Castes and Tribes of Southern India/Vāda
Vāda.— On the coast of Ganjam and Vizagapatam, the sea fishermen are either Vādas or Jālāris, both of which are Telugu castes. The fishing operations are carried on by the men, and the fish are sold by the women in markets and villages. Various Oriya castes, e.g., Kevuto, Kondra, Tiyoro, etc., are employed as fishermen, but only in fresh-water. The Vādas seem to be a section of the Palles, with whom they will interdine and intermarry. They call themselves Vāda Balijas, though they have no claim to be regarded as Balijas. Sometimes they are called Kalāsis by Oriya people.
Socially the Vādas occupy a low position. Their language is a corrupt and vulgar form of Telugu. The men wear a conical palm leaf cap, such as is worn by the Pattanavan fishermen in the Tamil country. In the presence of a superior, they remove their loin-cloth and
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Like other Telugu castes, the Vādas have exogamous intipērus, some of which seem to be peculiar to them, e.g., Mailapilli, Ganupilli, Sodupilli, Davulupilli. Other intipērus are such as are common to many Telugu castes. The caste headmen are entitled Kularāju and Pilla, and the appointments are apparently held by members of particular septs. At Chatrapūr, for example, they belong to the Mailapilli and Vanka septs. There is also a caste servant styled Samayanōdu. The headmen seem to have more power among the Vādas than among other Telugu castes, and all kinds of caste matters are referred to them for disposal. They receive a fee for every marriage, and arrange various details in connection with the wedding ceremonial. This is based on the Telugu type, with a few variations. When a young man's relations proceed to the house of the girl whom it is proposed that he should marry, the elders of her family offer water in a brass vessel to their guests, if they approve of the match. During the marriage rites, the bride and bridegroom sit within a pandal (booth), and the men of the bridegroom's party exhibit to those assembled betel leaf, areca nuts, oil, turmeric paste, etc., in which no foreign matter, such as fragments of paper, rags, etc., must be found. If they are discovered, a fine is inflicted.
There is exhibited in the Madras Museum a collection of clay figures, such as are worshipped by fishermen on the Ganjam coast, concerning which Mr. H. D'A. C.Reilly writes to me as follows. "I am sending you specimens of the chief gods worshipped by the fishermen. The Tahsildar of Berhampūr got them made by the potter and carpenter, who usually make such figures for the Gopalpūr fishermen. I have found fishermen's shrines at several places. Separate families appear to have separate shrines, some consisting of large chatties (earthen pots), occasionally ornamented, and turned upside down, with an opening on one side. Others are made of brick and chunam (lime). All that I have seen had their opening towards the sea. Two classes of figures are placed in these shrines, viz., clay figures of gods, which are worshipped before fishing expeditions, and when there is danger from a particular disease which they prevent; and wooden figures of deceased relations, which are quite as imaginative as the clay figures. Figures of gods and relations are placed in the same family shrine. There are hundreds of gods to choose from, and the selection appears to be a matter of family taste and tradition. The figures, which I have sent, were made by a potter at Venkatarayapalle, and painted by a carpenter at Uppulapathi, both villages near Gopalpūr. The Tahsildar tells me that, when he was inspecting them at the Gopalpūr travellers' bungalow, sixty or seventy fisher people came and worshipped them, and at first objected to their gods being taken away. He pacified them by telling them that it was because the Government had heard of their devotion to their gods that they wanted to have some of them in Madras." The collection of clay figures includes the following: —
Bengali Bābu wears a hat, and rides on a black horse. He blesses the fishermen, secures large hauls of fish for them, and guards them against danger when out fishing. It has been observed that "this affinity between the Ganjam fishermen and the Bengali Bābu, resulting in the apotheosis of the latter, is certainly a striking manifestation of the catholicity of hero-worship. 
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Sāmalamma wears a red skirt and green coat, and protects the fishermen from fever.
Rājamma, a female figure, with a sword in her right hand, riding on a black elephant. She blesses barren women with children, and favours her devotees with big catches when they go out fishing.
Yerenamma, riding on a white horse, with a sword in her right hand. She protects fishermen from drowning, and from being caught by big fish.
Bhāgirathamma, riding on an elephant, and having eight or twelve hands. She helps fishermen when fishing at night, and protects them against cholera, dysentery, and other intestinal disorders.
Nūkalamma wears a red jacket and green skirt, and protects the fishing community against small-pox.
Orusandi Ammavaru prevents the boats from being sunk or damaged.
Bhāgadēvi rides on a tiger, and protects the community from cholera.
Veyyi Kannula Ammavaru, or goddess of a thousand eyes, represented by a pot pierced with holes, in which a gingelly (Sesamum) oil light is burnt. She attends to the general welfare of the fisher folk.
The chief sea goddess of the Vādas seems to be Orusandiamma, whose image must be made out of the wood of the nīm (Melia Azadirachta) tree. She is supposed to have four arms. Many of the pot temples set up on the sea-shore are her shrines. On no account should she be provoked, lest the fishing boat should be upset. She is regarded as constantly roaming over the sea in a boat at night. Associated with her is a male deity, named Ramasondi, who is her brother. His vāhanam (vehicle) is an elephant. Orusandi is worshipped separately by each family. At the time of worship, flowers, two cloths, a fowl, a goat, and a bottle of toddy or arrack, are carried in procession to the sea-shore. Before the procession starts, people collect in front of the house of the person who is doing the pūja (worship), and tie him and the goat to a long post set up in front thereof. A toy boat is placed before the post, and Ramasondi is invoked by a person called Mannāru, who becomes inspired by the entrance of the deity into him. A fowl is sacrified, and, with the boat on his head, the Mannāru proceeds towards the shore. Orusandi is then invoked, but does not come so easily as Ramasondi. Repeated invocations are necessary before some one becomes inspired. The goat, post, and a pot shrine for the goddess are taken to the shore. A small platform is erected there, on which the shrine, smeared with chunam (lime), is placed, and in it the image is deposited. Worship is then performed, and the goat sacrificed if it crawls along on all fours and shivers. If it does not do so, another goat is substituted for it. As every family sets up its own pot shrine, the number of these is considerable, and they extend over several furlongs.
The sea goddess Marulupōlamma is housed in a small shed made of date palm leaves. A goddess who is very much feared, and worshipped at the burial-ground, is Būlokamma. Her worship is carried out at noon or midnight. She is represented by a pot, of which the neck is removed. In the sides of the pot four holes are made, into each of which a twig is inserted. The ends of the twigs are tied together with thread, so that they represent a miniature pandal (booth). The pot is carried by a Mannāru, dressed up like a woman in black and white cloths, together with another pot representing Enuga Sakthi. The former is carried in the bend of the left elbow, and the latter on the head. The pots are accompanied in procession to the burial-ground, and, on the way thither some one becomes inspired, and narrates the following legend: — "I am Būlokasakthi. Ages ago I was in an egg, of which the upper half became the sky and the lower half the earth, and was released. The moon was the mark on my forehead, and the sun was my mirror. Seven gadhis (a measure of time) after my birth,a west wind arose. By that time I had grown into an adult woman, and so I embraced the wind, which impregnated me, and, after nine gadhis, Brahma was born. He grew into a young man, and I asked him to embrace me, but he refused, and, as a curse, I caused him to become a stone. Vishnu underwent the same fate, but Siva promised to satisfy me, if I gave him my third eye, shoulder-bag, and cane. This I did, and lost my power. Then all the water disappeared, and I was covered with mud. Siva again caused water to appear, and of it I took three handfuls, and threw them over my body. The third handful consumed me, and reduced me to ashes. From these were created Sarasvati, Parvati, and Būlokamma. I am that Būlokamma. I asked a favour of Siva. He made me remain within this earth, and, drawing three lines, said that I should not come out, and should receive offerings of fowls and goats." At this stage, a chicken is given to the Mannāru, who bites, and kills it. At the burial-ground worship is performed, and a goat sacrificed. The goddess being confined within the earth, no shrine is erected to her, and she is not represented by an image. A small pandal is erected, and the pot placed near it.
The goddess Kalimukkamma is represented by a paper or wooden mask painted black, with protruding tongue. With her is associated her brother Bāithari. She is believed to be one of the sisters created by Brahma from his face at the request of Iswara, the others being Polamma, Maridipoli, Kothapoli, Jungapoli, Nukapoli, Runjamma, and Kundamma. The shrine of Kalimukkamma is a low hut made of straw. At the time of worship to her, a Mannāru, dressed up as a woman, puts on the mask, and thus represents her. A stone slab, containing a figure of Kalimukkamma, is carried by a woman. She is the only goddess who may be represented by a stone. To her pigs are offered.
Peddamma or Polamma is represented by a wooden effigy. Along with her, Maridiamma is also worshipped. The offerings to Peddamma consist of a goat or sheep, and a pot of milk. A pig is sacrificed to Maridiamma. When the people proceed in procession to the place of worship, a toy cart is tied to the person representing Maridiamma, and some one must carry a toy boat. At a distance from the house, the cart is detached, and a pig is killed by an abdominal incision.
Samalamma is a mild goddess, with vegetarian propensities, to whom animal food must not be offered. She is associated with the aforesaid Bengali Babu riding on a horse. Her image may only be carried by young girls, and grown-up women may not touch it.
Of the Sakthis worshipped by the Vādas, the chief is Koralu Sakthi. The man who performs the worship is tied to a country cart, to which a central stake, and a stake at each corner are attached. Dressed up in female 
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In former times, the images of the deities were made in clay, but it has been found by experience that wooden images are more durable, and do not require to be replaced so often. Along with the images of gods and goddesses, the Vādas place figures representing deceased relatives, after the peddadinam (final death ceremony).
The Mannārus are very important individuals, for not only do they perform worship, but are consulted on many points. If a man does not secure good catches of fish, he goes to the Mannāru, to ascertain the cause of his bad luck. The Mannāru holds in his hand a string, to which a stone is tied, and invokes various gods and goddesses by name. Every time a name is mentioned, the stone either swings to and fro like a pendulum, or performs a circular movement. If the former occurs, it is a sign that the deity whose name has been pronounced is the cause of the misfortune, and must be propitiated in a suitable manner.