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This is an archive article published on July 17, 2022

Explained: How ‘filter kaapi’ became South India’s favourite beverage

Whether in Mylapore, Chennai or Matunga, Mumbai, the fragrance of freshly-roasted beans, with their promise of a hot, bracing shot of the sweet, milky coffee, has long defined a certain, typically South Indian style of coffee drinking experience.

The fan base of this style of coffee — served milky and hot, usually, in the stainless steel or brass combination of “tumbler” and “davara” — has grown in the last couple of decades. (Designed by Rajan Sharma)The fan base of this style of coffee — served milky and hot, usually, in the stainless steel or brass combination of “tumbler” and “davara” — has grown in the last couple of decades. (Designed by Rajan Sharma)

Among the lattes, flat whites and espressos on its menu, Tata Starbucks will now feature South Indian filter coffee – one of the “regional favourites” that the chain is introducing, along with masala chai and small bites, as it seeks to expand its reach in India. The fan base of this style of coffee — served milky and hot, usually, in the stainless steel or brass combination of “tumbler” and “davara” — has grown in the last couple of decades. However, its inclusion on the menu of a brand with a pan-India presence might herald a mainstream status that has long eluded filter coffee.

What, exactly, is filter coffee?

Whether in Mylapore, Chennai or Matunga, Mumbai, the fragrance of freshly-roasted beans, with their promise of a hot, bracing shot of the sweet, milky coffee, has long defined a certain, typically South Indian style of coffee drinking experience.

The “filter” pot used to make it is a metal utensil with two cylindrical parts: coarsely-ground coffee powder is put in the top cylinder, which has fine holes in its base, and pressed down using a metal disc. Hot water is poured over this and the coffee is allowed to brew for about 10 minutes, with the decoction slowly dripping and collecting in the bottom cylinder. The decoction is mixed with milk — cow milk, strictly, if one wishes to make the famous Kumbakonam “degree” coffee – and sugar, and served in the tumbler and davara.

The coffee itself is, ideally, made using freshly roasted and ground coffee beans, with purists insisting that no chicory be added to it. Many commercially-available blends, however, do contain some chicory.

A brief history of filter coffee

While tea/chai established pan-Indian dominance — in large part due to a marketing push in the 1930s by the British who were seeking a wider consumer base for the colonial tea industry, the consumption of coffee has been far more limited. The coffee-drinking habit really took hold in Tamil society in the late 19th-early 20th century. Coffee cultivation may have been established in the Mysore region by the 18th century, but most of it was being sent to Europe. As documented by historian A R Venkatachalapathy in ‘In Those Days There Was No Coffee’, by the turn of the 20th century, an enthusiasm for coffee gripped the emerging Tamil middle class.

Expectedly, cultural anxiety accompanied the enthusiasm, with criticism that connected it with “every conceivable and inconceivable malady”. It was deemed more addictive than alcohol, and Venkatachalapathy notes that women, in particular, were seen as having succumbed to its “dangers”. Despite this, coffee became the preeminent beverage in Tamil society, prestigious enough that not offering it to guests indicated a lack of social grace.

Coffee, or kaapi, had become a “cultural marker” and symbol of modernity, particularly for the Brahmin middle-class, distinguished from tea which was viewed as the beverage of the “urban working class”.

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‘Breaking Brahmin orthodoxy’

In his book, Venkatachalapathy records a tongue-in-cheek description from 1926 of the “coffee hotels” (also known as “coffee clubs”) that had become increasingly popular: “A public tavern instituted by Brahmins. A messenger from God to break Brahmin orthodoxy.” Even though coffee hotels were frequented by all kinds of people, they were mostly owned and run by Brahmins and almost always had segregated sections for Brahmins and non-Brahmins. While the caste-based segregation is mostly gone, the influence of Brahmins on the filter kaapi culture remains visible to this day in the very design of the utensils used to drink the beverage: the tumbler and davara were designed with outward-facing, lipped rims so that the drinker could pour the coffee straight into his mouth without letting it touch the utensils.

As coffee-drinking became common in other regions of South India, the establishment of “Udupi” hotels in other parts of the country — particularly Bombay and Delhi — introduced filter coffee to newer populations. Even now, however, the use of specialised equipment, as well as a certain degree of patience and skill, means that only devoted fans will make the effort to prepare filter coffee at home – despite the wider availability of the filter pots and even packaged decoctions.

Pooja Pillai is a Senior Assistant Editor at The Indian Express, working with the National Editorial and Opinion section. Her work frequently explores the intersection of society, culture and technology. Editorial Focus & Expertise Pooja’s writing spans several key domains, often blending analytical commentary with cultural critique. Art & Culture: She writes extensively on cinema, books, and the evolving landscape of arts and entertainment. Technology & Society: Her work examines the human impact of the gig economy, the rise of AI in creative fields, and the cultural shifts driven by digital platforms. Food & Lifestyle: She often uses food as a lens to explore history and politics, covering everything from the origins of pantry essentials to the impact of nutrition policy. Politics: She closely tracks political developments in South and West India and provides commentary on international political transitions, including the shifting landscape of American politics. Multimedia & Podcasting Pooja is a prominent voice in the Indian Express’s digital ecosystem. She is the host of 'DeshKaal with Yogendra Yadav', weekly video podcast where she facilitates deep-dive conversations on Indian democracy, social movements, and current political affairs. Notable Recent Works Cinema & Identity: “SRK@60: Why Shah Rukh Khan is Bollywood's last, and only, superstar” – an analysis of stardom and the changing face of Indian identity Global Politics: Commentary on the Trump administration’s misguided “war on woke culture” via typography and analysis of the visual semiotics of Volodymyr Zelenskyy’s attire during successive visits to the White House. Art & AI: “An unequal music: AI is lowering barriers at the cost of music itself” – a critique of how technology is redefining artistic value. Professional Presence Pooja is active on X (formerly Twitter) and Instagram, where she shares her latest columns and editorial insights. Her full archive and latest updates can be found on her Indian Express Author Profile. ... Read More

 

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