Indian captain and wicketkeeper KL Rahul's conversation with Keshav Maharaj, the South African all-rounder, during the IND vs SA 3rd ODI, has been going viral. Keshav Maharaj entered to bat during the second innings when South Africa were at 177 runs with six wickets down in 33.

Indian captain and wicketkeeper KL Rahul's conversation with Keshav Maharaj, the South African all-rounder, during the IND vs SA 3rd ODI, has been going viral. Keshav Maharaj entered to bat during the second innings when South Africa were at 177 runs with six wickets down in 33.2 overs. As Maharaj arrived at the pitch, the speakers in the Boland Park Stadium in Paarl started playing Ram Siya Ram, prompting KL Rahul to mention that whenever Keshav Maharaj came to bat, the speakers started playing the same song. Maharaj nodded and gave Rahul a warm smile. Maharaj scored 14 runs in 27 balls but could not stay on the pitch for a long time as Arshdeep Singh took his wicket as he aimed for a boundary. Despite South Africa winning the toss, India won the match by 78 runs. Maharaj is of Indian ancestry. His great-grandfather was from Sultanpur in Uttar Pradesh, India, and migrated to Durban in 1874. Watch the video here: Super Giants banter 😂😂😂 >>>>>pic.twitter.com/k0DxIrRqLN — Lucknow Super Giants (@LucknowIPL) December 21, 2023 × The Men in Blue emerged victorious in the three-match ODI series against South Africa. KL Rahul became the second Indian captain after Virat Kohli to win an ODI series in South Africa. Sanju Samson's maiden international hundred was the highlight of the match. His partnership with Tilak Verma proved to be significant for the team. Samson scored 108 runs off 114 balls, hitting six boundaries. Meanwhile, Tilak Verma scored his maiden fifty in the match to guide India to 296 for eight in the first innings. ALSO READ | Sakshi Malik retiring a 'serious issue', raises questions about democratic processes involved: Vijender Singh During the second innings, Arshdeep Singh's four-wicket haul against South Africa stole the show. India bowled out the Proteas for 218 runs in 45.5 overs to clinch the series 2-1. Now, India's tour of South Africa has reached its last phase. While India won the ODI series 2-1, the T20I series was a draw 1-1. KL Rahul and Co will aim to win their first-ever bi-lateral Test series. The Test series between India and South Africa will commence on December 26. The SuperSport Park Cricket Stadium in Centurion will host the first Test match from December 26-30, starting at 1:30 pm IST. The Newlands Cricket Ground in Cape Town will host the second Test match from January 3-7. Rohit Sharma will lead the Men in Blue in the Test series against South Africa. (With inputs from agencies)

KL Rahul's stump-mic chat with Keshav Maharaj about Indian mythological song is going viral

The timeless relevance that Indian mythological epics like the Ramayana have, lies in their profound exploration of the human psyche. As long as humanity exists, these narratives will continue to evolve and impact people worldwide. The Ramayana, to this day, serves as a moral compass for a global audience, shaping perspectives and influencing the way we think.

The original version of the text written by legendary poet Valmiki is a tale of protagonist Rama, the son of King Dasaratha of Ayodhya, who at the behest of his stepmother, Kaikeyi, endures a painful exile of 14 years. Together with his beloved wife Sita and loyal stepbrother Lakshmana, they establish their humble abode amidst the vastness of the forest.

However, their peaceful existence is shattered when Sita is cruelly abducted by Ravana, the formidable demon King of Lanka. Through arduous trials and tribulations, finally, on a sacred new moon night, he emerges triumphant against all odds. It is a victory of good over evil, as always.

However, it is crucial to acknowledge that the original version of the Ramayana written by Valmiki, marginalised female characters, depriving them of agency.&nbsp;

To address this, we must engage in transformative storytelling — a concept known as revisionist mythmaking. By reimagining these stories and infusing them with fresh perspectives, we can create new narratives that provide powerful insights into gender and women's roles in history and culture. 
&nbsp; 
Here we touch on a malevolent and crucial character in Valmiki’s Ramayana, called Surpanakha. She is the sister of Ravana, the evil king of Lanka and the central antagonist in the epic. She derives her name ‘Surpanakha’ from her distinctive feature of razor-sharp fingernails or nails resembling winnowing fans.&nbsp; 
&nbsp; 
Throughout the years, there have been various adaptations of the Ramayana with the most popular being Indian film director, Ramanand Sagar’s rendition of the epic in 1987.

Sagar's portrayal of Surpanakha in the Indian epic Ramayana (1987) is crafted as a diabolical character with a demonic shriek and hypersexual attributes, encapsulating the idiosyncratic traits of a classic 'rakshasi' or demoness.&nbsp; 
&nbsp; 
With each passing year, the televised rendition of this timeless saga has witnessed a noticeable improvement in video quality. However, the essence and fundamental nature of the characters have remained unaltered. Surpanakha has consistently maintained her sinister persona, while Sita has retained her revered status as an embodiment of devotion and selfless sacrifice.&nbsp;

Most female characters in Indian mythology, primarily in the canonical texts are bracketed into two extremes — good and evil, victim and sinner, the immoral or the innocent. Valmiki’s Ramayana follows the same straight-jacketed approach of portraying Surpanakha as the cultural ‘other’.&nbsp;

<a href="https://www.wionews.com/entertainment/bollywood/news-adipurush-box-office-collection-film-witnesses-major-slump-on-day-7-607853">ALSO READ |&nbsp;Adipurush box office collection: Film witnesses major slump on day 7</a> 
 
Hop skip to 2023 and we choose to sit in a movie theatre and watch Indian cinema’s same repetitive representation of the Ramayana dubbed as Adipurush with a flashy dose of VFX.&nbsp; 
 
What we actually need now is a revisionist lens, a means to look past the solidified traits of this tainted character.&nbsp;

<img alt="PIC" data-entity-type="file" data-entity-uuid="b874f649-a34a-4143-8ffe-7792d26ef558" src="//cdn.wionews.com/sites/default/files/inline-images/The%20battle%20for%20Kyiv%20%287%29.jpg" />

Indian children dressed as Hindu deities Rama and Sita. Photo credit: Pixabay

<h2>The ‘asura’ vs’ non asura’ debate</h2>

Valmiki’s Ramayana, translated in English by Bibek Debroy, makes a clear distinction between the Aryan and the non-Aryan race in the following verses. 
 
“On seeing someone who was like Indra, the rakshasi was flooded with desire. The one with the disagreeable face faced Rama, the one with the agreeable face. The one with a giant stomach faced the slender-waisted one, the one with malformed eyes faced the one with large eyes, the one with copper-coloured hair faced the one with excellent hair, the one with an ugly form faced the one with a handsome form, the one with a horrible voice faced the one with a pleasant voice, the hideous and ugly one faced the young one, the one who was harsh in speech faced the one who was sweet in speech, the one who was extremely wicked in conduct faced the one who was good in conduct, the ugly one faced the handsome one.”&nbsp;

Over the years, numerous revisionist writers have made efforts to dismantle the false and misogynistic portrayal of Surpanakha by reimagining her from a feminist perspective. Adrienne Rich, a contributor to feminist revisionist mythology, defines "revision" as the act of retrospectively examining an existing text in order to reimagine it in a manner previously overlooked within patriarchal narratives. 
&nbsp; 
Similarly, authors such as Sarah Joseph, Kavita Kane, and Kathleen M. Erndl endeavoured to redefine Surpanakha's flawed character as depicted in Valmiki's version of the Ramayana. Through their works, they delve deeper into the complexities of disfigurement, female sexuality, and self-assertion, shedding fresh light on these aspects.

<h2>Marginalisation of Surpanakha</h2>

Kavita Kane's book, titled Lanka's Princess, explores the inherently gendered and hierarchical familial space that Surpanakha inhabits. Here Surpanakha faces double marginalisation within her own household. Her own mother, Kaikesi, harbours dislike towards her for being a dark-skinned girl. In Kane's narrative, Kaikesi remarks, "How is this dark monkey going to bring us good fortune?" This highlights how Surpanakha is pushed to the peripheries both due to her gender and her skin tone. 
&nbsp; 
Living under the shadow of her powerful brothers - Ravana, Kumbhakarna, and Vibhishana - Surpanakha is compelled to suppress .her individuality and true character. Kane's narrative empowers Surpanakha with a unique and compelling voice. In her story, Surpanakha transforms her limitations into possibilities. She becomes assertive and strong-willed and disbunks patriarchal norms that attach negative connotations to assertive women.

<h2>Mutilation of Surpanakha</h2>

The disfigurement of Surpanakha marks a significant turning point in the Ramayana, as it sets the stage for subsequent developments in the plot. In Valmiki's Ramayana, when she encounters Ram and becomes infatuated with his charm, she implores him to accept her as his beloved. However, Ram rejects her. This infuriates Surpanakha, leading her to attack Sita. In response, Rama’s brother Lakshmana forcefully drags her by the hair and mutilates her by cutting off her ears and nose.

<img alt="picture" data-entity-type="file" data-entity-uuid="58c0543f-ba67-441a-b809-c8a2a232e80b" src="//cdn.wionews.com/sites/default/files/inline-images/The%20battle%20for%20Kyiv%20%2814%29.png" />

A still from Indian director, Ramanand Sagar's Ramayana (1987) in which Surpanakha attacks Sita. Photo credit: YouTube

In many vernacular versions, her breasts were also mutilated as they were a symbol of femininity. Kathleen M. Erndl, in her article, “Mutilation of Surpanakha," elaborates on how Surpanakha was instigated by both Ram and Lakshman who ridiculed her unapologetic expression of sexuality.&nbsp;Erndl explores the societal dichotomy between chastity and overt sexuality by examining the characters of Sita and Surpanakha.&nbsp; 
&nbsp; 
Sita is depicted as pure, auspicious, and subservient, while Surpanakha is portrayed as evil, dark, and impure. This binary is influenced by the Manu Smriti, which states that a woman should be obedient and protected by her father in youth, her husband in married life, and her sons in old age, emphasising the importance of a woman's dependence. Surpanakha, with her strong and independent personality, becomes a significant threat to the patriarchal order due to her overt sexuality.

Revisioning is also what author Volga in her book, The Liberation of Sita,&nbsp;does. She dedicates a whole chapter to the encounter between Sita and Surpanakha that takes place in a forest where the former engages in a conversation with the latter, who has transformed her life in the forest and cultivated a beautiful garden, symbolising her own beauty. She has managed to overcome her anger and adversaries, channelling her pain into the creation of a masterpiece in her garden as a coping mechanism against the insults hurled at her. Through this interaction, Surpanakha teaches Sita that she can have an independent existence and not be confined to the shadow of Rama.

<h2>Bidding farewell to the ‘male gaze’</h2>

The Ramayana narrative has long been shaped by male dominance, perpetuating the elevation of male characters over their female counterparts. However, new writings, fresh perspectives and a view that is uncoloured by any prejudices is bringing about a powerful movement that is driven by the need to challenge this status quo and engage with the often ignored women of this epic tale.&nbsp;

It's time to unveil these forgotten heroines and let them helm their powerful stories and that can only be achieved by a revisionist lens through which writers can look at new perspectives and rewrite accounts that have been entrenched in history and mythology.&nbsp; 
 
(Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)&nbsp;

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The timeless relevance that Indian mythological epics like the Ramayana have, lies in their profound exploration of the human psyche. As long as humanity exists, these narratives will continue to evolve and impact people worldwide.

The timeless relevance that Indian mythological epics like the Ramayana have, lies in their profound exploration of the human psyche. As long as humanity exists, these narratives will continue to evolve and impact people worldwide. The Ramayana, to this day, serves as a moral compass for a global audience, shaping perspectives and influencing the way we think. The original version of the text written by legendary poet Valmiki is a tale of protagonist Rama, the son of King Dasaratha of Ayodhya, who at the behest of his stepmother, Kaikeyi, endures a painful exile of 14 years. Together with his beloved wife Sita and loyal stepbrother Lakshmana, they establish their humble abode amidst the vastness of the forest. However, their peaceful existence is shattered when Sita is cruelly abducted by Ravana, the formidable demon King of Lanka. Through arduous trials and tribulations, finally, on a sacred new moon night, he emerges triumphant against all odds. It is a victory of good over evil, as always. However, it is crucial to acknowledge that the original version of the Ramayana written by Valmiki, marginalised female characters, depriving them of agency. To address this, we must engage in transformative storytelling — a concept known as revisionist mythmaking. By reimagining these stories and infusing them with fresh perspectives, we can create new narratives that provide powerful insights into gender and women's roles in history and culture. Here we touch on a malevolent and crucial character in Valmiki’s Ramayana, called Surpanakha. She is the sister of Ravana, the evil king of Lanka and the central antagonist in the epic. She derives her name ‘Surpanakha’ from her distinctive feature of razor-sharp fingernails or nails resembling winnowing fans. Throughout the years, there have been various adaptations of the Ramayana with the most popular being Indian film director, Ramanand Sagar’s rendition of the epic in 1987. Sagar's portrayal of Surpanakha in the Indian epic Ramayana (1987) is crafted as a diabolical character with a demonic shriek and hypersexual attributes, encapsulating the idiosyncratic traits of a classic 'rakshasi' or demoness. With each passing year, the televised rendition of this timeless saga has witnessed a noticeable improvement in video quality. However, the essence and fundamental nature of the characters have remained unaltered. Surpanakha has consistently maintained her sinister persona, while Sita has retained her revered status as an embodiment of devotion and selfless sacrifice. Most female characters in Indian mythology, primarily in the canonical texts are bracketed into two extremes — good and evil, victim and sinner, the immoral or the innocent. Valmiki’s Ramayana follows the same straight-jacketed approach of portraying Surpanakha as the cultural ‘other’. ALSO READ | Adipurush box office collection: Film witnesses major slump on day 7 Hop skip to 2023 and we choose to sit in a movie theatre and watch Indian cinema’s same repetitive representation of the Ramayana dubbed as Adipurush with a flashy dose of VFX. What we actually need now is a revisionist lens, a means to look past the solidified traits of this tainted character. Indian children dressed as Hindu deities Rama and Sita. Photo credit: Pixabay The ‘asura’ vs’ non asura’ debate Valmiki’s Ramayana, translated in English by Bibek Debroy, makes a clear distinction between the Aryan and the non-Aryan race in the following verses. “On seeing someone who was like Indra, the rakshasi was flooded with desire. The one with the disagreeable face faced Rama, the one with the agreeable face. The one with a giant stomach faced the slender-waisted one, the one with malformed eyes faced the one with large eyes, the one with copper-coloured hair faced the one with excellent hair, the one with an ugly form faced the one with a handsome form, the one with a horrible voice faced the one with a pleasant voice, the hideous and ugly one faced the young one, the one who was harsh in speech faced the one who was sweet in speech, the one who was extremely wicked in conduct faced the one who was good in conduct, the ugly one faced the handsome one.” Over the years, numerous revisionist writers have made efforts to dismantle the false and misogynistic portrayal of Surpanakha by reimagining her from a feminist perspective. Adrienne Rich, a contributor to feminist revisionist mythology, defines "revision" as the act of retrospectively examining an existing text in order to reimagine it in a manner previously overlooked within patriarchal narratives. Similarly, authors such as Sarah Joseph, Kavita Kane, and Kathleen M. Erndl endeavoured to redefine Surpanakha's flawed character as depicted in Valmiki's version of the Ramayana. Through their works, they delve deeper into the complexities of disfigurement, female sexuality, and self-assertion, shedding fresh light on these aspects. Marginalisation of Surpanakha Kavita Kane's book, titled Lanka's Princess, explores the inherently gendered and hierarchical familial space that Surpanakha inhabits. Here Surpanakha faces double marginalisation within her own household. Her own mother, Kaikesi, harbours dislike towards her for being a dark-skinned girl. In Kane's narrative, Kaikesi remarks, "How is this dark monkey going to bring us good fortune?" This highlights how Surpanakha is pushed to the peripheries both due to her gender and her skin tone. Living under the shadow of her powerful brothers - Ravana, Kumbhakarna, and Vibhishana - Surpanakha is compelled to suppress .her individuality and true character. Kane's narrative empowers Surpanakha with a unique and compelling voice. In her story, Surpanakha transforms her limitations into possibilities. She becomes assertive and strong-willed and disbunks patriarchal norms that attach negative connotations to assertive women. Mutilation of Surpanakha The disfigurement of Surpanakha marks a significant turning point in the Ramayana, as it sets the stage for subsequent developments in the plot. In Valmiki's Ramayana, when she encounters Ram and becomes infatuated with his charm, she implores him to accept her as his beloved. However, Ram rejects her. This infuriates Surpanakha, leading her to attack Sita. In response, Rama’s brother Lakshmana forcefully drags her by the hair and mutilates her by cutting off her ears and nose. A still from Indian director, Ramanand Sagar's Ramayana (1987) in which Surpanakha attacks Sita. Photo credit: YouTube In many vernacular versions, her breasts were also mutilated as they were a symbol of femininity. Kathleen M. Erndl, in her article, “Mutilation of Surpanakha," elaborates on how Surpanakha was instigated by both Ram and Lakshman who ridiculed her unapologetic expression of sexuality. Erndl explores the societal dichotomy between chastity and overt sexuality by examining the characters of Sita and Surpanakha. Sita is depicted as pure, auspicious, and subservient, while Surpanakha is portrayed as evil, dark, and impure. This binary is influenced by the Manu Smriti, which states that a woman should be obedient and protected by her father in youth, her husband in married life, and her sons in old age, emphasising the importance of a woman's dependence. Surpanakha, with her strong and independent personality, becomes a significant threat to the patriarchal order due to her overt sexuality. Revisioning is also what author Volga in her book, The Liberation of Sita, does. She dedicates a whole chapter to the encounter between Sita and Surpanakha that takes place in a forest where the former engages in a conversation with the latter, who has transformed her life in the forest and cultivated a beautiful garden, symbolising her own beauty. She has managed to overcome her anger and adversaries, channelling her pain into the creation of a masterpiece in her garden as a coping mechanism against the insults hurled at her. Through this interaction, Surpanakha teaches Sita that she can have an independent existence and not be confined to the shadow of Rama. Bidding farewell to the ‘male gaze’ The Ramayana narrative has long been shaped by male dominance, perpetuating the elevation of male characters over their female counterparts. However, new writings, fresh perspectives and a view that is uncoloured by any prejudices is bringing about a powerful movement that is driven by the need to challenge this status quo and engage with the often ignored women of this epic tale. It's time to unveil these forgotten heroines and let them helm their powerful stories and that can only be achieved by a revisionist lens through which writers can look at new perspectives and rewrite accounts that have been entrenched in history and mythology. (Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.) WATCH WION LIVE HERE:

Indian mythology in a revisionist mould: Ramayana’s Surpanakha reimagined

After winning rave reviews and an Oscar nomination for his performance in 'Lion', actor Dev Patel is all set to go behind the camera and direct a movie. The British native of Indian descent is all set to make his directorial debut with upcoming revenge thriller film ‘Monkey Man’.

The actor who shot to fame with the movie ‘Slumdog Millionaire’ will also star in the movie, Variety reported.

'Monkey Man` tells the story of Kid (Patel), who emerges from prison to grapple with a world marred by, in the words of the logline, “corporate greed and eroding spiritual values.”

The film will be set in modern-day India, but will also deal with mythology. Patel has co-written the script for the movie with Paul Angunawela and John Collee.&nbsp;

His upcoming projects include ‘The Personal History of David Copperfield’ and ‘Hotel Mumbai’.&nbsp;

(With ANI inputs)

After winning rave reviews and an Oscar nomination for his performance in 'Lion', actor Dev Patel is all set to go behind the camera and direct a movie. The British native of Indian descent is all set to make his directorial debut with upcoming revenge thriller film ‘Monkey Man’.

After winning rave reviews and an Oscar nomination for his performance in 'Lion', actor Dev Patel is all set to go behind the camera and direct a movie. The British native of Indian descent is all set to make his directorial debut with upcoming revenge thriller film ‘Monkey Man’. The actor who shot to fame with the movie ‘Slumdog Millionaire’ will also star in the movie, Variety reported. 'Monkey Man` tells the story of Kid (Patel), who emerges from prison to grapple with a world marred by, in the words of the logline, “corporate greed and eroding spiritual values.” The film will be set in modern-day India, but will also deal with mythology. Patel has co-written the script for the movie with Paul Angunawela and John Collee. His upcoming projects include ‘The Personal History of David Copperfield’ and ‘Hotel Mumbai’. (With ANI inputs)

Dev Patel to make directorial debut in a mythological thriller set in India 

India is celebrating a &#39;Maha Shivratri&#39; on Tuesday an auspicious day dedicated to worship Lord Shiva.

There are 12 Mahashivratri in the entire year and one Maha Shivratri which is observed on the night before the new moon in the February or March also known as the great night of Shiva or &#39;Shivratri&#39;.

Shivratri is celebrated with fasting, devotees visit Shiva stay&nbsp;up all night and offer fruits, leaves, sweets and milk to the god.

Different legends describe the different story of why Maha Shivratri is celebrated and there is no one significance of the festival.

One legend has that the on this auspicious night one get over their past sins and make a restart in their life by offering things to Shiva. It is a night to purify oneself from all the unwanted things or sins that have done in ignorance unknowingly or out&nbsp;misunderstanding.

According to Indian Mythology,&nbsp;Maha Shivratri is the day when Shiva drank poison from Samudra Manthan to protect the world from destruction.

There is another legend surrounding the festival is that on this night Shiva performed the cosmic&nbsp;dance of creation, preservation and destruction.

Some also celebrate this night as the night when Shiva and Parvati got married.

Legends also have it is the day when Lord Shiva become Mount Kailash by becoming absolutely still and after millennia in meditation. This night is also call a night of stillness.

There are 12 Mahashivratri in the entire year and one Maha Shivratri which is observed on the night before the new moon in the February or March also known as the great night of Shiva or 'Shivratri'

India is celebrating a 'Maha Shivratri' on Tuesday an auspicious day dedicated to worship Lord Shiva. There are 12 Mahashivratri in the entire year and one Maha Shivratri which is observed on the night before the new moon in the February or March also known as the great night of Shiva or 'Shivratri'. Shivratri is celebrated with fasting, devotees visit Shiva stay up all night and offer fruits, leaves, sweets and milk to the god. Different legends describe the different story of why Maha Shivratri is celebrated and there is no one significance of the festival. One legend has that the on this auspicious night one get over their past sins and make a restart in their life by offering things to Shiva. It is a night to purify oneself from all the unwanted things or sins that have done in ignorance unknowingly or out misunderstanding. According to Indian Mythology, Maha Shivratri is the day when Shiva drank poison from Samudra Manthan to protect the world from destruction. There is another legend surrounding the festival is that on this night Shiva performed the cosmic dance of creation, preservation and destruction. Some also celebrate this night as the night when Shiva and Parvati got married. Legends also have it is the day when Lord Shiva become Mount Kailash by becoming absolutely still and after millennia in meditation. This night is also call a night of stillness.

Legends surrounding significance of Maha Shivratri

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KL Rahul's stump-mic chat with Keshav Maharaj about Indian mythological song is going viral

Indian mythology in a revisionist mould: Ramayana’s Surpanakha reimagined

Dev Patel to make directorial debut in a mythological thriller set in India

Legends surrounding significance of Maha Shivratri