RATNAGIRI

From stories of bhutatki goshti (witchcraft), kaala-jaadu, and eerie encounters with leopards and snakes, to tales of miraculous murti appearances and the great deeds of social reformers, Ratnagiri is rich with such narratives. While the core themes often remain the same, each village and family adds its own flavour, leading to multiple versions of these stories.

Stories of bhoots like Giroba, Munjya, and Hadal are commonly heard across the region. Practices like Naman, Gondhal, and Kirtan (where tales of various devtas and devis are sung or recited) remain deeply rooted in local culture. 

In the past, when the rains arrived and the rivers swelled, the people of Ratnagiri would gather to narrate tales of their ancestors' struggles and triumphs. One such story revolved around the Gowala Deva ceremony, where villagers united to prevent famine and ensure rainfall.

It is said that the ceremony was carried out by the Kunbi community, who chose one among them as the Gowala Deva. The chosen person would lead a procession through the hamlet, with each household offering water, curd, and buttermilk. These offerings were believed to bring aashirwad (blessings) and guarantee rainfall.

Alongside the Gowala Deva, people practised other rituals to ensure rainfall and prevent river flooding. Some made images of Shringirishi to invite rain, while others practised pooja to Dhondal Dev for abundant rainfall. Navachandika Devi was also known for her power to bring rain.

When the rains arrived, children were made to collect water in leaves and hang them from rooftops. Some threw burning coals into the downpour to test its strength. These acts were believed to protect their homes during monsoons.

Stories of Gowala Deva's power and how he protected the often-ignored Kunbis are still passed down across generations. He is worshipped today as a gramdevta. These stories highlight how the community stayed united through hardship.

The family now known as the Sahastrabuddhes was originally called Ganpule. They served as warriors and advisors to the Peshwas, who, in recognition of their service, gifted them land in Kotawade. However, another family also laid claim to the same land, leading to a dispute.

To resolve the conflict, both families agreed to a test: one representative from each side would sit in a pit, and the one who endured longer would be granted the land. The Ganpule family, using foresight and planning, secretly stocked their pit with supplies. Thanks to this clever strategy, they lasted longer and won the land.

Impressed by their intelligence and tactical thinking, the Peshwas conferred upon them the title Sahastrabuddhi, meaning “one with a thousand intellects.” Over time, this title became their family name.

In Ratnagiri, stories of bhoots are a common part of local folklore. One of the most prominent figures in these tales is Vetal, known as the king of spirits. He is believed to enter the body of an exorcist to help drive away evil spirits.

At the Vetal Mandir in Ajgaon (Vengurla taluka), bhakts offer a new pair of chappals to Vetal every month. A few days later, these are found worn out, leading locals to believe that Vetal walks through the village at night, protecting it from harm.

One well-known story tells of a boy named Keshav, who was drawn to the Mandir by the persistent barking of a dog. There, he encountered the glowing murti of Vetal. The devta spoke to him, offering guidance, protection, and wisdom. Keshav went on to use this knowledge for the betterment of his community. Even today, villagers visit the Mandir seeking Vetal’s blessings and counsel.

In the early 1700s, as European powers like the English East India Company sought control over Konkan's trade routes, one Maratha naval commander resisted - Kanhoji Angre. Appointed "Sarkhel" (admiral) by Rani Tarabai, he was given charge of Maratha outposts along the coast. With a fleet built by Koli fisherfolk, Kanhoji defended the region fiercely. Though the British branded him a pirate, locals hailed him as a hero. He disrupted colonial trade, introduced an alternative permit system, and safeguarded indigenous autonomy. Thus, he came to be known as Samudracha Raja, meaning the King of the Sea.

After the British annexed Burma, the last king of the Konbaung dynasty, Thibaw Min, was exiled to Ratnagiri along with his family. The British confined them to a large wada at the edge of the town. Forbidden from leaving Ratnagiri, Thibaw Raje, his queen Supayalat, and their four daughters lived in quiet seclusion.

His daughter Phaya devoted herself to caring for her father. She supported him as he wrote, helping him find comfort in words during a time of loss and cultural displacement. Though far from home, the family slowly built a life in exile. Thibaw passed away in 1916, and his family eventually returned to Burma.

The wada where they lived still stands in Ratnagiri City. Known today as Thibaw Palace, it was constructed in 1910 as the king’s official residence. For a brief period, it also housed the Ratnagiri Sub-Center of Mumbai University. Today, it serves as a museum that displays personal items, furniture, and photographs from the Burmese royal family’s time in exile.

At the back of the palace sits a Buddha statue brought by Thibaw himself, a measure of his enduring connection to his homeland. A short distance away lies his burial site, the final resting place of Burma’s last king, tucked away in the quiet hills of Ratnagiri.

In his autobiographical book Shyam Chi Aai, Sane Guruji shares stories of his childhood in rural Konkan. One story recounts how young Shyam stumbled upon a mysterious hut filled with old items. There, he met an elderly woman who introduced herself as his mother. Though initially shocked, Shyam eventually recognized her. They spent the day sharing memories and dreams, and Shyam felt a sense of belonging he had not known in years.

Ratnagiri’s laterite hills hold ancient petroglyphs (geoglyphs carved by early humans). First discovered by a mendhpal (shepherd), these carvings drew attention from archaeologists. They show animals, humans, and geometric patterns, revealing the creativity of early settlers.

One petroglyph features a massive hatthi (elephant), while another shows a human figure with a tejomandal (halo). These engravings, thousands of years old, reflect a deep relationship between humans and nature. One depression in the rock is believed to have been made by Sita during her abduction.

These carvings are silent storytellers, etched into the rock by forgotten hands, narrating the legacy of Ratnagiri’s first inhabitants.