A Huvadhoo poem tells the story of Maakunbe

ކާހިތުން، ބޯހިތުން، މަދިޔެ ބަލާހިތުން

އެކެދޮފާ އެކެދޮފާ ރަޓަކު ހުއްޓިޔާޔޯ މީހެކެ.މީހެންނާއި ވެފައި ވަރިކެރަމުން އެޔަނެ މީހެކެ.ދާރު ލެބުނެމައި ވެނެމީހެ ވަރިކެރަނެ މީހެކެ.ދެން އެހެން ރަޓެކަން ގޮހޮ މީހަކުނާއި ވެނެ މީހެކެ.
އެލިކާން މިދެ މީހެންނާއި ވީ ތެއްޔަހި ރަޓަކުން.ވީ ކޮންމި މީހެކެ ކޫދު ވެހޫ ރާތެލެގަލެބައްރެން.މިޔާގެ ދާރު ނެން ރަޓެކެ އަތޮޅޭ ނެން.މިޔާ މުސްކުޅިވީ ވޭލޭ ބޮޑެނުވެ ދައްރެކެ ނެން.
ގަހުގަތެ ބުރަން ދާރު ބޮޑޭގެ.އެވޭލޭ މިޔާ ހޮއްޑޮއްޑޯ ވެގެ.މިޔާ ބުރިކަންޓާ ގުދޭގެ.އަތެފައު ބާރެ ކުދޭގެ.
އެޔާން ކެޔަންނޫ މާކުންބެއްޔާ!އެޔާއްކޫ ރަޓުހުއްޓީ މުސްކުޅި ބެއްޔާ!
ވަރެކެ ނެންމައި މަސައްކަދެ ކެރަންނޭ.މީހަކުނާސް ނެންމައި އަޅައިލަންނޭ.އެޔާ ހިތަންއެރީ ދާރު ގާތަން އެޔަންނަން.ދާރު ގާތު ހުޓެ ކައިބޮއި ވޮންނާން.
ދެން ބޮއްކޮރާކަން އަރައި އޮވައި ފަޅުން ބޭރޭގެ.އާ ކޮޅިގަޑަކު އެޔާ ބެހީގެން އެބައްގެ.އޮޔާއި ވަޔާއި ތަޅަމުން ގޮހޮ އެޔާ ރަޓަކު ޖެހީގެ.އެރީގެން ގޮހޮ އެޔާގެ ދައްރަކުނައްގޭ ފޮޑަހާން ވެދެގެ.ބަޑެހާހުގެން ވޮންނާ މީހަކުން ލިކާން ދާނިޔާ ގުޑުވޫ.އެޔާގެ ދިޔެ އެހީ: “ތީބޫ ކޭރާންއާ ކެޔަ؟”
އެދެ ބޮނީ: “ކާހިތުން ބޯހިތުން މަދިޔެ ބަލާހިތުން.”ދިޔެ ބޮނީ: “މިގޭ ތެއިހައި އެއްތެކެ ބައްޕާން ދީފިން.”
ދެން އެދެ ގޭތެއި ހަންދަރަކު އެއްތެތި ކައިފި.ވަޑު ތުބާ ޖަހައި ދެގުއްލަ ބޮއިފި.ދެންތެއި އެއްތެކެ އައްބޮންޑާން ލައިފި.ދިޔެ އެޔާން ހިތެހަލާލެ ދީފި.
ދެން އެދެ އެބައްގެ ދިހަރެޔަން.އެހެން ރަޓެކަން ހުރަންނަން.އެހެން ދިޔެކެ ގާތަށް އެޔަންނަން.އެދިޔައްގޭ ތެއިހައި އެއްތެއް ކަންނަން.
ވަލާ މުހައި ބޮއްކޮރެޔާން އަރައި ވޮއްޓިޔަތެ.އޮޔާއި ވަޔާއި ރަޅެ އެޔާ ހިފައިގެން ބައެޔަތެ.އެލިކާން ގޮހޮ އެބޮއްކޮރެޔާ ތިރިފަޓަކު ބީހީގެ.އެރީގެން ގޮހޮ އެޔާގެ ދައްރަކުނައްގޭ ފޮޑަހާން ވެދެގެ.ބަޑެހާހުގެން ވޮންނާ މީހަކުން ލިކާން ދާނިޔާ ގުޑުވޫ.އެޔާގެ ދިޔެ އެހީ: “ތީބޫ ކޭރާންއާ ކެޔަ؟”
އެދެ ބޮނީ: “ކާހިތުން ބޯހިތުން މަދިޔެ ބަލާހިތުން.”ދިޔެ ބޮނީ: “މިގޭ ތެއިހައި އެއްތެކެ ބައްޕާން ދީފިން.”
ދެން އެދެ ގޭތެއި ހަންދަރަކު އެއްތެތި ކައިފި.ވަޑު ތުބާ ޖަހައި ދެގުއްލަ ބޮއިފި.ދެންތެއި އެއްތެކެ އައްބޮންޑާން ލައިފި.ދިޔެ އެޔާން ހިތެހަލާލެ ދީފި.
ދެން އެދެ އެބައްގެ ދިހަރެޔަން.އެހެން ރަޓެކަން ހުރަންނަން.އެހެން ދިޔެކެ ގާތަށް އެޔަންނަން.އެދިޔައްގޭ ތެއިހައި އެއްތެއް ކަންނަން.
މިލިކާން އެދެ ގެޔައި ހަތެ ރަޓަން.ހަތެ ކޫދު ގާތުން ކަންނަން.ހަތެ ވަޑު ފެނެ ބޮންނަން.ހައްތަވައުން ލޮންޏާން.
ހަތެ ރަޓެ ހުއްދަކޮޅަވޭލޭ އެޔާ ބަޑާ ބޮޑޭގެ.ލޮޅޭއިނެ މާކުނައްޓައި އެޔާއްކަންތެތި ބޮޑޭގެ.
ދެން އެޔާ އެރޫ ބޮއްކޮރެޔާން.ރަޓަން ގޮހޮފައި އެނެއްކެލާއި އެންނަން.
ކަޑަން ނިކިތެވޭލޭ މޫސުމެ ނުބައިވެގެ.ޖެހުނެ ކޮޅިގަޑޭ އެޔާއި ބޮއްކޮރެޔާއި ބެހީގެ.ހަތެރެއި ހަތެދެވާލެ ވީ ވޭލޭ އެޔާ ގާކު ވަރެކެ ނެން.ކަންނޭ ބޮންނޭ އެއްތެކެ ބޮއްކޮރާކު ނެން.
ދެން އާއު މާވަރެގަދެ ކޮޅިގަޑެކެ.އެޔާން ނުއެގުނެ ރައްކަލެވެންނޭ ލިހެކެ.އެއްކަލެކާއި ބޮއްކޮރެޔާ ބަންޑުހުން ޖެހީގެ.މަނިކާރޯއްދާ، އެޔާ ބަޑާ ފަޑައިގެން އެބައްގެ!އެޔާ ބަޑުން ވެރުނެއްތެން ކަޑާ ހިކީ ދެރަޓެ ހެދީގެ.އޭބޫ ހުރަންދުވާއި މާރަންދުވާ!!!
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ތަރުޖަމާއެއް
އެއްރަށެއްގައި މީހަކު އުޅުނޯލަ އެވެ.އެއީ މީހުނާ އިނދެ ވަރިކުރަމުން ދިޔަ މީހެކެވެ.ދަރިން ލިބުނީމާ މީނާ އަންހެނުން ވަރިކުރެ އެވެ.ދެން އެހެން ރަށަކަށް ގޮސް މީހަކާ އިނދެ އެވެ.
އެގޮތަށް މީނާ ހުރިހައި ރަށަކުން މީހުނާ އިނެވެ.މީނާ އިން ކޮންމެ މީހަކު ރާތާގާބަރިހެން ދަރިން ވިހެ އެވެ.މީނާގެ ދަރިން ނެތް ރަށެއް އަތޮޅުގައި ނެތެވެ.މީނާ މުސްކުޅިވިއިރު ބޮޑު ނުވާ ކުއްޖަކު ނެތެވެ.
އެކުދިން ބޮޑެތިވީ ގަހުގަތްބުރަށެވެ.އޭރު މީނާވަނީ ހަންޓޯޓޯވެފަ އެވެ.މީނާގެ ބުރިކަށިވަނީ ގުދުވެފަ އެވެ.އަތްފައިގެ ބާރުވަނީ ދަށްވެފަ އެވެ.
އޭނާއަށް ކިޔަނީ މާކުންބެ އެވެ.އޭނާއަކީ ރަށުގައި ހުރި އެންމެ މުސްކުޅި ބެ އެވެ.
މަސައްކަތެއް ކުރާނެ ވަރެއް އޭނާގެ ގަޔަކު ނެތެވެ.އަދި އޭނާއާ އަޅާލާނެ މީހަކު ވެސް ނެތެވެ.ދެން ދާންވީ ދަރިންގެ ގާތަށޭ އޭނާގެ ހިތަށް އެރި އެވެ.ދަރިންގެ ގާތުގައި ހުރެ، ކައިބޮއި އުޅުމަށެވެ.
ދެން ބޮއްކުރާގަނޑަކަށް އަރައި އޮއްވާ އޭތި ފަޅުތެރޭން ބޭރުވެއްޖެ އެވެ.އައި ކޮޅިގަނޑެއްގައި ޖެހި އެ ބޮއްކުރާގަނޑު ބެހިގެން ހިނގައްޖެ އެވެ.އޮޔާއި ވަޔާ ތަޅަމުން ގޮސް އެ ބޮއްކުރާގަނޑު ރަށެއްގައި ޖެހުނެވެ.ދެން މާކުންބެ ބޮއްކުރާގަނޑުން ފައިބައިގެން ގޮސް އޭނާގެ ދަރިއެއްގެ ގޭ ގިފިއްޔަށް ވަނެވެ.ބަނޑުހައިހޫނުކަމުގައި ޖެހިފައިވާ މީހަކު ފަދައިން، ވަޅުގައި އޮތް ދާނި ތަޅުވާލި އެވެ.އޭނާގެ ދަރިފުޅު އެހި އެވެ. “ތިޔައީ ކީއްކުރަން އައި ކާކުހެއްޔެވެ؟”
އޭނާ ބުންޏެވެ. “މިއައީ ކާހިތުން، ބޯހިތުން، އަދި މަގޭ ދޮންކަނބުލޮ ދެކިލާހިތުންނެވެ.”ދަރިފުޅު ބުންޏެވެ. “މިގޭގައި ވާހައި އެއްޗެއް ބައްޕައަށް ދީފީމެވެ.”
ދެން އޭނާ އެ ގޭގައިވާ ކާނާއިން ހަންދަރެއް ކާލި އެވެ.އަދި ވަޅުގައި ތުން ޖަހައި ދެގުއްލަ ފެން ބޯލި އެވެ.ދެން ހުރި އެއްޗެއް އަންބޮނޑިއަށް އެޅި އެވެ.
(މިމަގަށް އޭނާ ކަންތައް ކުރީމާ ވެސް) ދަރިފުޅު އޭނާއަށް ހިތްހަލާލު ދިނެވެ.
ދެން އޭނާ އަތިރިމައްޗަށް ދިޔަ އެވެ.އެހެން ރަށަކަށް ދާން ފުރަންވެގެންނެވެ.އެހެން އަންހެން ދަރިއެއްގެ ގާތަށް ދިއުމަށްޓަކަ އެވެ.އެ ދަރިފުޅުގެ ގޭގައިވާ ހުރިހައި އެއްޗެއް ކެއުމަށްޓަކަ އެވެ.
ވާ މޮހައި ބޮއްކުރާގަނޑަށް އަރައި އޮށޯތެވެ.ދެން އޮޔާއި ވަޔާއި ރާޅުތައް އެ ބޮއްކުރާގަނޑު ހިފައިގެން ދިޔަ އެވެ.އެދިޔަ ގޮތަށް ގޮސް އެ ބޮއްކުރާގަނޑު ރަށެއްގެ ގޮނޑުދޮށުގައި ބީހުނެވެ.ދެން މާކުންބެ ފައިބައިގެން ގޮސް އޭނާގެ ދަރިއެއްގެ ގޭ ގިފިއްޔަށް ވަނެވެ.އަދި ބަނޑުހައިހޫނުކަމުގައި ޖެހިފައިވާ މީހަކު ފަދައިން، ވަޅުގައި އޮތް ދާނި ތަޅުވާލި އެވެ.އޭނާގެ ދަރިފުޅު އެހި އެވެ. “ތިޔައީ ކީއްކުރަން އައި ކާކުހެއްޔެވެ؟”
އޭނާ ބުންޏެވެ. “މިއައީ ކާހިތުން، ބޯހިތުން، އަދި މަގޭ ދޮންކަނބުލޮ ދެކިލާހިތުންނެވެ.”ދަރިފުޅު ބުންޏެވެ. “މިގޭގައި ވާހައި އެއްޗެއް ބައްޕައަށް ދީފީމެވެ.”
ދެން އޭނާ އެ ގޭގައިވާ ކާނާއިން ހަންދަރެއް ކާލި އެވެ.އަދި ވަޅުގައި ތުން ޖަހައި ދެގުއްލަ ފެން ބޯލި އެވެ.ދެން ހުރި އެއްޗެއް އަންބޮނޑިއަށް އެޅި އެވެ.
(މިމަގަށް އޭނާ ކަންތައް ކުރީމާ ވެސް) ދަރިފުޅު އޭނާއަށް ހިތްހަލާލު ދިނެވެ.
ދެން އޭނާ އަތިރިމައްޗަށް ދިޔަ އެވެ.އެހެން ރަށަކަށް ދާން ފުރަންވެގެންނެވެ.އެހެން އަންހެން ދަރިއެއްގެ ގާތަށް ދިއުމަށްޓަކަ އެވެ.އެ ދަރިފުޅުގެ ގޭގައިވާ ހުރިހައި އެއްޗެއް ކެއުމަށްޓަކަ އެވެ.
މި ބީދައިން މާކުންބެ ހަތް ރަށަށް ދިޔަ އެވެ.ހަތް ދަރިންގެ ގާތުން ކެއުމަށްޓަކަ އެވެ.ހަތް ތަވައިން ކެއުމަށްޓަކަ އެވެ.ހަތްވަޅުން ފެން ބުއިމަށްޓަކަ އެވެ.
ހަތް ރަށަށް ގޮސް އަވަދިވިއިރު އޭނާގެ ބަނޑު ވަނީ ބޮޑުވެފަ އެވެ.މާބަނޑު އަންހެނަކަށްވުރެ އޭނާގެ ކަންތައްވަނީ ބޮޑުވެފަ އެވެ.
ދެން އޭނާ ގޮސް ބޮއްކުރާގަނޑަށް އެރި އެވެ.ރަށަށް ގޮސްފައި އަނެއްކާވެސް އެނބުރި އައުމުގެ ނިޔަތުގަ އެވެ.
ކަނޑަށް ނުކުތްއިރު މޫސުމްވަނީ ގޯސްވެފަ އެވެ.ކޮޅިގަނޑެއްގައި ޖެހި މާކުންބެ އާއި ބޮއްކުރާގަނޑު ބެހިއްޖެ އެވެ.ކަނޑުމަތީގައި ހަތްރޭ ހަތްދުވާ ވީއިރު އޭނާގެ ގަޔަކު ވަރެއް ނެތެވެ.ކާނެ އެއްޗެއް ބޯނެ އެއްޗެއް ބޮއްކުރާގަނޑަކު ނެތެވެ.
ދެން އައީ މާވަރުގަދަ ކޮޅިގަނޑެކެވެ.އެ ކޮޅިގަނޑުން ސަލާމަތްވާނެ ގޮތެއް މާކުންބެއަކަށް ނޭނގުނެވެ.އެސާހިތަކު ބޮއްކުރާގަނޑު ބަންޑުންވެއްޖެ އެވެ.މާކުންބެގެ ބަނޑު ފަޅައިގެން ހިނގައްޖެ އެވެ.އޭނާގެ ބަނޑުން ފޭބި އެއްޗެހިން ކަނޑު ހިކި ދެރަށް އުފެދުނެވެ.އެއީ ހުރެންދުއާއި މާރެންދޫ އެވެ.

No tea treats allowed

It has come to the notice of the President's office that new employees of government offices are being asked to give tea treats to  senior employees. The President's Office requests all civil servants not to ask new employees for such treats henceforth. (25 June 1972)

Maldives Handicraft exhibition (Nov. 2012)

http://www.haveeru.com.mv/dhivehi/pictures/4578

Island life

Maldivian women in Dhivehi Libaas. Young girls were allowed to wear the libaas after a coming-of-age ritual ceremony.

Velidhoo school children

King Makarel, which can have a length up to 6 ft and a weight up to 60 lbs, is getting gutted by a Maldivian fisherman. For Maldivian people it is a preferred dining-fish.

The Status of Medicinal and Aromatic Plants in South Asia: Maldives

3.5‭ ‬Maldives

The Maldives consist of 1,190‭ ‬islands covering a total area of 90,000‭ ‬square kilometers of the Indian Ocean and a population of about 0.3‭ ‬million‭. ‬Only 202‭ ‬of the islands are inhabited and there are no problems of space apart from severe overcrowding in the capital Male‭. ‬The economy of the country depends largely on tourism with agriculture playing a minor role because of limited availability of cultivable land‭. ‬There is no distinct forest type on the islands and only about 3%‭ ‬of the Maldives is covered by forest and woodland‭. ‬People use wood and tree products‭ (‬predominantly coconut‭) ‬as raw material for boat and house building‭, ‬fuel‭, ‬food and medicine‭. ‬The Maldives government recently stressed the importance of forest cover and is encouraging tree plantation on the islands‭.

Traditional Medicine Systems

Traditional medicine in the country is known as Dhivehi Beys and has been practised for generations‭. ‬The medicine treatise written by Sheikh Hussain of Seenu Atoll forms the foundation of today’s traditional medicine system of the Maldives which has been influenced by Arab‭, ‬Chinese‭, ‬Indian‭, ‬Malaysian‭, ‬Persian and Sri Lankan traditional medicine systems‭. ‬Practitioners of traditional medicine in the Maldives are known as hakeems and are well respected by the village communities‭. ‬Some of these hakeems are also well versed in Unani medicine combining ancient remedies with new drugs for disease treatment (‬Anonymous‭, ‬2003‭). ‬The Maldives do not regulate herbal medicines‭. ‬They are classified as over the counter medicines for self medication only‭. ‬No claims may be made by law‭.

No national pharmacopoeia or national monographs on herbal medicines exist and none are being developed‭. ‬There are no regulatory requirements for manufacturing and herbal medicines are sold as over the counter medicines‭ (‬WHO‭, ‬2005‭).

People depended more on traditional medicine for their health care prior to the introduction of western medicine in the 1950s‭. ‬Rural people still rely on traditional 

(page156)

‬medicine largely because of the lack of modern health care facilities‭. ‬There is still a good community acceptance of the Divehi Beys in the Maldives‭ (‬Anonymous‭, ‬2003‭).

Government Efforts in Development of Traditional Medicine

Allopathic medicine has been promoted and encouraged by the Maldives government ever since its introduction to the country‭. ‬As a result the country is among the top medical drug users‭. ‬There has been little government support for traditional medicine in the past and in some cases government regulations are counter productive to the conservation of plants used in traditional medicine treatments‭. ‬In the Maldives‭, ‬a national policy was issued in 1999‭. ‬National laws and regulations for traditional medicines are in the process of development‭. ‬The national programme was issued in 1980‭. ‬The national office for traditional medicines was established within the Ministry of Health‭ (‬WHO‭, ‬2005‭).

In recent years there has been an attempt to integrate traditional and modern medicine‭. ‬The government in its‭ ‬‘Health for All’‭ ‬programme with the WHO has appointed an advisor on traditional medicine at the Institute of Health Sciences‭. ‬The‭ ‬‘Health Master Plan 1996-2005’‭ ‬has been implemented and is working to re-establish traditional medicine in the country‭. ‬The plan emphasizes supervision and guidance in the effective production and use of traditional medicine accepted by the community while increasing the acceptability of ingredients needed for traditional treatments‭ (‬Anonymous‭, ‬2003‭).

The Fifth National Development Plan emphasizes the need to maintain the role and utility of traditional medicine in strengthening national capacity in traditional medicine‭; standardization of traditional medicine practices‭; ‬fostering community acceptance‭;and maintaining accessibility to ingredients needed for traditional treatments‭ (‬Anonymous‭,2003‭).

The country has no school or university of traditional medicine‭. ‬In 1973‭, ‬the Allied Health Services Centre was established in the Maldives and was upgraded to the Institute of Health Sciences in 1992‭. ‬The Institute works to preserve and promote traditional medical treatments‭. ‬In the past the Institute conducted a traditional medicine course for training personnel in the use of herbs for preparation of medicines‭ (‬Anonymous‭, ‬2003‭).

Medicinal and Aromatic Plant Resources

The Maldives have 500‭ ‬species of higher plants of which 70‭ ‬are considered endemic and more than 300‭ ‬are used in traditional medicine practices‭ (‬Anonymous‭, ‬2003‭). ‬The Maldives have a well organized policy on conservation of timber plants but there is no proper form of conservation regarding medicinal plants and herbs because the latter are considered as weeds and so do not require much attention despite their uses in traditional medicine‭. ‬Some rare and important medicinal plants are still grown in home gardens‭.

(page 157)

Plants such as‭ ‬Abutilon indicum‭ ‬‭(‬L‭.) ‬Sweet‭ (‬Maabula‭), ‬Aerva lanata‭ ‬‭(‬L‭.) ‬Juss‭. ‬ex Schult‭. (‬Hudhuhuiyppilaa‭), ‬Boerhaavia diffusa‭ ‬Linn‭. (‬Brandha gondi‭,) ‬and‭ ‬Pedilanthus spp‭. ‬are important endemic medicinal plants found in the country‭, ‬most of which are collected directly from the forests‭. ‬However‭, ‬the impact of the modern economy and rapidpopulation growth in recent decades have reduced the natural resources and availability of the plant species on which Divehi Beys depends‭, ‬resulting in decreasing reliance of people on traditional practices‭ (‬Anonymous‭, ‬2003‭). ‬Various kinds of spices are grown and used in food and medicines in the Maldives‭.

Research and Development Activities

No detailed documentation of the local flora has ever been attempted locally or internationally‭. ‬Very basic data on crops cultivated in the country have been recorded with the help of FAO but there is no data or specimen collection for medicinal and aromatic plants‭ (‬Anonymous‭, ‬1995‭). ‬Most of the available documentation is in the national language‭, ‬Divehi but it is not widely available for reference and use‭.

The United Nations Development Agency submitted a project entitled‭ ‬Conservation of medicinal species and traditional knowledge in Addu Atoll‭, ‬the Maldives‭ ‬in 2000‭ ‬which was endorsed in 2001‭. ‬The Agency is working with the Environment Section of the Ministry of Home Affairs‭, ‬Housing and Environment‭, ‬national NGOs and local communities to conserve both the resources upon which traditional remedies are based and the knowledge base regarding their preparation and use‭. ‬There is lack of knowledge regarding the status and medicinal uses of most of the species which hampers the conservation of these species‭. ‬The project aims to fill the gaps in current knowledge and to establish a scientifically valid inventory and monitoring system for medicinal plant resources of the country (‬Anonymous‭, ‬2003‭). ‬The project is working for the documentation of the use of traditional medicines and their resources‭, ‬the enhancement and understanding of traditional medicine to highlight the benefits of adopting the traditional medicine system‭, ‬enterprise development and commercialization of products based on them through partnerships with various drug companies‭. ‬The project also aims to make appropriate changes at the government policy level to promote the understanding and use of traditional medicine‭, ‬provide support to traditional healers and incorporate these medicines and healers as an important component of the health plan‭. ‬The Maldives have also sought help from India recently for the identification‭, ‬development and protection of its herbal and medicinal plants‭.

Trade and Marketing

At present there is no regulation of imported medicine‭. ‬Ninety percent of drugs is imported and distributed by the private sector‭. ‬The Ministry of Health regularly updates 158‭ ‬the essential drugs list and only drugs on this list can be imported‭. ‬The high prices of traditional medicines charged by industry and the practitioners make them unaffordable to the communities in the Maldives‭.

The production of spices in the Maldives in the period 1998-2000‭ ‬was only six metric tonnes‭. ‬According to the International Trade Centre database the Maldives import values under the category HS 121190‭ (‬plants and parts of the plants including seeds and fruits used primarily in perfumery‭, ‬pharmacy or for insecticides etc‭. ‬in the fresh or dried forms‭) ‬for 1997-2001‭ ‬were US$38‭, ‬39‭, ‬56‭, ‬64‭ ‬and 48‭ ‬respectively‭.

Problems and Constraints

A number of factors including loss of natural habitat due to land utilization for housing‭, ‬agriculture and resorts‭, ‬loss of traditional knowledge due to the unwillingness of the older generations to share their knowledge and lack of interest among younger generations‭, lack of training institutions‭, ‬unsustainable use of resources and the lack of appropriate policy support from the government are responsible for the absence of development of traditional medicine and medicinal and aromatic plant resources in the country‭.

from

 Compendium of Medicinal and Aromatic Plants- Asia (vol. II) 2006

Compendium of

Medicinal and Aromatic Plants

ASIA

Sukhdev Swami Handa

Dev Dutt Rakesh

Karan Vasisht

ICS-UNIDO is supported by the Italian Ministry of Foreign Affairs

‮)‬‭ ‬United Nations Industrial Development Organization and the International Centre

for Science and High Technology‭, ‬2006

Earth‭, ‬Environmental and Marine Sciences and Technologies

ICS-UNIDO‭, ‬AREA Science Park

Padriciano 99‭, ‬34012‭ ‬Trieste‭, ‬Italy

Tel‭.: +‬39-040-9228108‭ ‬Fax‭: +‬39-040-9228136

E-mail‭: ‬elisa.roa@ics.trieste.it

References:

Ahmad, I., Mehmood, Z. and Mohammad, F., 1998, Screening of some Indian medicinal plants for their antimicrobial properties, Journal of Ethnopharmacology, 62: 183-193

Anonymous, 1995, Maldives: Country report to the FAO International Conference on Plant Genetic Resources

(Leipzig, 1996), Ministry of Fisheries and Agriculture, Male, p. 18

Anonymous‭, ‬2003‭, ‬People of Maldives‭: ‬Traditional medicine‭. ‬Available at‭: www.hellomaldives.com/maldives‭/‬people/contents.htm‭ (‬30‭ ‬Jun‭. ‬2003‭)‬

Anonymous‭, ‬2003‭, ‬Healthcare system in the Maldives‭. ‬Available at‭: ‬http‭://‬www.maldivesmedicalcouncil.gov‭.‬

mv/healthservice.htm‭ (‬30‭ ‬Jun‭. ‬2003‭)‬

Anonymous‭, ‬2003‭, ‬UNDP Maldives‭. ‬Available at‭: ‬www.mv.undp.org/projects/environment/gef_mpp.htm‭ (‬30Jun‭. ‬2003‭)‬

Anonymous‭, ‬2003‭, ‬Maldives health‭. ‬Available at‭: ‬www.themaldives.com/Maldives/Maldives_health.htm‭ (‬30

Jun‭. ‬2003‭)‬

Anonymous‭, ‬2003‭, ‬MCST‭: ‬Clearing house-health status of the population‭. ‬Available at‭: ‬www.mcst.gov.mv‭/‬

Clearing_House/healthoverall.htm‭ (‬30‭ ‬Jun‭. ‬2003‭)‬

Anonymous‭, ‬2003‭, ‬UNDP Maldives‭: ‬Conservation of medicinal species and traditional knowledge in Addu Atoll‭.
‬Available at‭: ‬http‭://‬www.mv.undp.org/projects/environment/gef_mpp1‭.‬htm‭ (‬30‭ ‬Jun‭. ‬2003‭)‬

Sailing to Sri Lanka

އޮޅުދޫ ދަތުރު

އޭޕްރީލް 2008 (ހުކުރު)

ފާރޫގު އަޙުމަދު / ސަމާ

ދިވެހިރާއްޖޭގެ އެންމެ ދެކުނުގެ ހަތަރު އަތޮޅުގެ މީހުން ރިޔާނެގި އޮޑިފަހަރުގައި ދަތުރުކުރި ދުވަސްވަރު ފުވައްމުލަކު މީހުންވެސް އަހަރަކު އެއްފަރު އޮޅުދޫ ކަރަޔަށް ދަތުރު ކުރެއެވެ. އޭރު މިދަތުރު ކުރަނީ ސަރުކާރުގެ ހުއްދަ އޮވެގެންނެއެވެ. މިދަތުރު ކުރުމައްޓަކައި އޮޑިފަހަރު ބޭލުމަށްފަހު އޮޑީގެ ކުނބުނަގައި އޮޑިޔަށް ދަރުފެންލައި ނިމުމުން ދެންއޮންނަނީ އޮޑިއަށް މުދާލާ ބަރުކުރުމެވެ. މުދަލުގެ ތެރޭގައި، ހިކިކަނޑުމަސް، ކާށި، ކުފުރާ،މިޔަރު އުރަހަ، ރިހާކުރު، އަދި ބޮނޑި އައުރުސް ހުރެއެވެ. އަދި މީގެ އިތުރުން އޮޑިމަތީ ކެއުމައްޓަކައި ތައްޔާރުކޮށްފައިވާ ހިކި ކާނާވެސް ހުރެއެވެ.

 

       ކޮންމެ އޮޑިއަކުން އޮޅުދޫ ދަތުރު ދަނީ ގިނަވެގެން ސާޅީސް މީހުންނެވެ. އެމީހުންގެ ތެރޭގައި ނެވިމީހާއާއި، ދެމާލިމީންނާއި، ކެޕްޓަނާ އަދި މުދިމަކު ހުރެއެވެ. ފަޅުވެރިންގެ ދިހަ މީހުންވެސް ހިމެނެނީ މިސާޅީސް މީހުންގެ ތެރޭގައެވެ. މިއެންމެންވެސް ދަތުރުދަނީ އެމީހަކު ގެންދާ މުދަލެއްގެ 10/1 ބައި އޮޑިވެރިންނަށް ދީގެންނެވެ. އެހެންނަމަވެސް ކޮންމެ މީހަކުވެސް ކަނީ އަމިއްލަ ކޮއްތެއެވެ. އޮޑިއެއްގައި ހަތަރު ބިސީއޮންނާނެއެވެ. އެއިން ކޮންމެ ބިސީއަކީ ކައްކާކެއުން ވަކިން އޮންނަބިސީއެކެވެ. އެކަމަކު ހެދުނު ނާސްތާ އޮންނަނީ ތިން މީހުން ނުވަތަ ހަތަރު މީހުން އެއްކޮށެވެ.

 

       އޮޅުދޫ ދަތުރު ރަށުން އޮޑި ފުރާ ދުވަހު އެންމެ ފުރަތަމަ އޮންނަ ކަމަކީ ނަކަތުން ފުރުމެއެވެ. ނަކަތުން ފުރުމަކީ އޮޑިބޯސާމަތީގައި ބާއްވާފައި، އޮޑީގައި ރިޔަލެއް ނަގަނީއެވެ. ރިޔާނެގުމާއެކު އެރިޔާ ބޭލުމުން ނަކަތުން ފުރުނީއެވެ. ނަކަތުން ފުރާއިރު ދަތުރުދާ މީހުންގެ ތެރެއިން ކެޕްޓަނާއި، މާލިމީން ފިޔަވައި އެހެން އެންމެންހެން ތިބޭނީ ފުރުމަށްޓަކައި، އޮޑިއަށް އަރާފައެވެ. އޮޑިފުރާދުވަހު އޮޑިން ދަތުރުދާ މީހުންގެ އަންހެނުންނާ، ގާތްތިމާގެ މީހުން އޮޑި ފުރުވުމަށް ނަލަހެދިގެން އަތިރިމައްޗަށްދާއިރު ބިލެތް ގޮށި ގެންގޮސް ފުރާމީހުންނަށް ހަދިޔާ ކުރާނެއެވެ.

 

       ފުވައްމުލަކު ރަށޮވެށިގައިވަނީ " ދުވަހަކު ދެން އޮޑިފުރާ ބިލެތްގޮށީ މަތިއާޅަ، ގޮސްތިބެ ފޮނުވައި އެތާ، ދާއިރު ފަހު ބޮއްކުރާ، މިގޮތަށެވެ. ދަތުރުދާ އެންމެން އޮޑިއަށް އަރާ ނިމުމުން އެންމެފަހު ބޮއްކުރާގައި އޮޑިއަށް ދަނީ ކެޕްޓަނާ، މާލިމީންނެވެ. އެމީހުން އޮޑިއަށް އަރާއިރު އޮންނަނީ އޮޑީގެ ވާނަގާ ފުރަން ތައްޔާރުކޮށްފައެވެ. އެމީހުން އޮޑިއަށް އެރުމާއެކު އޮޑި ފުރާނެއެވެ. އޮޑީގެ ހިޔާތައްނަގާފައި ހުޅަނގުން ޖެހޭނަލަވައިގައި އޮޅުދޫ ކަރަޔަށް މިސްރާބު ޖަހާފައި ބާރަށް ދުވަމުންގޮސް އައްޔޫގު އިރާނަށް އޮޑި އޮބާލުމުންނޫނީ ބައެއް އަންހެނުންނާއި ކުދިން ގެއަށް ނުދާނެއެވެ. އެމީހުން ގެއަށް އަންނާނީ ރޮމުން ކަރުނަ އަޅަމުންނެވެ. މިހެނީ މިދަތުރަކީ ފަސްމަސް ދުވަހުގެ ދަތުރަކަށް ވާތީ ވަކިވުމުގެ މުއްދަތަކީ ދިގުމުއްދަތަކަށް ވާތީ ހިތްދަތިވެ ރޮވެނީއެވެ.

 

       ކޮންމެ އަކަސް ގަޑިއަކު ހަތަރު މޭލު ދުވަމުން ދާނަމަ ތިން ދުވަސް ހަމަކޮށް ހަތަރުވަނަރޭ ސިލޯނުގެ ބައްތިތައް ފެނެއެވެ. އެއީ ކޮޅުބު، ނުވަތަ ގާލީ ނުވަތަ ބޭރުވެލީ ބައްތިއެވެ. މިއިން ކޮންމެ ބައްތިއަކީ ވަކި ރަމްޒެއްގެ ގޮތުގައި ނިވިދިއްލޭ ބައްތިއެކެވެ. ބައްތިފެންނަރޭގެ ފަހުދުވަހު ގަސްކަރަ ފެނެއެވެ. ކޮޅުބާ ދިމާލަށް އޮޑިއިންނަމަ، ހަމައެދުވަހު ބުރުކުވާޓަރުން ވަދެވޭނެއެވެ. އަދި ކޮޅުބު ބަދަނރުގައި އޮޑީ އަޅާނެއެވެ. އޮޅޫދޫކަރަޔަށް ދެވެންދެން ރެއާއި ދުވާލު އޮޑީގެ ދަތުރު މާލިމީ ވަރަށް ރަގަޅަށް ބަލާމުންދާނެއެވެ. އުޑުމަތި ސާފުކޮށް އޮވެ އިރު ފެންނަ ދުވަހެއްނަމަ މެންދުރު ފިލާ އަޅައި އަދި ރޭގަނޑު ހަނދަށާއި ތަރިއަށް ފިލާ އަޅާނެއެވެ. އަދި ޓަފުނަނުން ގަޑިއަކު އެއްފަހަރު ދަތުރު ބަލައި ހިސާބުކުރަމުން ދާނެއެވެ. ކޮޅުބު ބަނދަރުގައި ވަނީ ގިނައަދަކަށް ބޮއެ އަޅާފައެވެ. މިއިންކޮންމެ ބޮއެއްގައި ހިފގައިގެންވެސް ހިލޭ އޮޑި ބޭއްވޭނީ 10 ދުވަހުއެވެ. 60 ދުވަހަށްވުރެ ގިނަވެ އިތުރު ވާނަމަ ފީއެއް ދޭންޖެހެއެވެ. މިފީއަށް ކިޔަނީ    " ބޮޔާރަންޓް " އެވެ. ކޮޅުބައްގޮސް ބަދަނރު ކުރުމާއެކު ގިނައިރެއްނުވެ ޑޮކްޓަރުންގެ ބަޔަކު އޮޑިއަށް އަރާނެއެވެ. އެމީހުން އަރާ އޮޑީގައި ތިބި މީހުންގެ ޖުމްލަ ބަލާއި ބަލިމީހަކު ހުރިތޯ ބަލައިފައި ފައިބާއިރު އޮޑިވެރި މީހާއަތަށް ލިޔުމެއް ދޭނެއެވެ. އޭގެ ފަހު ދުވަހު އަތްކަޑަން އެންމެންދާއިރު އެލިޔުން ގެންދަން ޖެހެއެވެ. އަތްކަޑައި ނިމުމުން ޕާސްޕޯޓް ހަދާނެއެވެ. ޕާސްޕޯޓް އަތައްލިބުމުން ކޮޅުބަށް ފައިބައި ބޭނުންތަނަކަށްގޮސް މިނިވަންކަމާއެކު އުޅެވޭނެއެވެ. ދެން އޮޑިން ގެންދިޔަ މުދާވިއްކައި އެމުދާތަކަށް ކޮޅުބުން ބޭނުން ތަކެތި ގަނެގެން ސަރުކާރުގެ ޤަވާއިދާއެއްގޮތަށް އޮޑީއަށް ލާނެއެވެ. ކުރިން އޮޑިއަށް އަރުވާނީ ކާނޑުގެ ބާވަތްތަކެވެ. ހުރިހާ މުދަލެއްވެސް އޮޑިއަށްލާނީ ސަރުކާރުގެ ބަނޑުންނެވެ. ދެމަސް ދުވަހުގެ ތެރޭގައި ބޭނުންހުރިހާ އެއްޗެއް ގަނެ ނިމޭއިރު މޫސުމް ބަދަލުވެ އިރުވައިގެ ނަލަވައި އޮންނަނީ ލިބިފައެވެ. މިވައިގައި ކޮޅުބުން ފުރައިގެން ދިވެހިރާއްޖެއަށް މިސްރާބުޖަހާފައި ދުއްވަމުން އައިސް ތިން ހަތަރު ދުވަހުން މާލެއާދެވޭނެއެވެ. މާލެއައިސް ކަރަންޓީނު ފިލަންދެން އޮޑިބާއްވަނީ ގަލު ފަޅުގައެވެ. ގަލުފަޅުގައި ތިބޭ އިރު އޮޑީގެ ކުނބުކުރީގައި ކަރަންޓީނު ދިދަހުރެއެވެ. މިގޮތަށް ތިބެނީ ހަފްތާއެއް ވަންދެނެވެ. ދެންކޮޅުބުން ގެންނަ ބައެއްތަކެތި ގަނެގެން އުފަލާ އަރާމުގައި ތިބެގެން ރަށަށް އަންނަނީއެވެ.

އެދުވަސްވަރު މުވާސަލާތުގެ ކަންތައްތައް ހުންނަގޮތުން އޮޑިފަހަރު މާލެވަނަސް ޚަބަރެއްނުވާތީ އަދި ހަމަރަށުން ފުރުމުން ދެން އެއްވެސް ޚަބަރެއް ނުލިބޭތީ އިރުވައިގެ ވައި ލިބުމުން ރަށުމީހުން ތިބޭނީ ކޮންމެ ދުވަހަކުވެސް އޮޑިއާދޭތޯ ބަލަބަލާ އިންތިޒާރުގައެވެ. މިހެންތިބޭ އިރު އަތިރިމަތީގައްޔާއި  ރަށުތެރޭގައި ހުންނަ ދިގުރުށްރުކަށް އަރައި އޮޑިއެއްފެނޭތޯ ބަލަމުންދާނެއެވެ. ރުކުކުރިއަށް އޮޑިއެއްފެނިއްޖެނަމަ އެވަގުތު އޮޑިފެނުނުމީހާ ރުކުގައި އޮވެ '' އާލެއޭ '' ކިޔާ ވަރަށްބާރަށް ގޮވާލުމުން އޮޑިއަންނަކަން މުޅިހިސާބުގަނޑަށް އެގޭނެއެވެ. އެއަޑުއިވުމުން އެކި ހިސާބުހިސާބުން އާލެއޭ ގޮވަމުންގޮސް މުޅިރަށަށްވެސް އޮޑިއެއްއަންނަކަން އެގިދާނެއެވެ. މިގޮތައް އެއަހަރަކު އެއްމެފުރަތަމަ ފެންނައޮޑިއަކީ އައްޑުއަތޮޅު އޮޑިއެއްނަމަ ރަށުބޭރުން އައްޑުއަތޮޅަށް މިސްރާބު ޖަހާލުމުން ދޯނިފަހަރުގައި އޮޑިދޮށަށްގޮސް މިރަށު އޮޑިފަހަރުގެ ވާހަކަ ޚަބަރުއަހާ އޮޅުންފިލުވާ ހަދައެވެ. އެގޮތުން މިރަށުގެ އޮޑިފަހަރުގެ ޚަބަރު ލިބޭނެއެވެ. މިރަށުއޮޑިއެއްއަންނަ ދުވަހު ވަކިއޮޑިއެއް އެގުމުން އެއިންދަތުރުދިޔަ މީހުންގެ ގޭގޭގައި ކުކުޅު ކަތިލާނެއެވެ. އެދުވަހަކީ މުޅިރަށުއެންމެނަށް އީދެއްއަންނަ ދުވަހެކެވެ. އެއްމެންވެސް ތިބެނީ ނިހާޔަތަށް އުފާވެ ހިނިތުންވެފައެވެ. ސަރުކާރުގެ ހުއްދައޮވެގެން ފުވައްމުލަކުގެ އޮޑިފަހަރާއި އަދި ދެކުނު އޮޑިފަހަރު އެއްމެފަހުން ސިލޯނަށްދިޔައީ 1960 ވަނައަހަރުގައެވެ.

 އޮޅުދޫސާމާނު އައިސް އުފަލުން ލައްވައެ ލިބާސް / ކުދިވެރިނަށް ލިބި ފަޓާސް ހިތްފުރި ދިރިދޭ ހަވާސް.                           

Flying Fish in Fuvahmulah

ފާރޫގު އަޙުމަދު / ސަމާ

ފަންވަތް ކުރަހަން ވަޅީން ހޭޅިމަގުން ދޭކުދިން /

ދޭދޭ ތޮޅި ދެމަފިރިން ޅަދޮޅުވެޔޭ މުސްކުޅީން. ބޯށީގަހުގެ ހިޔަލުގާ މަޑީފަތުގެން ސީލަރާ

/ އަޑުއިވެޔޭ ތިބެ ގޮވާ ޅިޔަނާހޭ ވަޅީކޮބާ. ހުޅައްމަހޯ ލަބާލަޔޯ ކަންނާލޯ ފުމެބަލަޔޯ

/ ހޯރަ ތިރިވެ ކާބަލަޔޯ ރާޅާ ކާބަލަޔޯ. ހާލިނަގާ ބޯވެދޭ ކާލި ދެއަތަކަށް ކެނޑޭ

/ ރާއަމަތިންގޮސް ވެރޭ ލާތޮޅިގޮނޑުދޮށްފުރޭ. ތިބެގެން އެކިވަރުވަރުން އަންހެނުނާފިރިހެނުން

/ ވިނަފަށުނާއި ގޮނޑުދޮށުން ދުވެނަގަމުންދޭހެމުން.

fulhangi (flying fish -Exocoetidae)

އާދެ! ފުވައްމުލަކަށް ހުޅަނގު މޫސުމާއި އިރުވާއި މޫސމުގައިވެސް ފުޅަނގި އަރައެވެ. ފުޅަނގި އަރަނީ ބައެއްދުވަސަވަރު ވަރަށް ގިނައިންނެވެ. ބައެއް ދުވަސަވަރު ވަރަށް މަދުންނެވެ. އެންމެ ގިނައިން ފުޅަގި އަރާކަމަށް ވަނީ އަތަ ހިތަ ދެނަކަތުގައި ހުޅަގު މޫސުމުގައެވެ. ފުޅަނގި އަރަނީ ދެގޮތަކަށެވެ. އެއީ ކަނޑުންފެށިގެން މަތިން އުދުހިފައި އައިސް ރަށަށް އެރުމާއި، ކަނޑުންފެށިގެން މޫދުގައި ދުވަމުން އައިސް ގޮނޑު ދޮށަށް އެރުމާ ދެގޮތެވެ. މިއިން ކޮންމެ ގޮތަކަށް ފުޅަނގި އެރި ކަމުގައި ވިއަސް ފުޅަނގި ނަގަން ގޮސް ތިބޭ މީހުން އެކަމަށް ތައްޔާރުވެ ސަމާލުވެ ތިބޭނެއެވެ. ވީހާ ގިނައެއްކޮށް ފުޅަނގި ނެގުމަށްޓަކައި ފިރިހެނުންނާއި، އަންހެނުން ހަރަކާތްތެރިވެ، އަދި ބައެއްފަހަރު މޫދަށް އެރި ވަރަށް ފޯރިއާއެކީ ފުޅަނގި ނަގަމުން ގެންދެއެވެ. ފުޅަގިމަހަކީ ގަރުދިޔަ ހެދުމަށް ވަރަށް މަޝްހޫރު ވަރަށް މީރު މަހެކެވެ. މިމަހަކީ ހިއްކައިގެންވެސް ބޭނުންކުރެވޭ މަހެކެވެ. މީގެބޮޑު މިނަކީ ގާތްގަނޑަކަށް 6 ނުވަތަ 8 އިންޗި ވަރަވެ. މިމަހުގެ ވަރަށް ދިގު ދެފިޔަފަތްހުރެއެވެ. ގިނައިންފުޅަނގި އަރާ ދުވަސްވަރު މީހެއްގެ މައްޗަށް 3000 އިން ފެށިގެން 5000 އާއި ހަމަޔަށްވެސް ފުޅަނގި ނެގެއެވެ. އެއީ އަތިރި މަތީގައި މީހުންގިނަ ދުވަސްދުވަހު މީހެއްގެ މައްޗަށް ނެގޭވަރެވެ. މިއަކީ އެއްވެސް ވަކި މިންގަނޑެއްގެ މައްޗަށް ބަޔާން ކުރެވެން އޮންނަ ކަމެއް ނޫނެވެ.

ފުޅަނގި މޫސުމުގައިވެސް ބައެއް ދުވަސްދުވަހު އަމުދުން ފުޅަނގި ނާރާވެސް ދެއެވެ. އަދި އިރުވައި މޫސުމުގައިވެސް ފުޅަނގި އަރާފާނެއެވެ. އިހުޒަމާނުގައި ހުޅަނގު މޫސުމް ވުމުން ފުޅަނގިއަށް ފަނޑިތަ ހެދުމަކީ ކޮންމެހެންވެސް ކުރަންޖެހޭ ކަމެކެވެ. މިގޮތުން ހަދާ އެންމެ މުހިއްމު ފަންޑިތައަކީ ރަށުގެ ދެސްވަޅުތައްމަތީ ދެފަސް ބެދުނު ހިސާބުގައި ފުޅަނގި ވަޅުލައިގެން ހަދާ ފަންޑިތައެވެ. މިފަންޑިތަ ހަދަނީ އެވަގުތަކު ރަށަށް ފަންޑިތަހަދާ މީހެކެވެ. މިގޮތުން ކަރިއްޔާ މުޙައްމަދުދީދީ ރަށަށް ފަނޑިތަ ހައްދަވަން ޖެހުނު އަހަރަކު މަސްވެރިކަން ވަރަށް ދެރަވެ، މަސްގަރުދިޔަ ތަދުވެފައި ވަނިކޮށް ކަރިއްޔާ އޮޑި އެހެލަން ޖެހުނެވެ. އެދުވަހު އޮޑި އެހެލަން ނިކުތީ ވަރަށްވެސް މަދު މީސްކޮޅެކެވެ. އެމީހުންނަކަށް އެދުވަހު އޮޑި އެހެލެވޭ ގޮތެއް ނުވިއެވެ. ރަށުގެ ގިނަ ރައްޔިތުން ނުނިކުތީ މަސް ނެތުމުގެ ސަބަބުން، ނުކެވި ބަނޑުހައިވެގެންކަން މުޙައްމަދުދީދީއަށް އެނގިވަޑައިގަތުމުން ވިދާޅުވިކަމަށް ވަނީ ފަހުދުވަހު އޮޑި އެހެލާދީފައި، ހުޅަނގުފަރާތު އަތިރިމައްޗަށް ޚަބަރު ބަލަން މީހުން ދިއުމަށެވެ. އަނެއްދުވަހު އޮޑި އެހެލާފައި އަތިރިމައްޗަށް ފޭބިއިރު، ފުޅަނގިތައް މަތިންނާއި، ކަނޑުން އެކީ އެކައްޗަކަށް އަރަމުންދަނީއެވެ. އެދުވަހު މީސްތަކުން ފުޅަނގި ނަގަމުންގޮސް އިރު އޮއްސި އަނދިރިވުމުންވެސް މެދުނުކެނޑި ރޭގަނޑުވެސް ފުޅަނގި އަރަމުން ދިޔައެވެ. މީހުން އަތިރިމަތީ ހޭޅިފަށުގައި އުނދުންޖަހައިގެން ރޭގަނޑު ފުޅަނގި ކައްކަމުން، ހިއްކަމުން، ނަގަމުން މިގޮތަށް ތިންރޭ ތިންދުވަސް ވަންދެން ހުއްޓާނުލާ ފުޅަނގި އެރިކަމަށް ވެއެވެ. މީހުން އެތައް ބައިވަރު ފުޅަނގިތަކެއް ނަގައި، ހިއްކާ ރައްކާކުރިކަމަށް ވެއެވެ. ގެއެއްގެ މައްޗަށް 12 ބަސްތާ 10 ބަސްތާ ފުޅަނގި ހިއްކާފައި ހުރިކަމަށްވެސް ވެއެވެ. އަލްފާޟިލު ވާރުގޭ މުޙައްމަދު ޢަލިދީދީ ވިދާޅުވިގޮތުން އޭރު އޭނާ ވަރަށް ކުޑައެވެ
.

އޭނާ ވިދާޅުވަނީ އެބޭފުޅުންގެ ގޭގައިވެސް ހިއްކި ފުޅަނގި 20 ބަސްތާ އޮތްކަމަށެވެ. އިހުޒަމާނުގައި ފުޅަނގި އެރުމުގެ އިންތިޒާރުގައި އަތިރިމަތީގައި ތިބޭއިރު ހުޅަނގުންޖެހޭ ފިނިވައިގާ ބޯށިގަހުގެ ހިޔަލުގައި ތިބެގެން އެކިކަހަލަ ކުޅިވަރުތައް ކުޅުމާއި، ރައިވަރުކިޔުމާއި، ވާހަކަކިޔުމާއި، އަދި ފަންވަތުގައްޔާއި، މަގޫފަތުގައި ވަޅިން ރައިވަރުލިޔެފައި، އެދޭމީހުންނަށް ދިނުމާއި މިކަހަލަ މަޖާކަންތައްތަކެއް ކުރެއެވެ. މިކަންކަމަކީ އެކުވެރިކަން އާލާވެގެން ދިއުމާއި، ގުޅުން ބަދަހިވުމާއި، ރައްޓެހިން އިތުރުވުމާއި، ފެނިދެނިވުމުގެ ފުރުސަތު ލިބޭކަންކަމެވެ. ކޮންމެއަކަސް އިހުޒަމާނުގައި ފުޅަނގި އެރިހާގިނައިން ނޭރިކަމުގައި ވިޔަސް މިހާރުވެސް ފުޅަނގިއަރައެވެ. އެކަމަކު އެޒަމާނުގައި މިކަމުގެ ސަބަބުން އުފެދިފައިއޮތް ޢިޖްތިމާޢީ ގުޅުން މިހާރަކު އެގޮތަކަށް ނޯވެއެވެ. އެދުވަސްވަރުގެ މީހުން އެކަމަށް ދިން އަހަމިއްޔަތެއްވެސް މިހާރަކު ދެވިފައެއް ނޯވެއެވެ.

via http://kattelhi.com/?page=article&action=readitem&item=22

Fuvahmulah - 1970

photos by Bernard Koechlin

Superstitious Beliefs

SUPERSTITIOUS BELIEFS
Superstition had been an outstanding component of the Maldivian culture and it was so in Maradhu island as well. This is for the most part due to the very nature of the islands and its society. However with the introduction of modern medicine and rapid evolution of the social development towards globalization has left many people of this belief in doubt and seems to be fading away from the society very fast.
In an island society, isolated from the rest of the world by vast seas, superstition and superstitious beliefs could play a vital role in the day-to-day life of its inhabitants.
For Maldivians, belief in the supernatural had, in the past, provided solutions for the most basic problems of survival.

FANDITHA & SIHURU

Fanditha is a generic term used to define certain traditional medical practices, magic and some astrological applications. It is curative and/or preventive. Today fanditha is most commonly used to bring good luck, for the fulfillment of ‘desires of the heart’, and for success and prosperity. It is also used in the performance of exorcism, in cases of possession by jinni. Fanditha can be used to cure diseases, protect one from evil spirits etc. A Fanditha spell can take the form of a charmed amulet, worn around the waist or upper arm, a glass of water to be drunk by the afflicted; incantations recited over the afflicted etc.
Sihuru (black magic) is causative and harmful. Sihuru is essentially employed to cause mischief and harm. It could be employed to drive a person insane, cause illness, inflict bodily harm or actually kill a person. Sihuru spells too, can take many forms. It can be a morsel of food fed to the victim, a coconut buried in the hearth, a black charm buried in the cemetery etc. The performance of sihuru is an offense under law and could result in severe punishment.

JINNI

Being a Muslim society, belief in the jinni is universal in the Maldives. It is believed that jinnis were created out of fire, and endowed with supernatural powers. Although normally invisible to the human eye, exponents in fanditha, and sihuru, and those possessed by these entities, are said to be able to see and communicate with them. In the traditional society, a special formula was recited before anything was thrown away, for fear of hitting a jinni that may happen to be lurking in the vicinity. Occasionally these entities are said to possess people. When this happens, the fanditha man was summoned and the offending jinni exorcised.

DHEVI

Dhevi is a generic term for spirits capable of possessing people.

VIGANI

Vigani was the ancient lord of death. It is said to inhabit both land and sea. It is said to be fond of rot and putrefaction. Although it is known to kill and devour human beings, the vigani mostly feeds on putrid meat and fish. It is believed that when the vigani haunts an island a single colored rainbow with, one end resting on the island and the other on the distant horizon, can be observed from the sea. This is supposed to be one of the most dangerous and frightening spirits in the Maldivian pantheon.

HANDI

Handi is spirit that takes the form of a fair woman with long disheveled hair, and is usually dressed in red. It is said to be able to travel at great speeds and harm people if disturbed. It is mostly seen in the afternoon or evening. The color red is associated with handi. When afflicted, the victim can be driven insane.

BABURU KOYYAA

This is an evil spirit that manifests mostly at night. It resembles a small, dark child and when disturbed causes harm to people. This is one of the most common forms of haunting in the country. It may manifest in almost any place, especially on dark nights.

FEREITHAA

Fereithaa is a generic term for a certain type of unpleasant spirit. It is malevolent and foul smelling. It can appear in any form and has eyes on the top of its head.

AVAHTEHI

This is a female spirit which appears in ragged clothes and long unruly hair. According to local beliefs, although invisible to the normal human being, an avahtehi can be domesticated to perform certain household chores. It is believed that these creatures can and do befriend humans. Avahtehi is a form shifting spirit.

KANDAMATHI EDUN

Kandamathi Edun is a phenomenon peculiar to the sea. It is known to afflict seafaring travelers. It manifests in diverse forms; a glowing ball of light, a dead body with the shroud, a ship full of lamps, breakers, reefs or even a heavy shower of rain. (It should be noted however, that in all cases the rainwater is salty!) When possessed it manifests, usually in one of these forms, around the vessel. In extreme cases, it is known to even manifest on the vessel itself. If the possession is from the rear of the vessel, the speed is favorably affected while; a forward manifestation drastically reduces it.

via:  http://www.maradhu.net/superstitious.html

Women's Day 2003/04

Alifushi

 

Alifushi

Bandiya - a devotional dance to Durga.

from www.maldivesroyalfamily.com — in a page about maliku peoples pasttime

”The lava dance is performed by males. The dancers first line up themselves in pairs or singles with drums and start a dance to the beating of the drums. Then they form themselves in a circle as the dance gains momentum. The performers are dressed in red trousers with a white scarf tied around their waist. A smaller scarf of a contrasting colour is worn over this. They wear a form of black and white headgear called bolufeyli. Sometimes they wear a fez cap.

The lava dance is similar to the Maldive bileh dhafi negun.

Bandiyaa jehun is a woman’s dance. Women perform this dance carrying metal waterpots on which they beat to the rhythm of their songs.”

Maliku women dancing with the bandiya. photo : maldivesroyalfamily.com

While many have written that ‘Bandiya Jehun’ is a form of Pot dance and possibly of Indian origin few have written about the origin of the dance which is shrouded in mystery since we have cut links with the pre-islamic past. but the rituals have survived without the purpose of the dance.

I dont have Xavier Romero book, but i think he will agree with me that this dance is a devotional dance performed in Durga’s honour.

from wikipedia:

”Dandiya Raas is the traditional folk dance form of Vrindavan, India, where it is performed depicting scenes of Holi, and lila of Krishna and Radha. Along with Garba, it is the featured dance ofNavratri evenings in Western India.

Originating as devotional Garba dances, which were always performed in Durga’s honour, this dance form is actually the staging of a mock-fight between the Goddess and Mahishasura, the mighty demon-king, and is nicknamed “The Sword Dance”. During the dance, dancers energetically whirl and move their feet and arms in a complicated, choreographed manner to the tune of the music with various rhythms. The dhol is used as well as complementary percussion instruments such as the dholak, tabla and others.

The sticks (dandiyas) of the dance represent the sword of Durga. The women wear traditional dresses such as colorful embroidered choli,ghagra and bandhani dupattas (traditional attire) dazzling with mirror work and heavy jewellery. The men wear special turbans and kedias, but this varies regionally.

Garba is performed before Aarti (worshipping ritual) as devotional performances in the honor of the Goddess, while Dandiya is performed after it, as a part of merriment. Men and women join in for Raas Dandiya, and also for the Garba. The circular movements of Dandiya Raas are much more complex than those of Garba. The origin of these dance performances or Raas is Krishna. Today, Raas is not only an important part ofNavratri in Gujarat, but extends itself to other festivals related to harvest and crops as well. The Mers of Saurastra are noted to perform Raas with extreme energy and vigor.”

Garba : Garba is customarily performed by women, the dance involves circular patterns of movement and rhythmic clapping. It popularly performed during Navratri. The word comes from “garbha deep” which is translated as either light in the inner sanctum of the temple or lamp inside a perforated earthen pot (which is often used in the dance) this dance is from Gujarat.

In Hinduism, Durga (दुर्गा, “the inaccessible”^[1] or “the invincible”) or Maa Durga (Mother Durga) “one who can redeem in situations of utmost distress”.^{[citation needed]} Durga is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or atiger, carrying weapons (including a lotus flower), maintaining a meditative smile, and practicing mudras, or symbolic hand gestures.

An embodiment of creative feminine force (Shakti), Durga exists in a state of svātantrya(independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Durga is considered by Hindus to be an aspect of Kali, and the mother of Ganesha and Kartikeya.^[2] She is thus considered the fiercer, demon-fighting form ofShiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.

Turtle Legends and Lore

Aside from local accounts, summarised in the species accounts above, there are several local stories about turtles. These give an indication of how much interaction there has been between man and turtle.

An epic song tells of a shark fisherman who captures turtles for bait, including finally the “King of Turtles”.Another humorous verse compares the chicken, which lays an egg and then makes a lot of noise cackling, and a turtle,which lays more than a 100 eggs and says nothing.

There is a belief, at least at Laamu Atoll, that a turtle will nest when an unmarried girl becomes pregnant. The turtle may even come up the beach in front of her house.

At Maavah Island (Laamu) the penis of a turtle is thought to be aphrodisiac. A practice of the past was to slaughter a turtle (Vela) and bless the ground with its blood before crops were planted. This predates the arrival of Islam in Maldives and is understandably discouraged by the authorities nowadays.

When the airport was under construction on Hulhule Island (North Malé), a limestone turtle was unearthed. It is about 20cm long and carved with realistic representation of body parts. The ventral surface has a small

rectangular niche. In older times a holy verse from the Koran would have been placed in the niche and the effigy buried under the house in a mixture of Islamic and pre-Islamic beliefs to bring good fortune.

Page 22, Maldives Marine Research Bulletin 04,22 Nov 2000

from http://www.mrc.gov.mv/files/publications/MMRB04.pdf

Mat Weaving in Maldives

Fine pattern grass kunaa from G.Dh. Gadhdhoo were used as royal gifts in the past when these mats were given as gifts to the Dutch and British governors of Ceylon from the Sultan of Maldives. These were sometimes trimmed with gold lace work. At present grass mats are given to foreign dignitaries as gifts. Designers of tourist resorts and hotels use kunaa as floor mats and wall hangings. They are very popular as souvenirs to tourists too.


Kunaa weavers cultivate their own grass and collect the leaves and roots which are used for dyeing. The designs in these kunaa are in four colors – natural, yellow, brown and black. The bark of the ‘uni’ tree is dried and powdered to prepare ground dye. To make the black dye, the brown-dyed grass is first soaked on a bed of uni leaves until the water evaporates. This grass is then boiled in a mixture of coconut oil and water. The liquor is left to cool till the water evaporates. This whole process is repeated three times after which the grass is washed in the sea and dried in the shade. To prepare the yellow dye pieces of root from the ‘ahi’ tree are soaked, then boiled together with the grass for about two hours. After which the grass is boiled in liquor of fresh water, sea water, and ground turmeric for about an hour. To prepare natural color, the grass is bleached in the sun for a week.

These mats are woven to traditional patterns with small variations which are usually introduced by individual weavers. Sleeping mats, prayer mats, swing seat mats, etc each have specific patterns. Each of these patterns have a name such as ‘cutlines design’, ‘lockmat’, ‘large mat’ ‘dhigulu kunaa’, ‘gon’di kunaa’ and ‘namaadhu kunaa’, etc.
Beauty and complexity of the design usually determine the price of these mats.
Source: HANDICRAFT in Maldives, Published by; Ministry of Economic Development and Trade, Maldives

A language dies in India

With the death of 85 years old Boa Sr in Andaman Islands of India last week, the Bo language of prehistoric antiquity became extinct once and for all, reports, Survival International, a movement for tribal peoples. The Andaman and Nicobar islands, home of several prehistoric tribes of Austroloid, Negroid and Mongoloid origins, is currently a Union Territory directly administered by the Central Government of India. “The Great Andamanese were first massacred, then all but wiped out by paternalistic policies which left them ravaged by epidemics of disease, and robbed of their land and independence,” says Survival on the modern history of the tribes since British times. Meanwhile, India launched a show off of ‘naval exercise’ in the Andaman Sea Friday, mobilising 13 countries in the region including Sri Lanka, the new 'colonial power' in South Asia.

Extinction of ancient languages of tribes and other small linguistic communities is a common scenario in contemporary India, a country of hundreds of identifiable languages and thousands of dialects. This is particularly noticed in the Union Territories under direct central administration, where Hindi, emerged in the garrisons of the Moghals a few centuries ago, is now imposed as language of administration and education.

A typical example of the picture is Minicoy, the southern most atoll of the Lakkadives archipelago, a ‘protected territory’ where India is maintaining a naval base to guard the Eight Degree Channel of the Arabian Sea.

The atoll of Minicoy at Eight Degree Channel, the sea route touching Kanniyaakumari (Cape Comarin) [Satellite image courtesy: Google Earth]

Minicoy, which was culturally and historically a part of Maldives, loses its unique language Mahl (Maldivian or Dhivehi) to Hindi and Malayalam, as it is kept away from cultural contacts with Maldives. People of Minicoy struggle to retain the language by depending on Maldivian radio and television.

But many tribes in central and eastern India are not as fortunate as the people of Minicoy.

Citing the number and variety of tribal languages involved, and the absence of written script for them, Hindi makes easy inroads into the administration and education of the newly created tribal states such as Jharkand and Chhattisgarh.

Political observers point out that a hidden agenda behind the demarcation of these states was avoiding the carving out of a state for the deserving Chandelas, the largest of the tribes, as it would mean recognising their language as one of the major languages of India. The scheme is that tribal languages have to be replaced by Hindi. A considerable number of the tribal languages of these states are Dravidian.

Telengana will soon join the list, making a north-south column along with the tribal states, weakening the concept of linguistic states and opening the tribal belt for Centre’s economic and linguistic agenda, political observers said. It is not without reason the Centre readily agreed for Telengana, especially when it is fighting a war now for grabbing the land of the tribes, observers said citing media reports that recognition for Telengana was actually 'conspired' by M K Narayanan.

Today’s Indian Establishment has scant respect for Nehru’s grand idea of protecting every strain of the variety of cultural and linguistic heritage, particularly of the endangered tribes of India. No wonder, people from some of the northeast frontier states of India shun Hindi films and music as taboo.

In colonizing the Andaman Islands in 1858, the first Indians taken by the British were prisoners. For a long time Port Blair the capital of the archipelago remained a dreaded place for incarcerating freedom fighters of India.

The native tribes of the archipelago, some of them cannibals, were either killed or died of diseases brought by the colonizers.

“Having failed to ‘pacify’ the tribes through violence, the British tried to ‘civilize’ them by capturing many and keeping them in an ‘Andaman Home’. Of the 150 children born in the home, none lived beyond the age of two,” says Survival.

During the Second World War in 1942 the Japanese occupied the islands and handed them over to Subhas Chandra Bose as part of his Provisional Indian Government formed in Singapore.

The British regained them in 1945 and India inherited them in 1947.

Independent India was extremely careful in seeing the islands not monopolised by settlers of any particular ethnicity of geographical proximity from the sub-continent. Naakappaddinam in the Coromandal Coast is the nearest point to the Ten Degree Channel sea-route to the islands.

By bringing in motley of people, the ‘national interest’ of India and the official language status of Hindi were maintained. But this care was not taken in protecting, promoting and giving due status to the aborigine people or their languages.

The surviving tribes depend largely on the Indian government for food and shelter, and abuse of alcohol is rife, says Survival.

Boa Sr, 85, the last of the Bo speakers died in Andaman last week [Photo courtesy: Survival International, © Alok Das]

Boa Sr told Prof. Anvita Abbi, a linguist who studied her for many years that she felt the neighbouring Jarawa tribe, who have not been decimated, were lucky to live in their forest away from the settlers who now occupy much of the Islands.

“With the death of Boa Sr and the extinction of the Bo language, a unique part of human society is now just a memory. Boa’s loss is a bleak reminder that we must not allow this to happen to the other tribes of the Andaman Islands,” said Survival.

The archipelago of both the Andaman and Nicobar chain of islands were known to ancient Tamils by the name Nakka-vaaram islands.

Nakka-vaaram in old Tamil means ‘the hillside of the naked people.’

Nakka as adjective means naked (Nakkan: naked person, Pingkalam lexicon 5:169) and Vaaram is hillside (Dravidian Etymological Dictionary)

The early Tamil-Buddhist epic Ma’nimeakalai of c. 5th century CE that extensively deals with the maritime geographical knowledge and contacts of ancient Tamils, talks of a trader who was shipwrecked in the island of hills of Nakka-Chaara’nar (naked nomads), who were cannibals. The trader was spared and shown with generosity because of his knowledge of their language. He enlightened them to give up cannibalism and to become helpful to mariners. (Ma’nimeakalai 16: 10-125)

Ma'nimeakalai also equates Nakka-chaara'nar with Naakar, enlightening us on the affinities among the aborigines carried the identity Nagas in Sri Lanka, South India and Southeast Asia, who were probably people of Austro-Asiatic origins.

The Chola inscriptions of 11th century CE mention Maa-nakka-vaaram (the great Nakka-vaaram archipelago) as one of the territories conquered by Rajendra in his maritime expedition.

Several terms now obsolete in Tamil diction (Winslow), such as Nakkavaari (a person from Nakkavaaram and also a species of coconut palm), Nakkavaarak-kachchavadam (trade with Nakkavaram which is money for goods and in which one does not trust another), etc speak of the long contacts of Tamils with the archipelago of Andaman-Nicobar.

The Tamil name Nakka-vaaram survives today in the name for the southern part of the archipelago as Nicobar (just as Malai-vaaram becoming Malabar).

Bodu Beru song lyrics