then you have places where you have to pay an arm and a leg. Both these options are unpalatable. It makes more sense to have friends over for food,” he says.
    Morparia’s list of old Mumbai favourites includes, Café Naaz, Malabar Hill and Brabourne Restaurant, Dhobi Talao. He elaborates, “Naaz was a part of the city’s topography. It had character and it was accessible. These days you’re enclosed everywhere you go, Naaz was open and how. That view from Naaz was unparalleled. Brabourne, owned by film critic Rashid Irani, also made for an interesting visit. You
could either hobnob with a local drunkard or talk with films with Irani.”
    Film-maker Saeed Mirza who currently shuttles between Mumbai and Goa, recalls, “Over the years I’ve seen a lot of places go away. Even now, I remember Gourdon very fondly; it used be in the vicinity of Gaylord Restaurant. I had many long conversations with Vijay Tendulkar there.” Mirza also cites Wayside Inn at Kala Ghoda and Pyrkes at Flora Fountain as old favourites that are no longer around. He adds wistfully, “There’s a lot in this city I’d like to see revived.”
    Actor, writer and director Makrand Deshpande speaks fondly of the unostentatious Café Mailoo, a former theatre adda. He says, “It hasn’t really shut down but it has changed a great deal. It used to be open to the road and humble. Now they’ve taken all the charm out of it and put in an air-conditioner instead. It feels so closed; nothing of the old place survives.”
    While the baida curry at Mailoo was a huge hit, the waiter who took the orders is memorable too. Deshpande remarks, “This straightfaced muchhad guy in long pyjamas would walk around taking our orders. We would go there whenever we were through with a rehearsal or a performance. Mailoo remained open till 1.30pm and was always busy with people from the Gujarati, Hindi and Marathi theatre scene.” When asked about the missing English theatrewallas, Deshpande laughs and responds, “Vile Parle (East) was not their scene, yaar.”
    Mailoo’s proximity to Dinanath Mangeshkar Natya Griha and Bhaidas Hall worked in its favour. Discussing the atmosphere Deshpande states, “Theatre professionals and amateurs were there in equal numbers. Bumping into theatre biggies was also not out of the ordinary. Recently someone suggested we go there for old times’ sake and I refused because it’s just not the same any more.”
    Riyaaz Amlani, CEO and MD, Impresario Entertainment and Hospitality, which owns Salt Water Café and the Mocha chain of coffee shops, wouldn’t mind seeing The Wayside Inn and Bastani and Co, Dhobi Talao, get resurrected. He says, “Wayside Inn had so much history; Dr Ambedkar drafted our Constitution there; surely that accounts for something. I also miss bun maska at Bastani.”
    Incidentally Amlani’s Mocha lists bun maska on its menu but it doesn’t have the notice board from Bastani. Like all Irani cafés, the notice urged patrons of the legendary eatery to not smoke, not fight, not spit, not talk loudly and the like. The notice board at Bastani caught poet Nissim Ezekiel’s attention and he wrote a poem on it. While Bastani was a favourite of Ezekiel, The Wayside Inn is invoked in Arun Kolatkar’s Kala Ghoda Poems. Poets have long since stopped dedicating entire poems to Mumbai’s cafés and with good reason too.

TURNED OVER: Wayside Inn, where Dr Ambedkar wrote the Indian Constitution, is now an East Asian eatery

TRAVELLING FO0DIE 

I’ve had the best scones here!

    If I may say so, I’m a wandering minstrel — a traveller at heart and also, fortunately, by virtue of my profession. Airports, railway stations, cars, buses, airplanes, boats and ships have become my home. And travelling is incomplete without different cuisines; the food that one gets to savour and sample along the way. I may not look it, but I am a real foodie. I simply revel in having a good breakfast! I have tasted different kinds of breakfasts everywhere, especially in the most quaint places. Last year, I was in Montreal, Canada, and as I was walking down the street, I spotted a sweet little cafe. I had the most delightful breakfast there — delicious poached eggs with different kinds of breads, fresh juice, olives and a fruit platter to die for. Before this, I had loved the breakfast in New York. I also can’t help but
remenber the most delightful scones with English tea. I had it in the quaint little town of Yorkshire, England, sitting in a cafe right outside the cathedral! With the cathedral bells resounding and the winter chill all around, the warm scones (best ones I have had), and hot tea made the ambience more lovely. My experieces are endless and I hope I can keep discovering more and more places, along with their flavours, all my life. By the way, I have named my band Sojourn, the journey.

SHIBANI KASHYAP

 

KITCHEN TIPS Make muffins

KITCHEN TIPS

Make muffins 

 The key to making great muffins is mixing the batter right. It’s important not to overmix the batter or it will get coarse. Also, a muffin needs room in a mould, so fill each cup with space at the top. That will prevent the muffins from sticking together. Allow the muffins to cool in the pan at least 10 minutes before removing them, especially if they contain soft fresh fruit.

Baked Mushroom

Baked Mushroom









Method

1. Sprinkle all the ingredients on washed mushrooms and mix it well.
2. Cover the contents in an aluminium foil.
3. Bake it for 20 min at 200 deg C.
4. Enjoy while hot

Chappati Rolls

Chappati Rolls












Method

1. Clean and chop carrot, capsicum, cauliflower, french beans, into thin 2" long slivers or sticks.
2. Chop green chillies also into small pieces.
3. Heat oil in a nonstick pan.
4. Add green chillies, garlic, ginger, stir.
5. Add all other vegetables, stirfry on high till veggies are tender.
6. Add soya, tomato sauces, lemon juice, salt, sugar, stir.
7. Divide filling into 6 portions.
8. Take on chappati, put filling in half portion.
9. Spread over half area evenly.
10. Sprinkle some cheese.
11. Fold empty half portion over.
12. A half round with stuffing inside should result.
13. Apply a little water to the inner edges, press together to seal.
14. Arrange them in a shallow ovenproof dish
15. Pour a half tin of baked beans in tomato over them, from tin.
16. Sprinkle cheese, sauce
17. Bake in preheated oven (200^oC) for 10 minutes.
18. Serve as a casserole dish.

मुंबईतलं‘इडलीपूरम्’

चकचकीत स्टीलचं किंवा अॅल्यूमिनियमचं मोठं पातेलं. सोबत आणखी एखादं भांडं/ डबा किंवा पिशवी. हा सगळा वजनदार डोलारा कधी डोक्यावर तोललेला , तर कधी सायकलवर लावलेला. एवढ्या साजासह माफक बोली हिंदी आणि बहुधा म्हणूनच हातातला ' पों पों ' वाजणारा भोंगा... ही ओळख मुंबईतल्या इडलीवाल्याची. मूळात दाक्षिणात्य असली , तरी कधीच भाषाजातीधर्माच्या पार जाऊन सर्व खवय्यांना तृप्त करणारी इडली हा कामासाठी लवकर बाहेर पडणाऱ्यांच्या नाश्त्याचा ; आणि पर्यायाने मुंबईच्या समकालीन खाद्यसंस्कृतीचा महत्त्वाचा भाग. माटुंग्याच्या साउथ इंडियन पट्ट्यात अस्सल दाक्षिणात्य इडली-डोसा खाऊ घालणारी उपहारगृह अनेक असली , तरी रस्त्यावरच्या या भोंगा वाजवत येणाऱ्या इडलीवाल्यांच्या आश्रयाला जाणाऱ्यांची संख्याही कमी नाही. मुंबईतल्या अनेक साध्या वस्त्यांमध्ये या इडलीवाल्यांचे काम चालते , पण याचे खरे केंद्र आहे ते धारावीमध्ये.

मोठी झोपडपट्टी किंवा लेदरसह अन्य लघुउद्योगाचे मोठे केंद्र अशी पॉझिटिव्ह-निगेटिव्ह ओळख असलेल्या , धारावीच्या ९० फुटी रस्त्यावरून काटकोनात आत शिरणाऱ्या गल्ल्यांमध्ये कमला नगर , बालाजी नगर , राजीव गांधी मार्ग अशा वस्त्यांमध्ये ; लँडमार्कच सांगायचा झाला तर कामराज हायस्कूलजवळच्या भागात हे इडलीवाले एकवटले आहेत. सकाळी सहा-सातच्या सुमारास इथल्या लहानलहान गल्ल्यांमधून इडली-चटणीची पातेली घेऊन विक्रीसाठी बाहेर पडणाऱ्या इडलीवाल्यांची संख्या मोजता येणार नाही. या भागात नेमक्या किती घरांमध्ये इडल्या तयार करण्याचा व्यवसाय चालतो किंवा नेमके किती इडलीवाले आहेत , हे स्वतः या इडलीवाल्यांनाही सांगता येत नाही. काहींच्या मते हा आकडा ५००-७००च्या घरात आहे , तर काहींच्या मते नक्कीच हजाराच्या पुढे असेल! काही जण मेदूवडे , डोसेही करतात , पण खरा लोकाश्रय असतो तो १५-२० रुपयांत भरपेट खाता येईल अशा इडलीलाच!

यातले बहुतेक इडलीवाले तामिळनाडूमधल्या मदुराईचे आहेत. क्वचित एखादा-दुसरा तिरुनेलवेल्लीचा. पहाटे , किंवा खरं तर रात्रीच दोन-अडीच-तीनच्या सुमारास त्यांचा दिवस सुरू होतो. आदल्या दिवशी आंबवायला ठेवलेल्या पिठाच्या इडल्या करण्याचे काम पहाटेपासूनच सुरू होते. प्रत्येक घरात किमान ३०० ते ४०० इडल्या बनतातच. ज्या घरांमध्ये काम करणारे हात आणि बांधलेले ग्राहक जास्त , तिथे हा आकडा हजारपर्यंतही पोहोचतो. म्हणजेच , मुंबईकरांच्या पोटात पडणाऱ्या किमान अडीच ते तीन लाख इडल्या या इथेच तयार झालेल्या असतात. त्यामुळे हॉटेल्स , कँटीन वगळले , तर रस्त्यावर विकल्या जाणाऱ्या इडल्यांच्या निर्मितीची धारावी हीच ' राजधानी ' आहे , असे म्हणायला हरकत नाही. इडल्या तयार झाल्यावर साधारण सहा-सात-आठच्या सुमाराला हे इडलीवाले आपला माल घेऊन कधी एकेकटे , तर कधी गटागटाने आपापले डेस्टिनेशन गाठतात. काही जण जवळपासच्या भागात पायी किंवा सायकलने फिरतात , तर काही अगदी चर्चगेट-कुलाब्याच्या ऑफिस एरियापासून ते थेट ठाणे- विरारपर्यंतच्या भागाच विक्रीसाठी जातात. तिथे किमान तीन-चार तासांची आणि कमाल माल संपेपर्यंत पायपीट करून नंतर घराची वाट धरतात. संध्याकाळी पुन्हा दुसऱ्या दिवशीच्या इडली पिठाची तयारी असतेच. सकाळच्या वेळी इडल्यांची पातेली घेऊन इडलीविक्रीसाठी बाहेर पडणारे पुरुष संध्याकाळच्या वेळी तांदूळ , उदीड डाळ , नारळ आदींच्या पिशव्या भरभरून घेऊन येताना दिसतात.

इथल्या कमलानगर भागात तर दर दोन-तीन घरांपैकी एका घरात इडली बनवण्याचे काम चालते. कुटुंबातले सगळे सदस्य याला हातभार लावतात , पण इडली बनवण्याचे काम प्रामुख्याने पुरुषवर्गाचे असते , असे इथला एक तरुण विक्रेता जयम सांगतो. चौथीपर्यंत शिकलेला जयम जेमतेम बाराव्या वर्षी मुंबईत आला आणि आपल्या गावाकडच्या इडलीवाल्याच्या हाताखाली कामाला लागला. काही वर्षांनंतर स्वतःचे स्वतंत्र काम सुरू केले. आता माहीम-दादरपर्यंतच्या भागात पूर्णपणे पायीपायी फिरून तो आपला माल विकतो. तर तिरुनेलवेल्लीचा मध्यमवयीन भास्कर राजेंद्रम ट्रेनने सांताक्रूजला जाऊन त्या परिसरात पायी फिरून इडल्या विकतो. काही घरं सोडून पलिकडे असलेल्या एस. परिमल यांच्या घरात तर गेली ३०-३५ वर्ष हा व्यवसाय सुरू आहे. आता त्यांचा मुलगा मणी हा त्यांचा व्याप सांभाळतो. मणी आणि त्याच्याबरोबरचे १०-१५ जण सकाळी बरोबरीनेच चर्चगेटला जातात. ' अगदी कमी किंमत असल्याने आमच्या इडल्या गरिबांनाही परवडतात. पण त्या आरोग्यदायी असल्याची खात्री पटल्याने ऑफिसांमधले ' आमीर लोग ' ही आपले नियमित ग्राहक असल्याचं मणी सांगतो आणि धारावीचा ' टॅग ' असला , तरी चकचकीत भांडी आणि घरं पाहता त्याचा दावा पटतोही. म्हणूनच , लेदर , कुंभारकाम अशा अनेक लहान उद्योगांचं केंद्र असलेलं धारावी इडलीपूरम् म्हणून ओळखलं जायलाही हरकत नाही!

Tempt your taste buds

Tempt your taste buds

    For any food lover, Shree Sunders is a must visit for the sheer variety of idlis and dosas it offers. Another must-try is the tangy rasam wada, with the aroma of the rasam promising to tease your tastebuds. Rightly blended with spice, the hot and sour rasam is an all-time hit. Their idlis are different since the rice is grounded and mixed with lentils in the traditional way. In most other places, idlis are normally made of rawa and get stuck to the upper jaw. The tasty sambhar comprises small onions. Also, don’t miss their Kanchipuram rawa idlis.
    The dosas are made of different kinds of lentils, making them the USP of this restaurant. For example, the Chettinads made out of sabudanas, nachni made of red millets, paesrettus made of moong, the set dosas, polo, methi dosas and adais. Even the normal rawa dosa is thin and crisp along with other stuffed dosas. There are also appams with stew, and idi appams with sweetened coconut milk.
    In the chaat section, you can sample a popular dish known as Birds Nest. Even the pani puris here are customised in a trolley and
served on tables. Desserts comprise faloodas and an unforgettable cream of sitaphal.
Shree Sunders at Matunga is known for their innovativeness while retaining the originality of traditional dishes. Rice dishes like Mysore Delicacy and Bisibele Bhaat were introduced to Mumbai by this restaurant. In these dishes, rice is cooked with lentils and vegetables to give it a unique sweet, sour and
spicy
taste — all nicely blended.
They also make Pulliyodhari, Lemon Rice as well as Spring Hoppers.
Also on the menu is Maharashtrian cusine comprising Bajri and Nachni, accompanied by Pithla, Bharit and Techa. You can also have Chhole Bhature or Pav Bhaji and end your meal with a delicious Pineapple Shera.
Shree Sunders, Matunga Central Railway, Opp Kabootar Khana, Matunga. Call: 98692 00817.

One of the dosas available at Shree Sunders

Indulge in a culinary feast

Indulge in a culinary feast

    Food lovers now have a new destination to unwind with family and friends — Phase 1 Lounge and Restaurant in Dombivali (E). Owned by Pankaj Bhole, the lounge spreads over an area of 4,500 sq ft and the ambience, created by Tejal Pankaj Bhole, includes a wooden finish on the walls. The lounge is directed by chef, consultant and mixologist, KM Saif.
    Apart from scrumptious Indian, Chinese and Mughlai dishes, patrons can also choose from Irani, Moroccan, Greek, Turkish, Spanish, Lebanese, Egyptian and Italian delicacies. The temptations on the menu include Batata harra, Athens bruschetta, Dukkah crusted chicken skewers, Camarones borrachos, Moroccan cottage cheese skewers, Lebanese garlic and chicken kebab, Jujeh Kebab, Shish Taouq, Samak meshwi, Pollo ala zafferano, Kotopoulo Me Sambuca, Pescado Con Malibu, Pollo ala Kiev, Turkish pizza lahmacun, Spanish pizza de mariscos and much more. Every kebab is served with a different dip to enhance your taste buds. Desserts include Tiramisu and Cognac chocolate mousse. Adding to the fun will be a deejay. That’s not all. Special offers can be enjoyed during happy hours — till 12 noon — on Indian beverages. Also, patrons get to enjoy a discount of 15 % on food. So, make sure you join and experience the magic created by Saif and his team.
    Foot-tapping music, chic ambience, scrumptious meals and amazing discount offers on food and drinks will give you the perfect mood to dine. So, get ready to indulge in some culinary delights.
Phase 1 Lounge and Restaurant, Plot # A 128, 1st Floor, MIDC, Phase-1, Opp. Savitri Bai Phule Auditorium, Next to Bajaj Showroom, Dombivali (E).

Chef KM Saif and owner Pankaj Bhole

MAHARASHTRIAN WEDDING & CEREMONY

 

Treditional Wear

 Among the many regional communities living in India, Maharashtrians perhaps have the simplest and least opulent marriage ceremony. Though it differs substantially from the Brahmins along the graph to the tribals, certain elements remain constant and common. 

Here are the ceremonies that take place. Click on each to find out more !

• Sakharpuda
• Kelvan
• Haldi 
• Seemant Puja
• Gowrihar Pooja
• Mangalashtakas
• Kanyadan
• Saptapadi
• Lakshmi Poojan
• Griha Pravesh

 

Selecting the bride (Vadhu) and groom (Var) Although nowadys in India and the world over the bride and groom find themselves, in many rural parts of India a formal meeting between eligible partners is made by the parents. This is called Lagnaach Bedi or finding a suitable match is the first step. For tradition-bound Maharashtrians with marriageable offspring try  finding a match from a family of equal standing. 

Matching the Stars

Once the respective families come to a mutual agreement on the match, based on compatibility between the boy and the girl, the supremely delicate task of ascertaining the compatibility of their stars takes on vital significance. The patrikas (horoscope) of the boy and girl are shown to the family pundits for their conside-ration. The Brahmins deliberate on the all important feature of Guna Milan (matching points). If 16 or more gunas match, only then can the boy and girl tie the marriage knot. The premise that 'marriages are made in heaven' is ratified only if the grahas (the heavenly bodies) are in unison. Once it has been determined that the two horoscopes are in total sync, the actual preparations of a wedding will begin.

It begins with a Baithak, which as the name suggests, is a semi-formal meeting of the elders of the two families. The parents and close relatives gather together to discuss and decide the various crucial issues regarding the wedding ceremony. It is here that the actual Mahurat (auspicious date and time) for the marriage ceremony is decided.

Sakharpuda

Sakharpuda, the engagement ceremony, is held a few days before the wedding. For this ceremony, the groom's parents give the bride a saree as a token of her acceptance in their family. Her arms are adorned with green glass bangles, symbolizing her engagement. She is then given a packet of sakhar puda (sugar) which symbolizes the spreading of sweetness in their lives. Invitation cards are traditionally printed after this ceremony.

Days before the wedding, the home is cleaned, painted and decorated. Orange Marigolds, mango leaves and other flowers are made into torans (flower decorations for the door, the rooms in the house etc.) 

Kelvan
A couple of days before the wedding, a feast called Kelvan is organized in both the bride's as well as the bridegroom's home. Each side hosts a meal for the entire family gathered in that home.

The first occasion is the puja or worship of the Kuladevta or the family deity. This ceremony is performed the evening before the wedding, Wang-nischay, or engagement, is confirmed in separate ceremonies held in each home. The women in the family wear glass bangles. Each side then pays obeisance to the respective family patron-deity, kuldevta, in the form of a kuldevta-poojan.

Later, the two sides meet and a short engagement ceremony is conducted by the priest, followed by the wang-nischay meal. This meal is not as elaborate as the meal on the wedding day, but is equally lavish.

Every Maharashtrian family has such a deity which ties the family to the ancestors or to the village of the family’s origin. During the Puja, eminent ancestors are also venerated with new clothes, flowers and sweets offered before their portraits. Sweets are also sent to the marriage party on the other side. 

Haldi is yet another custom special to Maharashtrians. The bridegroom and the bride have their own celebrations in their respective homes. Women from each family get together to apply a mixture of turmeric, sandalwood and cream to the face and body of the bridegroom or the bride. The young person to be married then has a ceremonial bath and is not allowed to go out of the home after this ceremony.Haldi is considered a purifier and is an antiseptic substance.

Chuda is a ceremony for the bride and her women friends to share the fun of wearing green bangles. A bangle man is invited to the home and each woman chooses her own, amidst songs, laughter and jokes. 

The bride is given the green glass bangles ceremonially and with her mother’s help, she wears them interspersed with gold, pearl or diamond bangles as per the status of the family. Each community in Maharashtra has its own designs and order of wearing the chuda. Such designs are called Pichchodis, Patlis, Gotes, Bangdi, Phul Bangdi, Tode etc. Pearls are popular in Maharashtra. However, green glass bangles are considered auspicious because green is the color of new life, creativity and rejuvenation. The bride can remove the chuda only a month after the wedding. Married women wear such chudas on all festive or religious occasions

The actual marriage ceremony begins with a Muhurta Patra set up to measure the time before the auspicious moment of the marriage. Drop by drop, the water falling down counts the seconds while the bride, ready and dressed in a yellow or green sari and a half moon painted on her forehead for luck, worships Parvati, the goddess of marital bliss in an anteroom till she is summoned to the dais.

Meanwhile, the would-be-bridegroom is honored by the bride’s parents and various minor sacraments go on. The humorous part here is that the bridegroom, with an umbrella and a cloth pouch, prepares to go on a pilgrimage to Kashi (Varanasi) but is dissuaded by his would-be father-in-law to return and wed his daughter.

At long last, the swastik-marked Antarpat, (white cloth) is held up between the couple. The bride is brought to the dais by her mama or maternal uncle and the mangalashtakas (eight blessings) are recited. When the recitation is over, the cloth is removed amidst a crescendo of shehnais and the bride and groom exchange garlands called varmalas. This is also the ‘darshan’ of a bride and groom for the first time as man and wife.

Mangalashtakas are eight stanzas of propitiations to various gods and blessings for the couple. At the end of each stanza, the priests make the couple aware of their new responsibilities as a wedded couple. Some families write these eight stanzas specifically for the couple and set them to music.   A mangalsutra is given to the bride by her groom. This is a black bead necklace in gold with a pendant in the center.

After this ceremony, the couple sits down to do the havan. A holy fire is lit with sacred wood and amidst the chanting of hymns, oblations are offered to the fire as the chief witness of the nuptials. The bridal couple also wears floral or decorative mundavali which dangle around the face.

A havan is made in a specific shaped container. It represents the universe. Fire represents energy, power, luster and omnipresence. Because fire consumes everything put into it, it is considered a messenger of the gods and takes all offerings to them.

The havan and the seven pheras around the fire as well as the saptapadi or seven steps walked together by the couple complete the legal necessities of a marriage. In these seven steps the couple promise each other loyalty, sharing, auspicious housekeeping, progeny, elder care and generous hospitality.

The marriage is completed with a feast or reception.

The wedding ceremony of a Maharashtrian Hindu, like other Hindus of the land, is interwoven with customs and traditions related to various religious ceremonies known as samskaras or sacraments. They afford an opportunity for the expression of love and affection as well as for festivities. Marriage is a sacrament, which brings about a union of two personalities into one, for the purpose of social proliferation and for the upliftment of the two through mutual co-operation. A rich heritage imbued with the promise of eternity. An indelible past that is prominent even today and in all probability will filter through to shape our many tomorrows.

Shubh Mangal Savdhaan
Shubh Mangal Savdhaan  is the dawning of the wedding day and the Vivah (marriage). This is the most important of all samskaras, a composite rite comprising of several ceremonies performed in a certain order. There are about 43 rituals connected with this ceremony. These days, most marriages are solemnized with a modified version, that omits several ritualistic details listed in the orthodox form. The traditional marriage customs were elaborate, but now while they are being performed in a less elaborate manner, several have even become extinct. 
Ganpati Puja
First the propitiatory rites are performed. Every auspicious samskara begins with the worship of Lord Ganesh in the morning, where close relatives and friends invoke the deity, inviting His presence with betel nut and a handful of rice grains. The worshippers bow before the Lord and beseech Him to grace the occasion and make it free from obstacles. Thus, no ceremony or festivity in a Maharashtrian household is initiated without first invoking the benedictions of this most beloved God. This is followed by Punyavachana and Matruka Pujana or holy day blessing and worship of the Matrus (seven mother goddesses).
Halad
This ritual starts with anointing the boy with turmeric powder mixed with scented oil by his mother, sisters, and other women. This is a lively ceremony where the boy is given a ritual bath to the accompaniment of haladi song and music. The residual turmeric and oil mixture called ushti halad, along with a sari and the usual articles of worship, is carried to the girl's place. The ceremony of anointing with turmeric and giving a bath is repeated on the girl, and on her oti (lap) are ceremonially placed five handfuls of rice and a betel nut. With the performance of this ceremony, the boy and girl are declared bridegroom and bride.
Seemant Puja
Literally meaning 'boundary worship', it was originally performed when the groom crossed the border of the bride's village. Nowadays, seemant puja is performed in a temple on the marriage day. A "Seemaan pooja" (the boy's family crosses the Seema or limits of the girl's residence) is conducted. 
The bride's parents wash the feet of the boy, his parents and traditionally the womenfolk of his family and generally welcome the bridegroom. He is offered a seat on a decorated "Chaurang" (pronounced "tsow-rang", a low square stool). At this point, any gift/s that the girl's parents wish to give to the boy are handed over. Ring, watch, gold chain etc. are usual gifts. The boy also gets silverware (plates, glasses, bowls, spoons etc.), which may be used immediately in the meal that follows.
The bride's mother then washes the feet of the groom's mother and performs an oti-bharan ceremony for her as well as for the other female relatives of the groom and give them gifts.
Vraprasthana
The boy's party goes in a procession to the girl's place where Suvasinis (married women) greet the boy by waving a lighted lamp. He is then led into the marriage hall to sit on a Chouranga (low square stool).
Rukhvat
This involves a ceremonial breakfast offered by the bride's parents to the boy and his family including his friends, sisters, cousins, etc.  This lavish breakfast consisting of savory as well as sweet items served to the groom's family is to give the boy's side an idea of the hospitality that they can look forward to throughout the wedding.
Gowrihar Pooja
While the bridegroom eats, the bride is in another room performing a Gowri-har pooja of the Devi, whose likeness is kept on the bride's Chaurang. She is brought in for the antarpat by her Mama (mother's brother). She wears a yellow sari and green glass bangles. She also wears a Sehra (flower or pearl arrangement around the head, like a crown, with loose strings hanging on the sides of the temples - the face is NOT covered).
Mangalashtakas
The ceremony begins with the bridegroom standing and facing the east, while an antarpat (silk waist-cloth) with a swastika mark is held in front of him. The bride adorned with jewellery, flowers and perfume and draped in a beautiful shalu (wedding saree), is then brought by the maternal uncle to the pandal amidst chanting of mantras and shlokas by the Brahmins, to stand opposite the groom with the antarpat between them. Both the bride and the groom hold garlands while the priest chants managalashloka. When the auspicious moment arrives, the antarpat is withdrawn towards the north, and as the musicians start playing on the instruments, the guests shower akshatas (colored rice) on the couple. The vadhu garlands her var, gives him a bouquet of flowers and touches his feet to seek his blessings. The var then garlands his bride. Then five married women, suvasinis, from both the families come forward and perform an arti on the newly-weds.
Kanyadan
Kanyadaan is considered to be the biggest daan (donation). In this ceremony, the parents of the bride hand over their beloved daughter to the bride groom and his family with the assurance that they will take proper care of her. In this rite, the girl's father tells the groom that he should not prove false to his daughter in dharma, artha and karma, and the groom responds with words, " I shall not do so". This is a very emotional ceremony. 
Lajahoma
 This is performed after igniting the sacrificial fire. The bride makes three offerings of lahyas (parched grains) while mantras are repeated by the groom. The fourth and the last is made by the bride silently. The couple takes mutual oaths before fire, earth, priest and gods that they will be each other's partners throughout life for better or for worse. It is now that the groom places the mangalsutra (gold chain with black beads) around the bride's neck, proclaiming that she belongs to him. He then puts jodave (toe-rings) on her toes. Then he places sindoor (vermilion mark) on her forehead. All these are symbols of a married lady and are very precious to her.
Next, the groom is made to stand behind the bride. With their hands touching, they offer lhaya (dried rice) to the sacred fire. The bride's brother puts some into her hands, assuring her that even in bad times he will be there for her. He then performs the kaanpilne wherein he pulls his new brother-in-law's ears as a mock warning that he better take care of his sister or else!
Saptapadi
The marriage becomes final and irrevocable when the ritual of saptapadi (seven steps) is performed. In this ritual seven small heaps of rice with a betel-nut, are arranged around the altar and the sacrificial fire rekindled. The bridegroom leads the bride, putting her right foot on the rice heaps one by one at each step, while the priest chants sacred verses. Then the couple offer parched grains and ghee to the fire.
Lakshmi Poojan
 Now the couple perform the Lakshmi Poojan where they pray to Goddess Laxshmi and then the groom is asked to give a new name to his wife, which he writes on the rice with a gold ring.
After the Saptapadi the bride and groom bow to the Pole Star with folded hands which is symbolic of their firm determination to observe constancy of the marital vows throughout life.
The wedding rituals conclude with the Varat (bridal procession). The Grihapravesh (bride entering her new home), the Devakotthapana (taking leave of the deities) and the Mandopodvasana (dismantling of the marriage pandal).
Griha Pravesh
The first ritual for the bride as she crosses the threshold of her new home is as old as the Deccan hills. The bridal house is festooned with mango leaves and marigolds. The bride lifts her pretty henna'd foot and gently kicks a wooden measure piled high with grains of rice. The grains spill over and scatter inside the living room door. At this moment, the bride is supposed to be an incarnation of Lakshmi, the goddess of wealth, bringing to the family fortune, as symbolized by the rice grains spilling inside the marital home.
Wedding Dinner
At the culmination of the wedding ceremonies, is the wedding banquet, which is attended by all the family members, relatives and friends of the bride and the groom. The diners sits on paats (low platforms) set on the floor. The bride sits on a red paat.
She is draped in a nine yard Paithani Saree of royal blue silk edged with maroon and gold. A black dot of coal is placed on her cheek to keep evil spirits away. The floor where diners is decorated with rangoli curlicues made with red, green and white colored powders. Incense is burnt while large metal plates are set in the center of each rangoli pattern. The food is laid out on plates set in a special unchanging order. 
Maharashtrian food normally consists of puri baji, shrikhand, bhasundi, masala bhat and bhajiyas.

Malvani Kolambi Masala

MALVANI KOLAMBI MASALA

साहित्य:-

१ वाटी सोललेली मोठी कोलंबी

१ मोठा बटाटा बारीक फोडी करून

१ नारळ

१ तुकडा आल

४ पाकळ्या लसून

२ मोठे कांदे उभे चिरलेले

कोथिंबीर

हळद

२ चमचे मालवणी मसाला

तेल फोडणीसाठी

२-३ कोकम

मीठ

गरम मसाला

५-६ मिरी

अर्धा तुकडा दालचिनी

थोड  जायफळ किसलेले

खसखस

कृती

१.प्रथम कढईत कांदा लालसर परतून घ्यावा.

२.त्यात खोबरे घालून ते सुद्धा लालसर होई पर्यंत भाजावे.

३.आल,लसून,कोथिंबीर घालून नीट परतून घ्यावे. सर्व गरम मसाला घालून भाजून घ्यावे.

४.थंड करून मिक्सर मध्ये बारीक वाटावे.

५.कोलंबीला मीठ लावून १० मिनिटे  ठेवावे. स्वच्छ धुवून घ्यावी.

६.कोलंबी आणि बटाट्याच्या फोडींना वरील वाटण लावावे.

७.तेलात कांदा परतून त्यात कोलंबी आणि बटाटा घालावा.

८.बटाटा शिजल्यावर त्यात उरलेले वाटण,मीठ,हळद,कोकम टाकून नीट ढवळावे.

९.थोडे पाणी टाकून मटना  सारखे घट्ट शिजवावे.

Sparkling strawberry cocktails

 

 Ingredients :

• 450g strawberries, hulled
• 1 tbs icing sugar
• Crushed ice (optional)
• 2/3 cup (165ml) vodka, chilled
• 1 bottle sparkling wine, chilled                          

 

1. Step 1
   Place the strawberries and icing sugar in a blender or food processor and blend or process until mixture forms smooth puree.
   
   
2. Step 2
   Pass the puree through a fine sieve into a bowl and discard the seeds in the sieve. Cover the puree with plastic wrap and chill in the refrigerator
   .
3. Step 3
   Half-fill 8 champagne flutes with the crushed ice, if using. Divide the chilled strawberry puree among the flutes, then top each with 1 tablespoon vodka. Top up with the sparkling wine.