Tixi Temple (also known as Tiksi Temple and locally called Vashishteshwar Temple) is a historic Hindu temple dedicated to Lord Shiva, situated at Lalpura on Gwalior Road in Etawah city of Etawah district in the Indian state of Uttar Pradesh. The temple occupies an elevated site on the outskirts of the old settlement zone and is regarded as one of the most ancient and ritually significant Shaivite shrines of the Chambal–Yamuna basin region. It functions both as a centre of religious worship and as a cultural heritage landmark associated with regional Maratha-period history and local spiritual traditions.
The temple is widely visited during major Hindu festivals, particularly Maha Shivaratri and the month of Shravan, and continues to remain an important spiritual nucleus for the rural and urban population of Etawah.
Location and accessibility
Tixi Temple is in the Lalpura locality on Gwalior Road, a major arterial route connecting Etawah to Madhya Pradesh. The temple lies about 3.2 kilometres from Etawah Junction railway station and about 1 kilometre from the National Highway corridor, making it easily accessible by road transport, auto-rickshaws, and private vehicles.
Historical background
Legendary origin
According to long-standing local tradition, the original Shivalinga at the site is believed to have been installed by the ancient sage Vashishtha during his period of penance in the region. The forested terrain surrounding the present temple is described in oral narratives as a former hermitage site, reinforcing the sacred status of the location in folk memory. Because these traditions rely primarily on oral transmission, they are considered part of regional religious belief rather than verifiable archaeological history.
Maratha-period reconstruction
The present temple structure is widely believed to date from the late 18th century, during the expansion of Maratha political authority into the Doab and Chambal regions. Regional historical accounts and journalistic sources attribute the major reconstruction of the temple to a Maratha military commander active in the Etawah–Gwalior belt. Popular local narratives associate this reconstruction with Sadashiv Rao Bhau or one of his subordinate sardars, following a successful military campaign in the region around 1770–1780.
Colonial period to modern era
During the British colonial period, the temple continued to function as an active religious centre and maintained its land endowments through customary village-level patronage. After Indian independence in 1947, temple management gradually shifted toward a community-based trust model under local priestly families and civic volunteers. In the late 20th and early 21st centuries, several minor renovations were undertaken using public donations and municipal cooperation.
Architectural features
The architectural style of Tixi Temple represents a fusion of Maratha utilitarian design with North Indian Nagara temple elements. The structure rises on a raised stone platform accessed by a broad flight of steps. The sanctum (garbhagriha) houses the Shivalinga, oriented in the traditional east-facing alignment.
The superstructure is capped by a modest shikhara with minimal sculptural ornamentation, reflecting the functional devotional emphasis of Maratha-period temples. The use of locally sourced stone and lime mortar is evident throughout the original fabric. A circumambulatory path (pradakshina path) surrounds the sanctum, allowing ritual movement during worship.
Ancillary shrines dedicated to Nandi (the sacred bull), Parvati, Hanuman, and Ganesha are located within the temple courtyard. A small water reservoir once used for ritual ablutions exists on the western side, though its original hydraulic system is no longer fully operational.
Religious practices
Daily worship at Tixi Temple follows orthodox Shaivite ritual procedures including abhishek, rudrabhishek, and evening aarti. Mondays and Pradosh observances attract notably higher footfall.
During the month of Shravan, continuous devotional programmes, recitation of Shiva Purana narratives, and community bhandara (public feasts) are organized. The annual Maha Shivaratri festival constitutes the largest congregation of devotees, with thousands of pilgrims visiting the shrine from Etawah and neighbouring districts.
Administration and management
The temple is administered by a locally constituted management committee composed of hereditary priests, civic representatives, and donor members. Daily ritual functions are carried out by the resident priestly lineage. Financial support for upkeep is generated primarily through public donations, festival offerings, and voluntary contributions. No formal Archaeological Survey of India (ASI) protection status has yet been assigned to the temple.
Tourism and local economy
Tixi Temple forms part of the informal religious tourism circuit of Etawah district along with other regional temples and riverfront sites. Pilgrim visits contribute to small-scale economic activity, including flower vendors, ritual material shops, and seasonal food stalls. During major festivals, temporary markets emerge in the vicinity, benefiting the local micro-economy.
See also
- Etawah district
- Hindu temples in Uttar Pradesh
- Maratha architecture in North India
- Shaivism in the Hindi heartland
References
External links
Category:Shiva temples in Etawah district Category:Tourist attractions in Etawah district Category:18th-century Hindu temples Category:Shaivism
Bharthana railway station (station code: BNT) is a railway station located in the town of Bharthana in Etawah district of the Indian state of Uttar Pradesh. It serves Bharthana and nearby rural areas and lies on the Howrah–Delhi main line of the Indian Railways network. The station is operated by the North Central Railway under the Prayagraj railway division.
Location
Bharthana railway station is situated in Etawah district, Uttar Pradesh. The station provides rail connectivity to major cities such as Kanpur, Prayagraj, Delhi, Agra, and Howrah. It plays an important role in daily passenger movement for the surrounding towns and villages.
Infrastructure
The station has three platforms and four railway tracks. It is fully electrified and equipped with basic passenger amenities including waiting areas, drinking water facilities, seating, and parking space. Foot overbridges connect the platforms for passenger movement.
Train services
Bharthana railway station is served by several passenger, express, and superfast trains. It acts as a halt for long-distance trains running on the Howrah–Delhi route, as well as regional passenger trains connecting nearby districts. The following trains stop at Bharthana railway station:
Train no. |
Train name |
Arrival |
Departure |
Halt time |
Frequency |
|---|---|---|---|---|---|
12419/12420 |
Gomti Express |
09:14 |
09:15 |
1 min |
Daily |
19038 |
Avadh Express |
03:10 |
03:12 |
2 min |
Daily |
14218 |
Unchahar Express |
03:12 |
03:13 |
1 min |
Daily |
04185 |
Phaphund–Etawah MEMU Special |
04:40 |
04:41 |
1 min |
Daily |
04180 |
Etawah–Phaphund MEMU Special |
05:18 |
05:19 |
1 min |
Daily |
04106 |
Shikohabad–Phaphund MEMU |
06:58 |
06:59 |
1 min |
Daily |
12180 |
Agra Fort–Lucknow NE Intercity Express |
08:45 |
08:46 |
1 min |
Daily |
04159 |
Kanpur–Etawah MEMU |
09:07 |
09:08 |
1 min |
Daily |
04188 |
Tundla–Kanpur MEMU Special |
09:11 |
09:12 |
1 min |
Daily |
04187 |
Kanpur–Tundla MEMU Special |
17:03 |
17:04 |
1 min |
Daily |
04160 |
Etawah–Kanpur MEMU |
17:39 |
17:40 |
1 min |
Daily |
12179 |
Lucknow NE–Agra Fort Intercity Express |
18:59 |
19:00 |
1 min |
Daily |
04105 |
Phaphund–Shikohabad MEMU Special |
21:11 |
21:12 |
1 min |
Daily |
04186 |
Etawah–Phaphund MEMU Special |
21:19 |
21:20 |
1 min |
Daily |
14217 |
Unchahar Express |
21:40 |
21:41 |
1 min |
Daily |
04179 |
Phaphund–Etawah MEMU Special |
21:49 |
21:50 |
1 min |
Daily |
19037 |
Avadh Express |
22:40 |
22:41 |
1 min |
Daily |
Connectivity
The station is well connected to the town of Bharthana through local transport such as auto-rickshaws, taxis, and buses. It serves as a key transportation hub for commuters, students, and traders in the region.
Gallery
File:Bharthana railway station.jpg|Station Raw View Bharthana Railway station (Etawah).jpg|Station signboard Bharthana Railway station 5(Etawah).jpg|Station Building Bharthana Railway station 2 (Etawah).jpg|Train in Platform Bharthana Railway station 1 (Etawah).jpg|Passenger in Platform Bharthana Railway station 6 (Etawah).jpg |Flatform view Bharthana Railway station 3 (Etawah).jpg|Evening view
See also
- Etawah Junction railway station
- North Central Railway
- Prayagraj railway division
- Indian Railways
References
External links
Category:Railway stations in Etawah district Category:Prayagraj railway division Category:North Central Railway zone Category:Railway stations in Uttar Pradesh
Leoford Olubukola Afolabi (born November 22, 1957), professionally known as Bukky Leo, is a British Nigerian Afrobeat and jazz saxophonist, vocalist, composer, and bandleader. He is the founder of the band Black Egypt and the record label Drift Recordings.
Early life and education
Leoford Olubukola Afolabi was born in Paddington, London, United Kingdom. In 1964, at the age of six, he moved to Lagos, Nigeria, where he grew up. At the age of ten, he began playing music with a Baptist church in Lagos and was gifted an alto saxophone. He was noticed by Afrobeat pioneer Tony Allen, who later invited Leo to play with his Afrobeat band The Mighty Iroko’s.
During his formative years, Bukky was a frequent visitor to Kalakuta Republic, the communal compound of Fela Ransome Kuti, and eventually became a certified member of Kuti’s Young African Pioneers (YAP). He holds a Bachelor of Arts degree in Law and International Relations.
Career
From 1970 to 1975, Bukky regularly attended Kalakuta Republic and played with Tony Allen’s band. He drew early influences from both Allen and Kuti, who influenced his Afro-centric musical style.
In 1982, Bukky relocated to the United Kingdom. He performed with groups, including Highlife International, Farenji Warriors, and Bush Men Don't Surf, led by Banjo Mosele. His debut solo EP, Future Generation, was released in 1988 on Intouch Records and featured percussionist Gasper Lawal.
That same year, he was signed by Gilles Peterson to the newly established Acid Jazz Records, where he released Rejoice in Righteousness. The album topped various UK R&B, dance, and jazz charts. Bukky’s collaboration with American drummer Clifford Jarvis on the Evolution sessions also began around this period, although the album was not released until 2020.
In 1990, Bukky recorded River Nile (Moles Records), an album that led to his nomination at the US African Music Awards in 1997. During this period, he visited Egypt on a musical and spiritual pilgrimage that later influenced the creation of his band Black Egypt.
In 2003, Bukky joined the African Jazz Allstars (AJAS) led by Lucky Ranku and Pine Saul. The group performed internationally, including appearances at the North Sea Jazz Festival, Cape Town Jazz Festival, and events in Senegal until 2008.
Bukky Leo and Black Egypt debuted with a release on Mr Bongo Records in 2012. The band has since released several albums, including Anarchy and Skeleton (2012) and The Legend of William Onyeabor (2021), which pays homage to William Onyeabor.
Bukky also contributed to several collaborations, including work with Prince Fatty, Carl I, Dennis Bovell, and The Mitchell & Dewbury Band. His tribute album Evolution, featuring Clifford Jarvis, was released on Drift Recordings in 2020.
In 2022, Bukky founded Drift Recordings for producing Afro-jazz and Afrobeat works.
He wrote and performed the title soundtrack for the documentary My Friend Lanre in 2023.
Personal life
Bukky Leo is the younger brother of the late Syddney Onayemi, who is credited as the first person to introduce disco music to Stockholm, Sweden.
He currently resides in London, United Kingdom.
Publications
As leader
- Future Generation – Intouch Records, 1988
- Rejoice in Righteousness – Acid Jazz Records, 1988
- River Nile – Moles Records, 1990[8]
- Precious Mother – Strut Records, 2000
- Bush Men Don't Surf – Pau Records, 2004
- Afrobeat Visions – Mr Bongo Records, 2005
- Ramaja O – Broadcite, 2007
- Anarchy / Skeleton – Agogo Records, 2012
- Spaceships Over Africa (with Ra Kalam Bob Moses) – Ra Kalam Records, 2017
- Tribute to Fela Vol. 1 & 2 – Drift Recordings, 2018
- Evolution: The Bukky Leo Quartet featuring Clifford Jarvis – Drift Recordings, 2020
- The Legend of William Onyeabor – Drift Recordings, 2021
- Egusinarchy – 2024
- Unisex Dilemma - 2024
As sideman
- Survival of the Fattest – Prince Fatty, Mr Bongo, 2007
- Jahug – Carl I, 2007
- Huw Price & Bukky Leo Live – 2007
- Living Am I Living – The Mitchell & Dewbury Band, Mr Bongo, 2015 (featured artist)
- Mek It Run – with Dennis Bovell, Pressure Records, 2018
References
Category:British saxophonists Category:1957 births Category:Living people Category:British people of Nigerian descent Category:Black British musicians Category:21st-century Black British musicians Category:20th-century Black British musicians Category:21st-century Black British male musicians Category:20th-century Black British male musicians
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Citak people (Kau or Kaunak; also known as Cicak which is the exonym of the Awyu people for this ethnic group) are an ethnic group that inhabits South Papua, Indonesia. They use the Citak language (Kau Adagum) as a language of communication between the people of this ethnic. Based on its dialect, this language is divided into Tamnim, Diuwe, and Citak dialects.
History
Initially, the Citak people led a semi-nomadic life, living in small villages scattered around the Brazza River. After being forced by the Dutch East Indies government, they began to live permanently in larger villages, This was intended to make it easier for the Dutch East Indies government to control them.
The Citak people uses a matrilineal kinship system with the custom of settling down and marrying matrilocally. Apart from that, the Citak people also did not recognize the clan system. Although this slowly changed with the arrival of the Christian missionary.
Distribution
The Citak people inhabits the upper reaches of the Brazza River and is bordered to the east by the upper reaches of the Digul River, while to the west it is bordered by the Pulau River and the Wildeman River. To the west live the Asmat people, to the south are the Awyu people (Mitak). Their language has similarities with the Asmat language, so that some linguists tend to classify them as one of the Asmat-speaking people.
Their villages are Daikut, Samnak, Sipanap, Senggo, Kunasuma, Basman, Tiau, Amazu, Binerbis, Bidneu (Bidnew), Vamu (Vomu, Fomu), Ipem, Binam, Vakam, Bi-Namzein (Mbinamzain), Womin, Sagamu, Buruba, Abau, Komasma (Kumasma), Vou, Imembi, Patipi, Piramanak, Burbis, Binam, Sagis, Emenepe, Tokemau, Dja-wok, and Asserep. Administratively, the area inhabited by this ethnic is included in the district of Citak Mitak (Senggo Village), Mappi Regency, South Papua, Indonesia. The population of this ethnic is around 8,000 people.
Society
The staple food of the Citak people is sago supplemented with fish and meat. Sago and fish are the products of women, while meat is the result of hunting by men. The men hunt using boats measuring 4 meters long, smaller than the family boats which are 10 meters long.
Culture
The relics of the Citak people which are in the Asmat Museum of Culture and Progress are stored in the Yupmakcain collection. According to the museum's director, Eric Sarkol, the name was given by his predecessor Yufentius Biakai. According to Biakai, the name Yupmakcain is the emic name of the northern areas of Binam and Mbinamzain. Some examples of this branch of tribal art are drama and fine arts which are part of traditional ceremonies. Similar to the Asmat people, some of the carving art is in the form of shield carvings with color choices similar to other southwestern art styles such as the Asmat and the Awyu peoples.
Tradition
Agu Ibit
According to Pido, a zauwaibit (war leader) who came from Senggo Lama, initially this ethnic lived in tree houses but then changed because it was dangerous for small children who could easily fall. The ancestral legend of this tribe is Agu Ibit which was narrated by Pido to Josef Haas in 1981 (translated based on recordings by Alexander de Antoni, Stefanus Supprobo, and Cornelis in Senggo, 2007):
Agu Ibit stepped out of the water onto land. After spending the night in the river, he sat on a ki tree, and then he also sat on a tinak tree. After defecating he then urinates in the morning. He then jumped from tree to tree, then on top of the tree he faced west. Then you put on a belt made of shells and a necklace made of dog teeth. He then stood up with stiff legs and opened his hands on the ki tree. "Oh ki tree, please grant good weather, so that your arms can move freely", in a cheerful voice, "I'm looking for something to eat, please don't let it rain, I want to hunt big rats, cassowaries, and fish in the river. If there was a woman there, I would want to hit sago". Fo....fo.... Then another woman said, "I stayed in this afternoon to breastfeed the baby". It's a very hot afternoon, and I want to go far away. Agu Ibit has promised good weather. On the ki tree, on the kuru tree, on the badam tree, on the utua tree, wood tree, pambam tree, tinak leaf, tree leaves, sago palm. Sago palm leaves, your gaze is shining. Agu Ibit, Agu Ibit, Tanambitda ('male-foot sun' another name for Agu Ibit), Tanambitda, your eyes shine all day long. Now you will depart from east to west, until you disappear.
See also
- Indigenous people of New Guinea
- Asmat people
References
Category:South Papua Citak