More-than-human: Story of Goddess Paththini - පත්තිනි
Motivation
This creative exploration is inspired by an OzCHI (2024) workshop submission. It made me go back to my roots and find inspiration that positions in the following Venn diagram of "More-than-human Moments via Movement-based Design & Cultural Insights".
The Story
The story of Pattini, also known as Kannaki, is rooted in the South Indian epic "Cilappatikāram." She is depicted as a chaste and loyal wife who endures great suffering. Kannaki is the daughter of a wealthy trader in Puhar, Chola Kingdom. Her husband, Kovalan, leaves her for the courtesan Madhavi but later returns penniless. To help him start anew, Kannaki gives him one of her gold anklets to sell.
However, when Kovalan goes to Madurai to sell the anklet, he is falsely accused of stealing the queen's anklet and is executed by the king. In her grief and anger, Kannaki confronts the king, proving her husband's innocence by breaking her other anklet, revealing it contains rubies, not pearls. This act of defiance leads to the king's realisation of his injustice, and Kannaki's story becomes one of vengeance and justice.
Pattini is revered in both Hindu and Buddhist traditions in Sri Lanka, symbolising qualities such as patience, love, and motherhood. Her worship reflects a complex syncretism between Tamil Hindu and Sinhala Buddhist practices, illustrating the resilience of her cult despite historical challenges, including colonial and nationalist pressures
The following image was generated from DALL-E with the prompts, "Create an image of Goddess Paththini getting inspired by the attached image and the images found in https://groundviews.org/2011/01/11/female-deities-of-theravada-buddhism-kannagi-and-pattini/" and "Patitini has only two hands, both hands holding a gold metallic bangle sized ring as in the attached image".
The Intersection 1
The dance portraying Pattini's dramatic confrontation with the king is a significant ritual performance that embodies her grief and anger over her husband's unjust execution. In this performance, dancers enact the pivotal moment when Pattini reveals her breast, symbolising her deep sorrow and the intensity of her emotions.
Following are some insights that support to position this part of the story within the Venn diagram.
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Embodied Experience: The act of revealing her breast in the dance performance symbolises deep emotional and cultural narratives that transcend human experience. In "more-than-human design," this can be interpreted as recognising the interconnectedness of human emotions with the broader ecological and cultural systems. The performance embodies the pain, sacrifice, and resilience of Kannaki, which can be seen as a reflection of collective cultural memory and identity. This aligns with the idea that design should consider not just human users but also the cultural and emotional contexts that shape their experiences.
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Symbolic Communication: The breast reveal serves as a powerful symbol of maternal strength and justice, which can resonate with audiences on multiple levels. In "cultural insights," this performance can be analysed as a form of storytelling that communicates values, beliefs, and social norms within a community. Understanding these cultural narratives can inform design practices that aim to create more inclusive and empathetic interactions with users, recognising the significance of cultural symbols and their meanings in shaping human experiences.
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Empathy and Community: The emotional weight of the performance invites audiences to engage with the narrative on a deeper level, fostering empathy for Kannaki's plight. In the context of "more-than-human design," this suggests that design can benefit from incorporating elements that evoke emotional responses and encourage users to connect with the broader implications of their actions and experiences. The performance is not just an individual expression but a communal ritual that reinforces social bonds and shared cultural heritage.
Following are some movement-based design methods/tools that can be incorporated to inspired by the above insights.
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Roleplaying - Pairing up or as a group. One person acts as Kannaki and the other as the king Pandya (who executed Kovalan - Kannaki's husband). Otherwise, as a group, one person acts as Kannaki and the others as the civilians believe in Kannaki (Paththini).
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Embodied sketching - Combined with Roleplaying method, some props can be utilised to feel/ trigger the physical body pain of someone else which then can transfer into movement.
AI-generated image by a Reddit artist.
Some historical facts were referred from The incorporation and transformation of a ‘Hindu’ goddess: the worship of Kannaki-Pattini in Sri Lanka. (2018). The South Asianist Journal, 6(1), 31. https://www.southasianist.ed.ac.uk/article/view/2843
The Intersection 2
The Ankeliya අංකෙලිය ritual game, as described by Samarasinghe (2024), is a vibrant cultural practice in Sri Lanka that involves two competing teams representing the Goddess Pattini and her husband Palanga (in Sri Lankan culture, sometimes Kovalan is referred as Palanga). This game is characterized by its ritual actions, including drumming, dancing, singing, and horn pulling, all aimed at honoring the Goddess and promoting fertility within the community. The Ankeliya serves not only as a form of entertainment but also as a means of reinforcing social bonds and cultural identity among villagers. Through its symbolic representation of fertility and community unity, the Ankeliya ritual game plays a crucial role in preserving the rich cultural heritage of the region.
Following are some insights that support to position this game within the Venn diagram.
Teams and Competition: The game features two teams, one representing the Goddess Pattini (Yatipila) and the other representing her husband Palanga (Udupila). They compete in a tug-of-war at a designated area known as the Ang-pitiya, which includes a strong tree called the Ang-gaha. The Yatipila team, representing Pattini, can include women, while the Udupila team, representing Palanga, may predominantly consist of men. This division reflects the cultural narratives surrounding gender, where the female deity is associated with fertility and protection, and the male figure embodies strength and competition. The tug-of-war aspect of the game symbolises the balance and tension between these gendered roles.
Cultural Expression: The performances of dance and music are vital for expressing the cultural identity and heritage of the community. They provide a vibrant backdrop to the ritual, enhancing the festive atmosphere and allowing participants to celebrate their traditions. The rhythmic drumming and lively dancing create an engaging environment that draws the community together, fostering a sense of belonging and shared cultural pride.
Ritual Significance: The dance and music are not merely for entertainment; they are deeply intertwined with the ritual's purpose of worshiping the Goddess Pattini. The performances act as offerings, invoking blessings for fertility, prosperity, and protection from disease. This connection between the artistic expressions and the ritual underscores the importance of these activities in achieving the spiritual goals of the Ankeliya.
Link Between Tugging and Performances: The tug-of-war aspect of the game can be seen as a physical manifestation of the themes expressed in the dance and music. The energy and rhythm of the drumming often synchronise with the movements of the tugging teams, creating a dynamic interplay between the physical competition and the artistic performances. This synergy enhances the overall experience, as the participants are not only engaged in a contest of strength but are also part of a larger narrative that celebrates community, fertility, and cultural heritage.
Following are some movement-based design methods/tools that can be incorporated to inspired by the above insights.
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Sensory Bodystorming - two groups can try tug of war using a physical rope with/ without gender distinction. Also, exploring how the drumming effects could be generated linking to the movement.
Images (with the game explanation) and resources are from the paper by Samarasinghe, K, "Exploring the Socio-Cultural Significance and Community Dynamics of the Ankeliya PattiniRitual Game in Sri Lanka", 2024
The last image was generated from DALL-E with the prompt, "Create an image where a group is doing tug of war (with a rope). in the background some people are drumming on to some objects in the room like a table, a chair, a box etc. Make sure the group is diverse".
Please note ChatGPT-4 was used to modify the descriptions for better structuring and grammar. English is my secondary speaking language.