TS-4/2018

INDIAN CULTURE- A PERSPECTIVE FOR TOURISM

1. Describe in detail the chief features of Indian cultural heritage. 20

Ans.A nation that has no cultural heritage is like an orphan who has nothing to feed upon. An
individual human being, a race or a nation must necessarily have certain roots somewhere.
India is deep rooted in the culture of her past—the glorious past. India is a vast country, and
centuries old. It is difficult to sum up her heritage in a few words. Her past has been full of
glory. She has been the birth place of many great men and women. She has given birth to many
great movements in religion, art and literature. These movements have not been limited to
India alone, but they have travelled to other parts of the world. The India of today has a rich
past over which we can look back with pride. Our past has given us a definite way of life, which
is typically Indian and yet universal in approach.

The most prominent feature of India's culture it that it combines many cultures. India is a land
of great variety and many influences have worked to produce modern India. India has shown
great capacity for absorbing what came to her from outside. The base of the Indian civilization
was formed by the coming together of the old Indus Valley Civilization and the Aryan
Civilization came from beyond the North-West frontier of India. It has been repeatedly
influenced by other civilizations, though basically it has recognize the same. The Greeks, the
Romans, the Scythians, the Turks, the Russians, the Arabs and the Europeans left their impre-
ssion. India's capacity to abroad was so great that they all became Indian.

British rule in India brought a new element. The industrial civilization of the West brought in her
influences. It produced changes in thought and outlook. The ideas of democracy of the
parliamentary type were brought to India by the West. The English language also was helpful in
bringing us in contract with the modern world by science.

For several hundred years India was weak and came under foreign rule. She lost her vitality. In
ancient times, Indian missions went out, carrying India's religion, language, culture, habits and
art, all over South-East Asia, Western and Central Asia. Ashoka, the great emperor, sent
missionaries to spread Buddhism all over the then known world, some of the oldest books in
Sanskrit drama have been found in the Gobi desert.

The came a period when narrow-mindedness entered Indian ways of thinking. Religion became
a superstition. The ideas of caste cut Indian society into countless divisions. Foreigners took
advantage of these and conquered India.

It was Gandhiji who made Indians aware of their ancient heritage which they had forgotten. He
led us in our struggle for freedom. In this task he put into practice the basic wisdom of ancient
India. That wisdom consisted in freedom from fear and freedom from hatred. To the ideals of
truth and non-violence which had been preached long ago by the wise men of old, he have a
new shape.

Throughout her past India has preached and practiced toleration and understanding. These
have been the basis of Indian religion, philosophy, art and literature. Her sons wet far and wide,
unmindful of the dangers in their ways, to spread this message of peace. By adopting peaceful
means forgetting our independence, Gandhiji showed the superiority of peaceful methods over
force and violence.

The charms and graciousness of the .Indian way of life endures due to the philosophy of life
which we have inherited from the past. Religion in India is not a thing to be put on and put off
like Sunday clothes. It permeates the whole fabric of Indian life. Whatever we do, however
great or small, is colored with religious sentiments. From the planting of a tree to the
establishing of an industry, all are regarded as pious acts. Training and education, marriage and
procreation, birth and death are all tinged with religious fervour.

It true that our attitude towards life is now rapidly becoming materialistic. The glamour of the
western way of life with its glorification of material prosperity and its wonderful achievements
in the field, of science and technology has modified our aim and ambitions. A new orientation
has been given to Indian life. The ideal now chiefly adored is success or the ability which
produces success. The Quit of success has dazzled our eyes and some of us have started looking
down up to the old traditions and culture. The results, however, have not been very happy. We
are losing our roots. Blind imitation of the west will just make us get lost in blind alley.

However, we must not also resist the winds of change and remain clinging to the past values
and principles of life. We must not close our doors to the influences from the outside world. If
those influences are good, they will strengthen the basic concepts of our culture and so enrich
it as to make it truly representative of the life of our people. What is to be avoided is a blind
imitation of cultures and values. Countries become great not because they have achieved
progress in material things but because they follow noble traditions and base their life on what
has been called by Tagore 'Dharma', or a moral way of life. We should remain true to the real
genius of our land, the quality and habit of mind which has preserved us through the ages.

2. Discuss India’s major customs and rituals? Give suitable examples. 20

Ans.Indian customs and rituals enrich the nation with culture and customs which have been
followed over centuries and continue to form and integral part of Indian tradition. Different
religions and faiths, which are a part and parcel of various communities of India, make the
rituals very unique and interesting. Every belief system is identified by its own practised set of
rites and rituals thus making up a galaxy of rituals. Such rituals are practised by innumerable
residents of India with deep respect and devotion. Starting from birth and continuing till death,
Indians follow a wide range of customs and rituals which are revered. 

Hindu Customs and Rituals 

Hinduism comprises innumerable social and religious rituals and customs. They celebrate
religious festivals by the standard ritual of inviting 'Brahmin' priests to their houses who
officially conducts the 'puja' or process by which Hindu deities are worshipped. 'Yajnas' are
performed by the holy priests to invoke the divine blessings of Hindu gods and goddesses. A
detailed series of life-cycle rituals mark the major transitions in the life of the individual. Soon
after the birth of a child, the 'Namkaran' ceremony is held, which is marked by the chanting
of Sanskrit 'Shlokas' and singing of hymns. Hindu customs assert the significance of the
'Upanayana' or thread ceremony amongst Brahmins, to demarcate their distinction from the
other castes or creeds of the Hindu society. The next important transition in life is marriage. For
most Indians, the exact date and time of the wedding are matters decided by the parents in
consultation with astrologers. Cremation is also on part of the Indian Hindu customary
ceremonies. Intricate procedures are carried out to perform the 'shraddhha' or funeral rites of
deceased family members. 

Muslim Customs and Rituals 

Muslims follow multiple rituals related to birth, marriage, religious practises which involves
worshipping 'Allah' and funeral customs and rituals. Muslim ceremonies regarding birth are
specific, and whatever is practiced usually varies with the customs and habits of different
regions. However, traditionally some practices are generally followed by all. After the birth of
the child, he or she is smeared with the juice of palm dates on the upper jaw. It is believed that
the very first words that a new born should hear are the words of God. Accordingly, the 'Azaan'
is whispered into the child's right ear whereas the 'Iqamat' is spoken into the child's left ear.
'Nikaah' is the marriage ceremony followed religiously by the Muslims. It is quite brief and is
confined to just two sentences. The boy has to say that he proposes to get married to a
particular girl and the girl must accept this proposal three times. This event must be witnessed
by at least two witnesses. A contract, known as the 'Nikahnama', is drawn up which is to be
signed by the concerned people. 

When a Muslim man or woman dies, people are to recite the phrase 'lilaha va inna illaha raziun'
meaning "We have come from God and unto him we shall return". Loud wailing and show of
sadness is prohibited by Muslim law. The body is wrapped from head to toe in a white cloth
called the 'Kafan' and it is then taken to the burial ground, carried on the shoulders of four
people. This procession is called the 'Janasa'. A prayer called 'dua' is recited en-route. A prayer
is said by all members of the congregation following which the body is buried. After the body is
lowered into the ground, the head is tilted to face the 'Kaba'. Perfumed water is sprinkled on
the grave and it is neatly sealed with stones, bamboo sticks or wooden boards. Handfuls of
sand are thrown by the mourners over the grave and then finally it is sealed following which the
prayer called 'Fatiha' is said for the deceased. 

The other important customs of Muslims are fasting during the holy month of 'Ramadaan',
going on a religious pilgrimage which is termed as 'Hajj' which means travelling to the holy city
of Mecca, which is now located in Saudi Arabia and animal sacrifice should be also be
performed, mentioning the name of God while doing so. 

Christian Customs and Rituals 

In Christianity, following the birth of a child, the child is taken to the church for the baptism
ceremony. It is the most important Christian sacrament as the child is admitted into the church
as a Christian only after baptism. It is done before the first birthday of the child and the child is
presented with white clothes, cap and shoes. 

Next is the marriage ritual of Christianity. Weddings are conducted by the priest, inside a
church. The father of the bride gives her hand to the groom. Prayers are said by the priest and
he blesses them and prays for a happy life for them. The girl and boy exchange rings as a
symbol of their ties to each other. They are then asked if they agree to accept each other as
man and wife and following this they are pronounced man and wife. The priest delivers a small
sermon and a feast is given for the invitees. Small girls with flower baskets accompany the
couple, to sprinkle flowers over the couple. Most of the marriage customs are influenced by
local customs and practices of the different regions. 

On the event of a Christian's death, the body is laid out on a cot and a cross is placed nearby.
Candles and incense sticks are lit all around. When all people have gathered prayers are held by
the priest. The body is then bathed and placed in a coffin. It is kept open for the people to pay
their last respects. The arms are kept folded across the chest. The priest reads verses from
the Bible and gives a small lecture on the life and deeds of the deceased. The coffin is then
carried to the crematorium by four people or even more on their shoulders. A small prayer is
offered and the body is lowered into the pit. People throw sand on the coffin and pit is then
closed. Relatives visit the coffin on the 3rd or 5th day to offer garlands and milk at the spot.
Some prayers are also said. 

Sikh Customs and Rituals 

There are numerable customs and rituals of Sikhs when it comes to birth, marriage and death.
Nothing much is fixed in regards to birth. Some sections of the Sikhs recite the five verses of the
Morning Prayer, 'Japji Sahib' into the ears of the newborn child. Sometimes, in the 'Gurthi'
ceremony, an intelligent and well-respected member of the family gives the newborn child a
drop of honey so as to pass on his or her characteristics to the child. The ritual of the 'Sushak'
involves the giving of gifts by the maternal grandparents to the child's family. These gifts usually
include clothes, a spoon, glass and a bowl, money and gold ornaments for the child. 

A Sikh wedding, called 'Anand Karaj', is quite similar to the Hindu wedding except that the Guru
Granth Sahib is read instead of the Vedas. A number of traditional rituals are followed such as
the 'Nanke Chak' where bride's maternal grandparents and uncle spend a lavish amount on the
wedding and also host a meal, the 'Surma Pawai' when the groom's sister-in-law applies kohl to
his eyes before he leaves for the bride's house. The actual marriage ceremony comprises
'Baraat', 'Milni', 'Lawaan', and the 'Doli' when the bride and the groom depart for the latter's
home. 

The 'Kirtan Solah' is read after the death of a person. People gather around the body and say
the prayers and the body is then dressed and bathed with the five K's of the Sikhs. The Sikhs
cremate their dead and this has to be done before sunset. Following the cremation, the people
gather at the Gurudwara where some texts from the Granth Sahib are read and 'Prasad' is
distributed. 

Zoroastrian Customs and Rituals 

On the event of the birth of a child in a Zoroastrian family, a lamp is lit and is kept in the child's
room for forty days to keep away evil forces. Following the birth of a child in a Zoroastrian
family, mother and child are not to leave the house for 40 days. 'Pachori' or 'Dasori' may be
observed on the fifth or tenth day respectively. On the fortieth day the mother has to take a
ceremonial bath with consecrated water. 'Para Haoma' is the event when the first drink is given
to the newborn child, which is basically consecrated Haoma juice. The formal initiation of a
child into Zoroastrianism is called 'Navjote' where a number of ceremonies are performed such
as 'Achoo Michoo', wearing of the 'Kushti' etc. Lastly the 'Doa Tandorosoti Prayer' is recited by
the priest for the well being of the child, the parents as well as the community. 

In marriage ceremonies, the groom goes to the bride's place for the marriage ceremony. He is
welcomed with 'Kumkum' on his forehead and a shower of rice grains by the bride's mother.
During the ceremony, the bridegroom is made to sit at the hand of the bride with both facing
the eastern direction. A person has to stand near the couple with a burning flame as a sign of
respect to their God of Fire. After getting the consent of the couple they are made to sit facing
each other with a curtain between them holding each other's right hand. A cloth is wound
around the chairs and its ends are tied to symbolize the marriage knot. Following this, the
'Yatha Ahuvairyo' is read. Finally the marriage ceremony is over and the curtain is dropped as
the couple shower each other with rice grains. 

Death ceremonies of the Zoroastrians are in accordance with their strict rules on sanitation and
purification. When a person is about to die, the head priests recite the 'Patet' prayer, and a few
drops of Haoma juice are administered o the dying person. The dead are not burned or
cremated but left in the Towers of the Dead where they will be devoured by vultures. This is to
ensure that the five elements created by God, are not wasted. 

India is the glorious monumental example of the cultural and social diversity based on the
diverse geography, newly adapted traditions and culture, ideas and national heritage. Such
rituals form a fundamental part of the Indian history and will be followed with the same ardour,
eagerness and zeal for centuries to come. It is these very practices which provide an inimitable
sense of identity to the country and give it a mystical touch which attracts tourists form far and
wide. Though the customs and rituals may vary from one region to another, essence is same
and comprises the collective body of Indian customs and rituals. 

3. What are the salient features of modern Indian Theatre? 20

Ans.Modern Indian theatre developed due to the change in the socio political set up in India.
Theatre before the independence of India was primarily a weapon to protest against the
"British Raj". However it is certainly not an overstatement to say that the two hundred years of
British colonialism brought the Indian theatre into a direct contact with the western theatre.
Curiously, the very kernel of the modish aspects of the contemporary theatre was sown at that
period. The harmonious blend of eastern and western culture gave birth to a rather modern
form of Indian theatre. 

To entertain the British soldiers and the citizens for acclimatizing themselves to a foreign
country like India, Indian theatre gradually became a replication of the western plots. Also, for
the first time in India, the practice of writing and theatre was running full fledged. Realistic
approach and naturalistic presentation marked the change in the thematic development of
Indian theatre. Gone were the days of the lives of heroes, Gods, celestial beings and myths of
the ancient India; on the contrary it is the common man, their daily chores, their fears and tears
were ideally portrayed in the modern Indian theatre. That was just the beginning of the journey
of modern Indian theatre. However, it was with the thriving development of the different
"Brand Theatres" during the beginning of the 19th century the varied contemporary aspects, in
the Indian theatre made its presence felt in quite a distinct way. Calcutta and Madras were the
first two metropolises to introduce their theatre brands. Classically based on the London
models these theatre brands are still reckoned as the pioneer of modern Indian drama and
theatre. 

Change was marked during this time not only in the socio political level and in the economic
condition but also in the artistic and cultural aspects of India. Indian drama and theatre also
went through a sea change, which not only altered the traditional aspects of "roopaka" and
"natya" in Indian drama, but also at the same time added a whole fresh enunciation to the
theatrical and narrative forms. The overdramatic aspects were rationalized. The themes also
witnessed a change and for the first time the ardent fervor of the religious, historical and
mythological aspects were not given that importance. 

The modern Indian theatre started to grow more in the 1850s as the theatre enthusiasts
started to perform their own play on different languages which were based on western style. It
passed to Bombay and to many North as well as in South Indian states. These new form of the
Indian theatre started to grow at the cost of extinction of other traditional form of theatre. This
new hybrid form of Indian theatre turned to a ticketed theatre in the 1870s as it slipped from
the hands of the riches. At the end of the 19th century, this modern form of Indian theatre
became the source of earning of bread and butter to many. It moved to the hands of common
public and turned into a commercial unit. 

In the Post Independence era, many small and large units engaged in giving the theatre its due.
Few of them are Safdar Hashmi's 'Janam' (1973-89) in Delhi, Badal Sircar's 'Satabdi' (Calcutta)
and RP Prasanna's 'Samudaya' (Karnataka, 1975 to mid 1980s). 

However, the modern Indian theatre got a turn at the 20th century and World War I. It became
a commodity for sale and confined into the auditorium. As the freedom movement gained
momentum, the creative side of the theatre got dimmed. In 1922, the Communist Party of India
was founded and with this enters the India People's Theatre Association (IPTA), which served as
its cultural wing. Many talented middle class people joined IPTA in Bengal and Bombay (now
Mumbai) with a dream of a classical society. They brought the idea of portable theatre and
these were based on various political agenda and were classified as anti-facist. 

The formation of IPTA turned a new page in the history of Indian theatre and supported
modern Indian theatre in taking a leap further. The formation of IPTA was a direct reaction of
the Bengal feminine. Bijan Bhattacharya, one of the founder of IPTA in Calcutta wrote play
'Nabanna', which was based on the exploitation of the peasants. Subsequently, the songs and
dances became a part of the modern Indian theatre and thus dancers like Shanti Vardhan,
Narendra Sharma and even musician Ravi Shankar joined the IPTA central troupe. The modern
Indian theatre then came with Marxist version of consciousness for example, the plays of Utpal
Dutt 

In January 1953, 'Sangeet Natak Akademi' was set up and it gave a cultural confidence and
drama got a new footing in India. Later, Ebrahim Alkazi dictated the newly found National
School of Drama and worked for the growth of modern Indian theatre. The theatre pattern was
mixed in various styles and techniques from Sanskrit and western theatre and got a broader
approach at every level of creativity. Few of the pioneers of modern Indian theatre were,
Ranchhodbhal and Nanalla Kavi in Gujarat, Verasalingam, Guruzada Appa Rao and Ballary
Raghavachari in Telugu, Santakavi Varadachari and Kailasam in Kannada, Laxminath Bezharua in
Assamese, Kerala Varma Thampuran and C.V. Raman Pillai in Malayalam, Ramshankar Rai and
Kalicharan Patnaik in Oriya and P. Sambandha Mudaliar in Tamil. 

In the year 1972, the Vernacular theatre of contemporary India got a new rise. Vijay Tendulkar's
Marathi's play 'Ghashiram Kotwal' used traditional folk forms in modern theatre. The Hindi
theatre got its stronghold in Calcutta in 1976 when Usha Ganguly and her husband Kamal
Ganguly launched a theatre group named 'Ranga Karmee'. The first Indian to earn International
recognition in the theatre was Manjula Padmanabhan with her play, 'Bitter Harvest', which
dealt with the exploitation of human body in the 21st century. Mahesh Dattani is another
promising playwright, who has done one play named, 'Do the needful' for the BBC among his 13
plays. He got the 'Sahitya Akademi award' for his play, 'Final Solutions', which was based on the
issue of communalism. 

Although Bengali, Marathi and Tamil were initially the medium of expression yet in the late
20th century Gujrati, Kannada, Hindi, Oriya, Urdu and English drama added another wing to the
recent scenario of Indian drama. Furthermore it is with the introduction of the street drama,
modern Indian drama actually broke the barrier of stage, orchestra, pits and gallery while
reaching the heart of the common people 

Modern Indian theatre was thus not only the amalgamation of art, dance, music and dialogues
but was a means of reaching people and addressing their issues and was of course the main
element in changing the social and political ailments of independent India. 
4. Examine the genesis and evaluation of various forms of music in India. 20

Ans.As the culture and traditions of India are old and ancient, the music is not an exception.
Folk, pop, Hindustani, Carnatic, classical and traditional music are part of India’s music and
these genres have flourished with time. The introduction of music in India was the main part of
socio religious life. There are a number of variations in music of India and all of them present
and portray something different.

Ghazal
One of the meditating and heart reckoning part of music of India is Ghazal. Ghazal is both
famous in India as well as Pakistan. It is though not the form of music, but sung as a poetic
recitation. However, it is now looked as an Urdu song whose main importance is the Lyrics. The
origin of the Ghazal is found in classical Arabic poetry.

Carnatic Music
Carnatic music or Carnatic Sangeet is the part of South Indian Classical music. It has a very rich
history and tradition. Carnatic music is considered to be the gems in the world of music all over
the globe. The Carnatic Sangeet has advanced in the southern parts of India such as Tamil
Nadu, Karnataka and Andhra Pradesh.

Indian Film Music

It is one of the most popular and flourishing music in India. The Bollywood industry, which is
one of the biggest film industries in India, produces a number of movies each year with a wide
variety of Indian music. The film music of India is gaining popularity day by day.

Indian Fusion Music

The Fusion music is not very old in India. The fusion music began with the performance by Ali
Akbar khan in 1955. Indian fusion music flourished with the introduction of rock and roll fusions
in 1960 and 1970.
Hindustani Gharanas
Gharanas Dols is a rich tradition in Indian music. It also known as styles. These schools or
training centers have foundation of traditional music training and education. Every school or
Gharanas has its own unique features.

The musical instrument that is widely popular in India is Sitar. Sitar has been used for a long
time in Indian music, which has a long neck with seven major cords and twenty metal frets.
Below each of the fret, there are strings that can be turned to the note of Raga. The gourd is
used as a resonator for cords is found below the neck of the Sitar.

Folk Music
India is the land with multi cultures and languages. Every part of India has its own folk music
that is tailored according to the customs and traditions of that region. The folk music is very
much alive in the rural parts of India and in urban areas. It is clear that music has adopted
different definitions with the arrival of pop, folk, new age and classical singing.

The music in India has flourished with the passage of time. Different singers from classical to
pop and from Sufi to folk, all of them have been successful in their times.

10. Write short notes on the followings: 10 x 2=20

a) Unity in Diversity

Ans.Unity in diversity is a concept of "unity without uniformity and diversity without

fragmentation"  that shifts focus from unity based on a mere tolerance of physical, cultural,
linguistic, social, religious, political, ideological and/or psychologicaldifferences towards a more
complex unity based on an understanding that difference enriches human interactions. It has
applications in many fields, including ecology, cosmology, philosophy, religion and politics.
The idea and related phrase is very old and dates back to ancient times in both Western and
Eastern Old World cultures. The concept of unity in diversity was used by both the  indigenous
peoples of North America and Taoist societies in 400–500 B.C. In premodern Western culture, it
has existed in an implicit form in certain organic conceptions of the universe that developed in
the civilizations of ancient Greece and Rome.
"Unity in diversity" is used as a popular slogan or motto by a variety of religious and political
groups as an expression of harmony and unity between dissimilar individuals or groups. The
phrase is a deliberate oxymoron, the rhetorical combination of two antonyms, unitas "unity,
oneness" and varietas "variety, variousness". When used in a political context, it is often used
to advocate federalism and multiculturalism.
Unity in diversity is a concept of "unity without uniformity and diversity without fragmentation"

that shifts focus from unity based on a mere tolerance of physical, cultural, linguistic, social,
religious, political, ideological and/or phsychological differences towards a more complex unity
based on an understanding that difference enriches human interactions.

"Unity in diversity" is a popular motto within and among nation states, and also in political and
social movements.

b) Kumbh Mela

Ans.Kumbh Mela or Kumbha Mela inscribed on the UNESCO's Representative List of Intangible

Cultural Heritage of Humanity, is a mass Hindu pilgrimage of faith in which Hindus gather to
bathe in a sacred or holy river. Traditionally, four fairs are widely recognized as the Kumbh
Melas: the Haridwar Kumbh Mela, the Allahabad Kumbh Mela, the Nashik-Trimbakeshwar
Simhastha, and Ujjain Simhastha. These four fairs are held periodically at one of the following
places by rotation: Haridwar, Allahabad(Prayaga), Nashik district (Nashik and Trimbak),
and Ujjain. The main festival site is located on the banks of a river: the Ganges(Ganga) at
Haridwar; the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at
Allahabad; the Godavari at Nashik; and the Shipra at Ujjain. Bathing in these rivers is thought to
cleanse a person of all sins.
At any given place, the Kumbh Mela is held once in 12 years. There is a difference of around 3
years between the Kumbh Melas at Haridwar and Nashik; the fairs at Nashik and Ujjain are
celebrated in the same year or one year apart. The exact date is determined, as per Vikram
Samvat calendar and the principles of Jyotisha, according to a combination of zodiac positions
of the Jupiter, the Sun and the Moon. At Nashik and Ujjain, the Mela may be held while a planet
is in Leo (Simha in Hindu astrology); in this case, it is also known as Simhastha. At Haridwar and
Allahabad, an Ardha ("Half") Kumbh Mela is held every sixth year; a Maha ("Great") Kumbh
Mela occurs after 144 years.
The priests at other places have also claimed their local fairs to be Kumbh Melas. For example,
the Mahamaham festival at Kumbakonam, held once in 12 years, is also portrayed as a Kumbh
Mela.
The exact age of the festival is uncertain. According to medieval Hindu mythology,
Lord Vishnu dropped drops of Amrita (the drink of immortality) at four places, while
transporting it in a kumbha (pot). These four places are identified as the present-day sites of
the Kumbh Mela. The name "Kumbh Mela" literally means "kumbha fair". It is known as
"Kumbh" in Hindi (due to schwa deletion); in Sanskrit and some other Indian languages, it is
more often known by its original name "Kumbha".
The festival is one of the largest peaceful gatherings in the world, and considered as the
"world's largest congregation of religious pilgrims".There is no precise method of ascertaining
the number of pilgrims, and the estimates of the number of pilgrims bathing on the most
auspicious day may vary. An estimated 120 million people visited Maha Kumbh Mela in 2013
in Allahabad over a two-month period, including over 30 million on a single day, on 10 February
2013 (the day of Mauni Amavasya).