20-24 septembrie 2009 - Biblioteca Metropolitana Bucuresti

648 Nirmala KulkarniMoreover, the upanayana could be properly described as a pubertyrite initiating a young boy by imparting him occupational training. Here,the training forms a congruent part of the ritual of initiation. Twelve yearsof training in the oral recitation, mystic training in the mahānāmnī and theupaniṣad vrata, the symbolic death indicated by the word dvija and byshaving of head, etc. fulfill all the conditions of the initiation.This is not true in case of the puberty ritual for girls. In Indian societyright from the ancient period training was imparted to girls in day to daylife. Right from the childhood they are involved in the household chores.While taking care of young siblings they are trained in the motherhood,through folk dances and songs they are introduced to the dark side ofwomanhood and to the misery which she has to endure because of being awoman. Through customs like drawing and painting traditional diagramsthey are introduced to the rich spiritual and religious tradition 15 . Yet, suchtraining does not form any part of the initiation. Absence of initiation makesthe puberty rite superfluous in comparison to the upanayana or to femalepuberty rituals of matrilineal societies.Conclusion:Thus, to sum up:1) The female puberty ritual in Indian texts could be considered as anappendix, since it lacks in genuineness.2) It seems to be introduced merely to appease the perils of menstrualblood and rarely to celebrate the occasion.3) Few references to the celebration being monotonous are notharmonious to the entire patriarchal scheme of the ritual texts, but markthemselves different. They seem to be introduced in the ritual texts toannounce coming of age of a girl which happens to be after marriage. Suchan announcement appears to be the main function of celebration.4) The lack of initiatory character is noticeable in training, since thetraining imparted to her never forms a part of the initiation. This is themajor mark to show superfluous nature of the puberty ritual described inIndian ritual texts.15Krambrisch 1969:23-45: “The magic function of art in India is vested indiagrams, which are drawn primarily on floor. Though not tribally restricted, the art ofpainting on the floor in rural India is, but for one significant exception, the prerogativeof women.... The training (from mother to daughter) begins in fifth or sixth... reachescompetence in 12 th year.”