Thank you dear subscribers, we are overwhelmed with your response.
Your Turn is a unique section from ThePrint featuring points of view from its subscribers. If you are a subscriber, have a point of view, please send it to us. If not, do subscribe here: https://theprint.in/subscribe/
It’s that time of the year when Malayalis celebrate Onam. A four-day festival in most parts of Kerala and a ten-day festival in certain areas like Thrippunithura in Ernakulam district, Onam is inarguably the biggest festival in this part of the country. What makes Onam truly unique is the evolution of this festival over a not so long period of time with its roots firmly placed in Hindu religious beliefs and its transformation into a socio-cultural mega event.
The most popular tale about Onam revolves around Mahabali, the benevolent and just Asura king. Legend has it that he was dramatically banished to the netherworlds by Vamana, the fifth avatar of Vishnu, but was granted a boon that every year he could revisit his erstwhile kingdom.
Celebrations during this period herald the symbolic return of Mahabali. Floral carpets known as pookkalams are laid out over ten days with the size, pattern, composition and complexity of the arrangement expanding over each consecutive day. Popular Onam imagery revolves around playful combat sports (Onathallu), tug of war, feasts (OnaSadya), new clothes (Onakkodi), boat races (Vallamkali), tiger dance (Puli kali) etc.
But hey, wait a minute – who’s this vertically challenged, potbellied chap, grinning like a clown holding a palm leaf umbrella featuring in print, television and digital advertisements during Onam? He is omnipresent – ranging from advertisements of banks soliciting deposits to showrooms offering discounts on the latest mobile phones. He’s on hoardings outside restaurants inviting people to step in for a sumptuous meal, probably the only time you’d see a potbellied model for a restaurant in these health-conscious times and on posters outside textile showrooms attracting people with discounts, probably the only time they’d use a dhothi-clad, bare-chested, overweight model contrary to fashion trends
Like Desi Chinese food, is he the Malayali version of Laughing Budha or a long-lost Malayali cousin of Santa Claus? For all of you who are wondering what the fuss is about – think again, who was Mahabali – wasn’t he a majestic, powerful, athletic, warrior ruler?
Given its roots in Hindu mythology, enthusiasts have attempted to see how Mahabali was portrayed in the past in temple and cave sculptures. Kaviyoor Mahadeva temple in Pathanamthitta district in Kerala and Varaha cave temple in Mahabalipuram in Tamil Nadu have regal imagery featuring Mahabali. At the risk of reinforcing stereotypes, opinions veer towards the imagery having tall, dark and handsome attributes reminiscent of Dravidian rulers. Historians also point towards sculptures at Kanchipuram, Ellora, Badami etc. to drive home the point. Perusal of works of Raja Ravi Varma reveals an image titled Vaman, created in 1890, featuring Vamana placing one foot on Mahabali’s head. Here we see a majestic ruler clad in golden armour bowing reverentially with palms folded. Therefore, it would be safe to assume that the reinterpretation of imagery from majestic to comic is a twentieth century phenomenon. One unsubstantiated story is that this was a result of attempting to make the festival enjoyable for the political masters i.e. the British.
Over the past decade there have been sporadic attempts to reimagine Mahabali. A few years back a cartoonist posted, on social media, his interpretation of Mahabali – a lean, dark-skinned version and invited everyone to post their own interpretations. This led to a flurry of images from college students in Kerala, mostly from left leaning bastions, some even suggesting that Mahabali was the OG communist with everyone treated equally during his reign. The Travancore Devaswom Board also posted a reimagined image of Mahabali – a younger, athletic version with curly hair and a six pack to boot. However, none of these images have captured public imagination, for the pop culture visual of the clown continues to reign – grinning at us from posters, hoardings and mobile screens, thanks to the efforts of advertisers and marketers who reinforce this imagery. What probably began as a harvest festival is, today, Kerala’s biggest shopping festival.
If the answer to the question – who banished Mahabali – is Vamana, the answer to the question – who really banished Mahabali – is the advertiser/marketer with no sense of history and a quirky sense of humour.
These pieces are being published as they have been received – they have not been edited/fact-checked by ThePrint.
In recent years, it has become common to depict King Mahabali (Maveli) in advertisements and media as a humorous, comical figure. While Onam is indeed a season of joy and celebration, such portrayals risk trivializing the cultural and historical significance of this noble king.
Mahabali was not only a benevolent ruler, but also a brave warrior and mighty conqueror, who through his valor once ruled over the three worlds. He is remembered for ushering in a golden age of prosperity, equality, and justice. His story is one of strength, sacrifice, and humility—not mere comedy.
By reducing Mahabali to a caricature, advertisers overlook the dignity of a cultural icon who continues to inspire Malayalees across generations. We urge media and advertisers to show creativity without distorting or diminishing the legacy of Mahabali. Let his image reflect the valor of the warrior, the fairness of the king, and the humility of the devotee.
Onam is not only about entertainment; it is about remembering and honoring the timeless values that Mahabali represents.