
Koovagam festival celebrates transgender identity and the legend of aravan
In the
Mahabharata
, when the five Pandavas decided to sacrifice Aravan to ensure victory over the Kauravas in battle, Aravan expressed his wish to marry. No one stepped forward, knowing Aravan would be sacrificed the next day.
According to legend, Lord Krishna transformed into a woman and married him.Every year, Koovagam village in Kallakurichi district comes alive with the
Koothandavar temple festival
, which, over 18 days, commemorates the epic battle between the Pandavas and Kauravas. Thousands of transgender people come together at the temple dedicated to Koothandavar (Aravan), the son of Arjuna.On Tuesday, the penultimate day, devotees donned elaborate costumes, wore their favourite jewellery, and queued up at the temple to have their thalis tied, marking their symbolic marriage.
On Wednesday, the final day of the festival, devotees broke their thalis and bangles, wiped off their sindoor, and mourned the sacrifice of their husband, Koothandavar, before taking a holy dip in the lake.A beauty contest was also held as part of the festival.
"I'm fortunate to have been accepted by my parents, and it's something I hope for others as well," says S Renuga, crowned Miss Koovagam 2025. The 24-year-old model from Chennai, originally from Tirunelveli, says though she missed out on the title the previous year, she was determined to win this time.Email your feedback with name and address to southpole.toi@timesofindia.com
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


India.com
20 hours ago
- India.com
This actor once played Indradev in Mahabharat, was called the Amitabh Bachchan of Punjab, but spent his final days in an old age home, begged for money, died due to…
Mythological dramas have always been loved by the audience. From the starting days of entertainment, when movies did not make a place in the audience's hearts, it was mythological dramas like Mahabharata, Ramayana which were loved and watched by the audience without a miss. Today, we will discuss an actor who featured in Mahabharat and reprised the role of Indradev. While his popularity grew with the role, on his personal end, this actor faced major problems. This actor was sent to an old age home, had to beg for medicines in his last days, and died painfully. If you are wondering who we are talking about, then this actor is Satish Kaul. Kaul, who was popularly called the Amitabh Bachchan of Punjabi cinema, worked in over 300 films and even shared screen space with legends like Dev Anand, Dilip Kumar, and Shah Rukh Khan. Some of his memorable roles include films like Sassi Punnu, Ishq Nimana, Prem Parvat, Suhag Chooda and Patola. Satish was honoured with the Lifetime Achievement Award at the PTC Punjabi Film Awards in 2011 for his significant contribution to Punjabi cinema. Satish's last days were extremely painful. In 2020, the lockdown happened after Covid, and it affected him financially. In one of the interviews, Satish revealed that he had to struggle for medicines, groceries, and basic necessities. He urged people in the industry to help him. Satish Kaul's condition worsened after a fall in 2015. He fractured his hip and had to be on bed rest for two years. In such a situation, his financial condition worsened further. Eventually, the actor had to stay in a nursing home in Ludhiana. He was later diagnosed with Covid-19 and was admitted to a hospital in Ludhiana, where he passed away at the age of 74. Satish was known for the role of Indradev in Ravi Chopra's directed Mahabharat.


The Hindu
2 days ago
- The Hindu
Review of The Living Legend by Vayu Naidu
The Living Legend by the British-Indian writer Vayu Naidu is yet another book on the Ramayana. It is not a retelling in the sense of adding a hitherto unexplored interpretation of a character's supposed motives or responses. But it is a 're-telling' in the sense of telling the same story again. It draws from several versions of this epic as it travelled orally across geographies and it uses the format of the seven kandas, without labelling them. The introduction to this book expresses the author's intent. It is an attempt to foreground 'not just the internal drama of the characters… but the dependence and interrelations between animal forces and plant forces'. It also speaks of the principles that sustain both individuals and societies and it elaborates on the multiple levels of interpretive possibilities of this epic. The Dandaka forest is a metaphoric space and the story is an unfolding of the truth of consciousness. To Dasaratha, Rama is his 16-year-old son but to the sages Vashistha and Vishwamitra, Rama shows the way to dispel the darkness of ignorance. What, however, propels one to turn the pages of this book is neither the theme of cosmic interconnectedness nor the metaphoric interpretations but the sheer power of the 'internal drama' of the original story. No matter how many times one has heard the story, one is hooked to Rama's encounter with Ahalya, his breaking of Shiva's bow to claim Sita's hand in marriage, his exile into the forest, the abduction of Sita by Ravana, Hanuman in Lanka, and the whole tragedy of the two lovers, Rama and Sita. Contemporary contexts This leads one to wonder why people 'write' or 'tell' the same stories again? If the plot is a well-known one, then there should be something special about the 'style' of presenting the story. The genius of the writer's voice must shine through — like Tulsidas' Ramayana or that of Kambar. Just as a pastoral poem or an elegy has its poetic convention, our epic poems too — principally the Ramayana and the Mahabharata — function within the framework of the timeless principles of dharma, artha, kama and moksha. Dharma or ethical principles and moksha or salvation are the outer guiding boundaries within which the play of artha and kama (wealth and pleasure) are acted out. If these boundaries are taken away in the retelling, we are left with only the flippant beggary of a 'romantasy'. The attempt in this book is also to make the story accessible to the millennial reader by using contemporary contexts. 'Lakshmi had just returned from a timeshare on the ocean-of-consciousness holiday'; 'Ayodhya would continue to host the best Performing Arts festival'; 'Rama was cool'; many courtiers saw the Rama-Sita alliance as 'the dawning of a new era in economic expansion, military security through diplomatic negotiation, and tourism…' These and several other such examples are creative and interesting but the judicious young reader can decide if these enhance the contemporaneity of the story. While Naidu acknowledges her gratitude to the publishers 'for insightful editing', several bloopers dot the novel. Errors are understandable but is it pardonable to write Ishvaku for Ikshvaku? Is it appropriate to mis-write 'mahavakyas' as 'mahakavyas'? Where is the hurry to bring out a book? This story is not running away from anyone — let's give it the regard due to it. The reviewer is a Sahitya Akademi translation award winner. The Living Legend Vayu Naidu Penguin Ebury Press ₹399


Indian Express
5 days ago
- Indian Express
‘I'm from Chennai, we're used to…': Take a tour of Shruti Haasan's gothic Mumbai home
Shruti Haasan's Mumbai home is warm, shadowy, and full of personal totems; her space reveals the artist behind the actress. As we step into her uniquely layered haven, we are greeted by a brass 'S'—a fitting introduction to a woman who, despite her fame, has always stood for individuality. 'Welcome, welcome! Come on in,' Shruti says warmly, her black-painted nails and dramatic rings matching her home's moody yet intimate décor. She's candid about her journey here. 'I had actually bought another house before… the decor was like really weird. I had a pink brick wall,' she laughs. But this space was different—roomy, raw, and ready to be moulded. 'I'm from Chennai, we're used to space. When I saw the shell of this house… I knew I could make it into the home I need.' Every woman can relate to the ritual of entering her sanctuary. 'I take off my shoes… I take off my bra… I wear my shorts and my T-shirt, and I chill,' she says. I immediately shower and change.' From a powder room door etched with a Neil Gaiman quote to an altar housing crystals, tarot decks, and Lord Murugan, Hassan's home is filled with personality. 'Neil Gaiman is my favourite author… this is from the Sandman series,' she explains, gesturing to a dramatic quote. Around her home are art pieces sourced from Goa, Greece, London, and LA. 'That's my Frida Kahlo candle. That was from LA… this is my Mahabharata tarot deck.' The spiritual mingles freely with the quirky. Shruti points to an energy cleansing spray. 'People laugh at me… It's probably a scam. But it's a psychological belief.' One corner has her awards—barely noticeable. 'I'm quite under-confident… Little self-doubt is nice, otherwise you become an asshole,' she says, quoting Akshay Kumar: 'Rewards, not awards.' Her dining area is a spiritual jungle—a mix of gnomes flipping the bird ('to say a spiritual 'F-off' to what you don't want in life'), elemental stones, ducks, and trolls. 'I loved trolls as a kid… they're now my least favourite thing,' she jokes. The musical side of her, often hidden behind her film persona, is very much alive here. 'I do vocal exercises every alternate day. This is my new music book—my dad gifted it to me… I write a lot on airplanes. There are no phones, no calls. Being in the sky is really inspiring.' Shruti also shares her love for darkwave, grime, Korn, and Anirudh's Leo soundtrack, playfully saying: 'More black. More metal. That's me.' In her words, 'I had this attitude of—don't let social media affect you. But we're human. I went to therapy… and the more I worked on my mental health, the more I returned to who I was.' Even her home workouts mirror her essence. 'My TRX cable is hidden here… I love MMA. Heavy metal and martial arts are my way to go in life.' Her two best friends—Adola and Fiona, quirky mannequins named after a Russ Millions track, sit by the piano.