March 4, 2020

First published March 3, 2020

 in The Hindu

Mapping mythology, history and art with Wendell Rodricks

Published on 3rd March, 2020 in The Hindu

I find it hard to believe that Wendell is gone. The news was a shock. But then, Wendell has always surprised me. From his habit of waking up very early in the morning, to living his life confidently and openly with his husband, Jerome, giving courage and direction to young gay men like me, to having a business without compromising on his art, to being a generous host to my sister and my nephew, when we visited Goa, to being a curious student of mythology, taking down notes meticulously in long hand. That is how we met, ten years ago. He had seen my work and wanted to know more about Goan mythology. He was convinced it contained ideas that would help us understand the evolution of Goa.

Geography and fractals

As we explored things together, I realised something magical – how geography in India is like a fractal. Every area in India tells the same story, but uniquely. We know that Goa was ruled by Portuguese for 450 years. Before that it was part of the Bijapur and Bahamani Sultanate. Before that were the Vijaynagar and Kadamba kings. Before that, the Shatavahanas and Mauryans.

Before that we have rock engravings indicating the earliest human settlements. The Goan tryst with Christianity, Islam, Hinduism Buddhism, and hunter-gathering prehistoric communities is known. But what about mythology, asked Wendell? We walked around his village, and saw the art that he had collected, and at maps of temples of Goa and what emerged was amazing – the mythology of Goa reflected the mythology of India. Goa was a Hindu fractal, a mini-India, showing all influences seen elsewhere in almost the same sequence.

The earliest layer of gods belong to hunter-gatherers and has nothing to do with land-holding and agriculture. These included the worship of anthills, which indicated a connection with a subterranean world. Today, this anthill is worshipped as a goddess, a form of mother-earth, even Durga. There are gods who protect from tiger attacks like Vaghoba, and others who protect from diseases. In the Dev-rais, or orchards of the mother-goddesses, known as ‘ai’ or mother, we noticed the shift to agricultural societies. Farmers and herdsmen were not allowed to enter or cultivate the sacred woods where the gods played. This was an ancient way to protect biodiversity, we now realised.

Documenting myths

I told Wendell how Sama Veda distinguishes between songs for the settlement and songs for the forest, perhaps reflecting this period of human history. The villages had farms that were owned by a community represented by a grama-deva or grama-devi. These were male and female deities, linked to fertility and power. Across Goa one finds images of goddesses with exaggerated genitals, and fierce expressions. Wendell captured many of these deities in his book Moda Goa.

The Brahmin influence does follow. The wild gods become the more gentle Mangeshi. Peculiar to Goa are the metal face masks, where the formless Shiva-linga is given a face. The wild goddess becomes Shanta Durga, the mild one, who does not have the rage of the battle-ready Chandi. The Konkan coast, including Goa, is linked to Bhrigu, hence to Vamana, and to Parashurama. Vamana claimed the earth from the Asura-king Bali, who was shoved back to Patala. Parashurama threw his axe strained with the blood of unrighteous kings into the sea. The sea recoiled in horror and revealed the coast.

There are spots associated with Ram’s journey south. And with Krishna too who is liked to the West coast of India. Goa has the unique Devaki Krishna temple where Devaki (or is it Yashoda) holds Krishna much like Mother Mary holds Jesus. And during Diwali people burn effigies of Narakasura, much as people burn images of Ravana in Gangetic plains during Dassera.

Wendell felt this practice of burning Narakasura may have travelled to Portugal and may have come back to India as the practice of burning the old man on New Year’s Night.

Partners until the end

It was conversations like these connecting mythology to history to anthropology to sociology to fashion and art, that made Wendell the most wonderful of friends. He opened new avenues of thought for me. I miss him. And am glad that while he was on earth, with us, he had Jerome by his side.


Recent Books

  • Itihasa : A History of Hindu Mythology

    Watch this space for more information on the release of Pattanaik’s new book: Itihasa : A History of Hindu Mythology!…

  • flowers of india book

    Flower of India: Ways of Seeing the Lotus

    In Flower of India, bestselling author and renowned mythologist Devdutt Pattanaik examines the lotus as one of the most pervasive and resonant symbols of the Indian subcontinent. Through its many avatars—as plant, resource, metaphor, design, and sacred form—he traces how the lotus has shaped India’s cultural imagination across history, religion, art, and everyday life. Concise…

  • astra shastra

    Astra Shastra: Weapons of the Hindu Gods

    Well-known mythologist Devdutt Pattanaik introduces young readers to the wonderful weapons of Hindu gods with his unique art and easy-to-read text…

  • Escape the Bakasura Trap : Let Contentment Fuel Your Growth

    This book re-discovers this path, first revealed by Hanuman in the Mahabharata. Insightful and inspiring, Escape the Bakasura Trap is another classic from one of our great mythologists and thinkers…

Recent Posts

  • Brahmins In Jain Memory

    Brahmins In Jain Memory

    In the Brahminical tradition, the Brahmin stands at the apex of creation, born from the mouth of Prajapati, custodian of the sacred fire by divine right. Jainism offers a different account entirely. It does not deny the Brahmin’s existence; it explains his origins. It explains his origins. And in doing so, it places him firmly…

  • The Itihasa of Prithviraj Chauhan

    The Itihasa of Prithviraj Chauhan

    Long before the nationalist imagination got to work, two older traditions had already told very different stories about the same king, and neither of them had any use for a hero…

  • Djinns Amongst Us

    Djinns Amongst Us

    The Quran describes jinn as beings created from a “smokeless flame of fire,” while humans were created from clay and angels from light. The Arabic word jinn comes from a root meaning “hidden” or “concealed.” They inhabit a parallel dimension that humans generally cannot perceive. Unlike angels, they possess free will. They can choose faith…