Kutch -A Sojourn by Palak Gadodia

Publisher Balwant Sheth School Of Architecture Editorial and Design Snigdha Agarwal Dhaval Chheda Varun Gala Information and Pictures II year students, batch of 2007 Cover page Photograph by Amal Roowala

Copyright 2009 Balwant Sheth School Of Architecture. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

KUTCH

A SOJOURN

Traveling is an integral part of architecture education. Multiple study trips to diverse places expose the students to a number of physical and non manifest experiences. Essentially, the final outcome is to understand how built forms are generated. In accordance with this practice, a sojourn to Kutch was carried out by the 2nd year students of BSSA, batch of 2007, lasting 8 days from 3rd 3/1/09 â&#x20AC;&#x201C; 10/1/09. Cultural mapping and analysis were the primary objectives of the trip. Extensive and rigorous road trips to large parts of Kutch and Saurashtra were part of the journey. The places visited include Bhuj, Veraval, Dholavira, Lakhpat, and surrounding villages of Ravapar, Hodka, Gandhi Nu Gaam etc. Before we commence narrating our experiences and understanding of cultural Kutch, let us begin by understanding culture itself. Culture could be described as a set of shared values, attitudes, goals and practices that characterize a particular organization or a group of people. An integrated pattern of human knowledge, belief and behavior transmitted from one generation to another, forming traditions. From our studies we have realized that location, geography and the environmental settings are the main generators of culture. What they generate, are called cultural products and they include art forms, settlement forms, music, dress codes, etc. Simply speaking the presence of certain conditions, lead to the development of regionally sensitive products. As an example we could say that the Japanese practice of erecting lightweight wooden houses has evolved to counter the damage caused by frequent earthquakes and volcanic eruptions. African tribesmen are endowed with dark skin and hefty proportions to combat and survive in the African plains.Sufi music has a mystical trance like quality to it, similar to the overwhelming quality of a desert where it originated from.The boisterous nature of the Italians, as against the soft spoken attitude of the Britishers, could again be attributed to the climate. One could thus conclude that within a certain setting, every human specie, true to its nature of adaptation, develops an expressive way of life with a fair sense of creativity and originality. It attains equilibrium with its surroundings, overcoming its adversities and exploiting its virtues. It ensures a system wherein the collective experience of the tribe and its people can be passed on to enrich the forthcoming generations.

1 INTRODUCTION Culture is a necessity indigenous to a place and the people inhabiting it. Akin to a fabric it is composed of numerous, integral, individual entities, yet, always perceived and experienced in totality. To understand the fabric of a culturally rich and diverse landscape such as Kutch, it is necessary to dissect and unfold each strand. To investigate each sliver as a vital character is to appreciate its role in enhancing our understanding of Kutch as a whole. A place is always consigned and embedded with a set of unique characteristics. They include the climate, the terrain, the resultant flora and fauna, and the local inhabitants. Essentially, it is the environment we live in. The physically felt, manifest environment around us. The non-manifest world requires a keen eye and can be observed in the living patterns and habits of the inhabitants, their art and musical expressions, the language and its dialects, numerous faiths and other such phenomena. The unknown often finds an expression through symbolism and helps man bear the vagaries of nature. Both worlds are an outcome of each other and it would be juvenile to ascertain the predecessor from the successor. The physical environment surrounding us is the primary generator of culture, and consequently mapping cultural Kutch must therefore begin by mapping its terrain. Apart from this we need to rely on oral transmission, narration, folklore and cultural products such as paintings, crafts, music, performing arts and the built and settlement forms with their accompaniments. Plotting all of these aspects individually would help us regenerate a complete cultural map of Kutch.

Architecture is an integrated outcome of the living patterns of a particular place and its people. It is distinct from literature, sculpture, paintings, music and other forms of art since the physical form of a building is inseparable from its locale and people. It should be satisfactory not only in terms of mere physical requirements but also, the deep layered social needs. It should encompass the philosophies and ideologies of the inhabitants and be culturally sensitive. Our primary objective as students of architecture was to grasp the cultural complexity of Kutch and understand its articulation in the built form. All studies focus to connect each aspect to the built form and space, with varying degrees of success. An attempt has been made to present these studies in a sequential logic, however, cross references and overlaps are crucial to elucidate certain points. The reader may find himself carried back and forth through certain subjects as it is impossible to study the numerous interconnected facets in isolation. This is an effort to present a humble understanding evolved through the personal experiences of a class and supplemented by references to scholarly works of others. We thank and acknowledge the numerous authors and their works used as direct or indirect citation on multiple occasions. We would also like to thank Prof. Anand Pandit. Minus the depth of his knowledge, understanding, guidance and collective experience this study would be unthinkable.

2 2

TRADITIONAL DWELLINGS IN JODHPUR

BUILT FORM- AN INTEGRATION OF CULTURE, ENVIRONMENT AND UTILITY

During the course of our study tour, traditional built forms were analyzed and studied. Before we commence our theories on the various physical and non physical elements that transpired to give form to the local settlements, let us try and understand the term tradition. What does tradition signify? Why is it essential to value it? Why is it that the word ‘traditional’ can evoke on one hand, a feeling of the real and the authentic and on the other, a sense of limitation - of a deficiency in boldness and originality.

TRADITIONAL DWELLINGS IN ZAGROS - IRAN TRADITIONAL DWELLINGS IN ZAGROS - IRAN

Traditional dwellings and settlements are the built expression of a heritage that continues to be transmitted from one generation to another. Usually the product of common people without professional intervention, they provide the habitat for much of the world's population. According to one estimate, traditional dwellings and settlements house between eight and nine million households in a variety of urban and rural settings. Specific labels such as 'vernacular', 'indigenous', 'folkloric', primitive', 'tribal', 'popular' are used to describe traditional architecture. One thing common to all the above qualifiers is that they describe a process that becomes a norm when enough people in a given society adopt it. A thing is traditional if it satisfies two criteria: it is the result of a process of transmission, and it has cultural origins involving common people. Traditional buildings and spaces provide for the simple activities and enterprise of the ordinary people, which strongly relate to place through respect for local conventions, and which are produced by a process of personalized thought and feeling rather than utilitarian logic. This book is a design oriented study. In essence, it seeks better ways of understanding the past without accepting a simplistic return to earlier tradition. The idea is that tradition must not be interpreted as a static legacy of the past but rather as a model for the dynamic reinterpretation of the present. An avenue to formulate more appropriate questions instead of giving answers to old, long –held ones.

SQUATTER COMMUNITIES IN MUMBAI SQUATTER COMMUNITIES IN MUMBAI

HOT AND DRY: These deserts have little humidity, high evaporation and soil minus subsurface water. They are mainly located near the equator and are formed due to a low pressure zone stealing moisture from the air. E.g. Sahara desert, Australian desert

A comparative study of the geographic location and formation of deserts around the world.

The apparent movement of the sun takes place between the Tropic of Cancer and the Tropic of Capricorn. Hence we have two desert bets within which 20 major deserts are located. This belt receives maximum heat conducive for the formation of the deserts, on the western periphery of the continents. Cold ocean currents from the poles also play an important role in the formation of deserts.

COLD DESERTS: These deserts are caused because land on the leeward side of the mountains does not receive adequate amount of moisture in the form of precipitation. The soil is heavy and salty. The winters are long with very little cloud cover. E.g. Tibet, Turkestan

COASTAL DESERT: The attributes of these deserts are porous, fine textured soil, non-hygroscopic in nature. The climate is hot and dry during summer and cold during the winter months. Formed as a consequence of cool water currents, condensing the air above the sea, and hence, depriving the landmass of moisture laden winds. E.g. Atacama, Namib, Kutch.

SEMI ARID DESERTS: The region is characterized by long and dry summers, low concentration of rainfall and low salt concentration in the soil. These are inland deserts, formed, when the winds lose their moisture over the course of their paths. E.g. The Gobi and Kalahari deserts.

O R I G I N

A N D

T E R R A I N

There are numerous myths, legends, and folklore tales surrounding the origin of Kutch. At first glance much of this area - ‘rann’ means marshy desert - is barren and inhospitable. A fine, white sand blows everywhere. But the many tribes that thrive here are a testimony to the resilience and ingenuity of the desert folk. Kutch also has stretches of richly diverse grasslands which support pastoral communities. Their homes, clothes and crafts bloom with intense life and colour. Local legend maintains that a great saint, Dhoramnath, meditated on a mountain for years and was granted the dubious boon of being able to destroy whatever he looked upon when he first opened his eyes. In his wisdom, the sage turned his gaze upon a part of the shallow sea and salt marsh of the Rann, which burned away, creating the Banni grasslands. Banni means 'created' - “Rann se banni hui”, say the folklorists. Scientists, though have a more rational explanation: the grasslands were formed by the sedimentation of soil brought by the Indus river, which flowed through the Rann in times past. Anyhow, these pastures attracted herdsman from as far away as Afghanistan. Kutch could be personified as a tortoise. It traverses both land and ocean, is seemingly ageless and well protected on its back. It ventures out cautiously and withdraws quickly at the first indication of hostility. Slow of movement, but remarkable of persistence. For an extensive period of time, Kutch was isolated from the rest of India and consequently remained uninfluenced by political and technological intrusions. It has thus retained its identity and pride.

Kutch district ( 22.5 to 24.5 N lat, 68.0 to 72.0 E long) is the westernmost part of the Gujarat state and the second largest district in India bordering Pakistan. It is a massive thick set peninsula between the great deserts of Sindh & Thar and the Arabian Sea. It has an area of 45,000 square kms mostly covered by the salty marshlands of the Rann. Kutch is predominantly an arid desert and bears resemblances to other such deserts around the world.

24.5 N

22.5 N

MOTU RANN LAKHPATH

BANNI

CO AS T

ARABIAN SEA

BHUJ LH IGH LA ND

ANJAR

NANNU RANN

PLAINS

MANDVI

MUNDRA

The landscape of Kutch, when seen from the road traveler's point of view, comprises of large tracts of dry, desert land, stretching endlessly into the horizon. Occasional green fertile patches and thorny desert shrubs are interspersed with the multiple dry river beds and gorges. The desert region lies towards the north and north eastern part of Kutch called Motu and Nanu Rann. Kutch has an intermix of a variable and rather hostile geography. The grasslands are located in the north eastern areas. Most of the fertile stretches of land are located on the southern coastal part. The rest of the territory is an arid tableland, a semi-desert stretches from east to west as low rocky hills are scattered among the beds of rivers and streams which are almost perennially dry.

The southern coast of Kutch receives pleasant sea breeze as winds blow from the south and the south west for major parts of the year. When these moisture laden winds reach the Rann, their humidity is withdrawn resulting in scanty rainfall. The average annual rainfall is below 40cms falling mainly in the months of July and August. Thus the water supply is inadequate despite the low requirements. APPROACH OF WINTER WINDS

APPROACH OF S.W MONSOON WINDS

During the monsoons, the two Ranns get flooded by sea water which penetrates into the low lying areas and for many inhabitants Kutch turns into an island cut off from the surrounding regions by swamps and salt marshes. There is also a major ridge running east-west across the plateau. The overflowing water from the ridge is also responsible for the flooding in this region. As the flood waters recede and dry up, what is left behind is a hard, flat surface covered with stone, shingle and layers of abandoned salt. Also, since salt is hygroscopic in nature, it absorbs all traces of moisture from the incoming winds leaving the central part of Kutch as dry as a bone. Salt also binds the sand granules together as a result of which water does not seep through the ground. Dust storms are thus infrequent in this region. Barren and impervious plains, carcasses of animals and pre-historic rivers, endless stretches of sparkling white salinity â&#x20AC;&#x201C; all condense to form a very hostile and peculiar climate for the region of Kutch. On the whole there is a precarious ecological balance, which is being increasingly endangered by the swelling populations of humans and domestic animals as well as a surge in the number of industries set up in this region. Sheer resilience, determination and intelligence have ensured the survival of the inhabitants. Their way of life should be seen as an outcome and a solution to overcome the adversities of the terrain.

Another key geographical aspect of this region is the fault lines. Kutch is believed to be sitting on six major fault lines and seismologists have discovered a seventh hidden fault line in northern Kutch which triggered the devastating 2001 earthquake in Bhuj.

KU TC H

IS L A ND

BELT FA ULT

NN I FA

The six major fault lines were formed over a period of 120-130 million years and were re-activated when the Indian plate collided with the Eurasian plate. Kutch is therefore a quake prone region and this factor has played a decisive role in shaping the history, built forms and ideology of the settlers.

UND FAULT A LL A H B

IN L A N

D FAULT

BHUJ K ATROL H IL L FAU LT SU ND E R A DURG A FAU LT

WAQAQ FAULT

F L O R A

F A U N A

O C C U P A T I O N

To gain a broader cultural perspective, we must first understand the surrounding settings that led to the various occupational and trade practices in this region. The vast unbroken coastline was a crucial factor leading to the development of ship building as an occupation. It led to trade and commerce with numerous countries, and also shaped the attitude of the native Kutchi's to evolve into astute tradesmen. The geographical position was important as it led to isolation from mainland India and yet connectivity with foreign countries. As a result of this irony, Kutch was largely uninfluenced and remained culturally intact. The presence of large quantities of salt, naturally set up salt trade. Banni grasslands afforded rearing sheep, cattle and camels, the products of which were put to suitable use. Surplus milk was converted into pedhas and mawas, a regional specialty. Harsh climatic conditions created a strong sense of brotherhood and bonding amongst the members of the different communities. Traveling large distances were customary and for such reasons camels were reared and clothing altered accordingly. Effectively speaking, terrain and climate were the main perpetrators in setting up trends, which over a period of time came to be recognized as culture and tradition.

11 The flora of Kutch can be divided into three major zones The coastal zone. The central hilly or dry deciduous zone. The Banni grasslands.

FLAMINGOES, MIGRATORY BIRDS

Such varied landscapes lead to multiple occupational and cultural practices. Diversity in vegetation and animal life, coupled with the folk intelligence, have given rise to numerous profound expressions derived from nature. One can witness it in the settlement forms, the clothes and jewellery and also their beliefs and occupations. The Banni grasslands of Kutch supply the region with immense fodder for cattle, sheep, camels, horses and wild asses. The Rabaris are travelling nomads and decades ago settled into this region on account of the large pastures. Nourishing fodder, grasses and weeds have ensured the survival of herds and also the herdsmen. Plants such as the ‘Prosopis julifora’, imported from Australian wastelands, have often created more issues than the ones resolved. It is known as the ‘ganda bawal’. The roots of this plant can be used as fuel as they burn slowly, without generating too much smoke. They are known to be rich sources of protein and help in increasing soil fertility and reducing soil salinity. However they cause choking of river beds and nearby plants and cause fragile eco-systems to perish. Since their roots can penetrate deep inside the grounds, the neighboring plants are deprived of water and in due course wilt away. A type of grass known as ‘cher’ is popularly used for fuel, fodder and timber. Numerous hollow reeds flourishing in the marshlands are used for the roof of the ‘bhoonga’. Dyes are made from various natural plants which are used in numerous paintings and handicrafts. The Rabaris are known to use black sheep wool as primary clothing. The black wool is usually discarded as waste while higher qualities are sold for money. WILD ASS, TYPICAL OF KUTCH

Occupation, flora-fauna and wildlife are closely interwoven together. Most occupations and livelihood patterns emerge from the land, its products, animals and their products, the geographical location and strategic positioning of the trade routes, and multiple reasons so forth. Kutch is a semi desert region with large expanses of dry lands. In need of a variation from these dry lands the people of Kutch initiated travel to foreign lands. Non-availability of certain essentials, and the availability of a jagged coastline, must have lead to the beginning of trade. The use of barter system, thus lead to an exchange of physical objects along with the exchange of ideas. External influences can be observed in many fields.

Agriculture and pastoralism are the main occupations of the Rabari nomads who had come in search of new grazing lands. Numerous crops, feasible to the climate are grown here. Bajra or pearl millet is well adapted to production systems characterized by drought, low soil fertility, and high temperatures. It is comparatively high in protein and performs well in saline lands. Coconut palms thrive on sandy soils and are highly tolerant to salinity. Sugarcane is another important crop grown in this region and is used to manufacture jaggery, an important constituent of the Kutchi diet. Castor, groundnut and wheat are cultivated in the southern, fertile district of Banni.

Sheep, cattle and camels are reared in large numbers and the plentiful products obtained from these generate means of exchange and expression. Kutch is famous for its milk and milk products. Surplus quantities of milk were converted into ghee and over a period of time it was used to barter other essentials in return. Pedhas, mawas and sweets became crucial components of the dietary habits of the people. Today, most rabaris have become adept at selling milk and milk products such as pedhas. Many corporations, such Amul, have set up milk collecting centers in multiple villages where Rabaris sell milk on a regular basis. A mixed bag of Hindu and Muslim settlers inhabits Kutch. Goats are slaughtered for consumption by the Muslims and their skin is then converted to leather. Flourishing leather tanneries and leather products such as footwear, belts, etc are consequently a major occupation. These products are often embellished with intricate embroidery. Camels are reared as critical modes of transport and their skin and milk is utilized in similar fashions as mentioned above. Wool obtained from the sheep is used to knit shawls and blankets. Weaving is mainly an indoor activity and led to the development of various styles of clothing such as â&#x20AC;&#x2DC;bandhinisâ&#x20AC;&#x2122;, a system of colour application, which led to the development of commercially viable products. Skill thus combined with the availability of material has led to an increase in the prosperity of the various communities. People are now progressing to manufacture fabrics beyond the realm of personal use to meet market demands. However, such practices have not adversely affected the craftsmanship and have effectively led to an increase in the popularity and awareness of such fabrics all over the country. The dresses are vibrantly coloured using naturally available dyes and seek to counter the stark, hostile landscape.

CROSS -CULTURAL SIMILARITIES The Bedouin tribes have a nomadic lifestyle as a result of the terrain; hence shepherding is the main occupation. The weaving of carpets and rugs made from camel or donkey hides is a social activity amongst the women. Similarly tribes of the Atacama Desert also have a domesticated, agricultural way of living. During summers they travel in search of pastures and during winters they fish in the coastal areas. The tribes of the Kalahari Desert are nomadic hunters and gatherers. They camp in a particular place and when the region is unable to sustain the tribe they move to another area. Water is stored in ostrich eggshells, and buried in the ground for use during droughts. The natives of the Mojave Desert became excellent basket weavers due to the availability of bamboo and cotton in large quantities.

T R A D E

T R A N S P O R T

Kutch enjoys a vast shoreline and the 350km stretch of coast is unbroken and lined with numerous ports. The constant presence of a water body shapes the demeanor and mental attitude of the coast dwellers. They develop an aptitude and attitude for navigation and establish trade routes with foreign countries. Ideas from distant lands are imported and the whole culture of that region may undergo subtle or dramatic changes. The Spaniards and Italians are renowned for their sense of adventure and exploration, much of the known world having been discovered by them. The Kutchis for their part came into contact with different people and it ingrained in them a sense of understanding, flexibility, calculative abilities and trading prowess.

Middle East

To Hinterland India

INDIA

Africa

The coast plays an important role in migration and invasions. To that effect Mandavi and Jakhau were vital, strategically located centers. From these two port towns major trade was carried out to Africa, Egypt, Persia Gulf, Malabar, Mesopotamia, Rome and the far eastern countries. Mandavi is an important port town located on the south western coastal part of Kutch, with a population of about 40,000. Although port activity has reduced substantially over a period of years, all characteristics of a typical sea faring town can be witnessed in Mandavi. As the people of Mandavi were prosperous sea-farers, the houses they resided in were at least three-four stories high, complete with Corinthian, Gothic, and Victorian details. The use of expensive timber and Mangalore tiles from South India, stained glass from Persia and numerous other imported materials from around the globe is witnessed. The built forms are denser and taller as compared to the villages in the vicinity. Foreign influences and materials have given birth to an altogether different culture in Mandavi, akin to the global cities of today.

MANDAVI: FIGURE GROUND

The traders of Mandavi realised the full potential of its key location when they learnt that Mandavi fell on two very lucrative and significant trade routes, the maritime-spice trade route, and the desert-camel trade route. It was the only port on the whole western front of India with trade links and ties that went as far as the Middle East, East Africa and Mesopotamia. Consequently dual trade was carried out from Mandavi. The singular Indian spices and herbs such as cardamoms, pepper, ginger would be exported to foreign lands and bullion, dates, grain, timber, rhinoceros hides, silks, drugs, ivory, and hides from Africa, etc were whisked away to hinterland India. Mandavi played a crucial role acting as an important junction and a connect between the east and the west and as such was useful for the pilgrims traveling to Mecca. Unfortunately is was also notorious for slave trafficking, with slaves brought in from Africa and pirated to the west. Residual African features are found till today in parts of Saurashtra.

Timber from South India was also imported and landed in large quantities on the port. It is employed in abundant quantities while erecting the coastal dwellings, as timber suits the environment perfectly. Kutch is also celebrated for its timber carvings and detailing. The silver imported to Kutch, was beautifully moulded and ornamented at the hands of the skilled Kutchi craftsmen, and earned its repute and recognition in foreign lands and was highly sought after.

Fishing was another supplementary activity carried out along the coast as is inevitable in any coastal strip. However, since the diet of the masses was chiefly vegetarian, the fisher-folk developed friendly ties with the local exporters and managed to sell their catch overseas.

When it dawned on the British that salt trade from Kutch was highly profitable, the Kutchis were forcefully banned from trading salt. As of today 33% of the country's industrial salt is produced in Chotta Rann.

We can thus infer that despite the absence of natural resources Kutch is endowed with an excellent coastline and settlers displaying an acute sense of business. Thus their prosperity has only multiplied. The Banni grasslands provide for the shepherds and tribes. However many Kutchis have also migrated to Bombay to enhance their wealth. Known to be opportunistic migrants, one could possibly say that this is the next wave.

For occupation and trade to flourish, development and penetration of accessible transport routes are critical. The internal transport routes developed into a dense network as trade flourished, and hence the need for travelling and transporting goods increased. Mandavi and Jakhau were singular primary forces and with the emergence of new towns such as Bhuj and Mundra the primary roads linking these ancillaries to the main route were further widened and strengthened. The primary routes made inroads even into the remote areas, and along with foreign commodities and wealth, foreign influences and culture began intermingling with local traditions. Lakhpat

Rapar

Bhuj Jakhau Anjar

Mandvi

Mundra

Apart from commercial needs, the Rabaris are also known to travel as they migrate from one land to another. The caravan usually travels on camel back - with a specially developed camel cart, or in the Renkada, a local bullock cart.

The back of the camel is laden with layers of fabric and the garments of the Rabaris, upon which the rider is seated. This ensures a comfortable, cushioned mattress upon which to sit and also serves the purpose of insulation.

As the loads got heavier, the balance on the back of the camel became more precarious. The nomads invented a unique devise to counter this issue. Similar to an inverted bedstead, it consists of a cube frame, comprising of four vertical members and four horizontal ones, with two of the horizontal members being larger than the verticals. This mechanism allows the load to be distributed evenly. Smaller belongings are mounted onto vertical members and the rest are evenly distributed in a peculiar fashion, to attain an ideal balance.

KUTCHI KOTIA This original Kutchi ship was famous for its speed, strength and appearance. It required 4 -12 sailors. The interior of the ship was structured like an eagle, with 3 corners. It was renowned for its strength and would not topple, even when empty.

KUTCHI NAVDI This is also a type of Kotia. It was 40 feet long and 10-6 feet wide with 3 corners. In the interior it had less number of planks in order to squeeze in more number of goods.

KUTCHI MACHVA SMALL MACHVA Small machvas were 9 to18 feet long and 3 feet wide with 2-6 corners. These ships were used by the fishermen. In the front face there were 2 arrows which would avoid collision with the other ships. BIG MACHVA It was 27 feet long, 10 feet wide and 80 feet deep. This was used to transfer people from the seashore to the main ship.

Shipbuilding was a burgeoning industry, and there were well over 250 ships docked in Mandavi at any given moment, weighing anywhere between 20-200 tonnes. In 1551, the Mandavi dockyard was constructed and trade established to Africa, Persia and Gulf countries. Different types of ships were constructed for different purposes.

P E O P L E

L I F E S T Y L E

F A I T H S

Adaptation is an intriguing phenomenon. It ensures the survival and continuity of the species while at the same time weeding out weak individuals thus transmitting only the most adept of the kind and its influences to the next generation. When we talk about vernacular architecture, traits and customs of a traditional society, adaptation acquires a different context. Adjusting to the environment in this case cannot imply losing the old world methods and means of expression. The surviving subjects of such circumstances manage to retain their traditional wisdom and modulate it to suit their contemporary needs. The people of Kutch are fine examples of such ingenuity.

It is said that historically, the Rabari settlers had emmigrated from Persia and Afghanistan on account of Alexander's invasion of central Asia. Their search for safer pasturelands brought them to the doorstep of Kutch.

ER AND EX

â&#x20AC;&#x2122;

ON SI A V S IN

The two major communities settled in Kutch are the Rabari immigrants from the Sindh and sea faring traders from Saurashtra. Furthermore the Jats and Jains from Rajasthan, the Ahirs from Sindh and Mathura, and many other tribes and culture migrated to Kutch for multiple reasons.

One can see two distinct sets of people. The Kutchi traders, popularly known as Vaniyas, and the Rabari settlers. While one class has contributed immensely to the popularity and prosperity of the region, the other retains the traditional customs, art forms, food habits and way of life. Class in this case signifies two distinct sets of people characterized by their occupational and day to day living patterns. The people of Kutch can never be segregated, divided or provoked on the basis of their caste and religion. They show enormous solidarity, and the environmental hardships drive them closer to help and assist each other in need. Each village could easily have three to four edifices of worship belonging to different faiths. Hindus, Muslims, Jains, Jats all communities live peacefully and in harmony.

Language acts as fantastic medium of connection, since vernacular Kutchi is spoken by everyone in this region. It has linguistic similarities to Sindhi, Gajarati and Rajasthani, resulting from century long migrations and subsequent amalgamation of dialects.

The race of the Rabaris is also difficult to pinpoint. However, they are tall, dark skinned and robust. They often have freckles and wrinkles around their eyes due to excessive squinting. Their skin is covered with an imperceptible layer of oil and protects them from the dry climate. They display all the features of traveling desert clans.

It has merely a spoken language with no formal script. There are very few monolingual speakers of Kutchi, nearly everybody is well versed in Gujarati, Sindhi and Urdu. Being a trading community, demolishing communicating barriers and unifying the language was very important for the Kutchis. Hence despite the numerous castes, a rift or divide is never felt.

The food habits of the varied castes are also similar, and they are chiefly plant based. Their diet consists mainly of dried, nourishing pulses. The staple food is khichdi and kadi - a curry made from yoghurt. Milk and milk products form a large and essential part of the diet. Shrikhand, dhoodhpaak,etc are all examples of the same. Other important food items include bajra chapatti, saag, buttermilk, dried pickles, papads and dhoklas. Jaggery forms an important part of the diet and is hygroscopic in nature. It hydrates and energizes the body.

CROSS CULTURAL SIMILARITIES The nomads adapted themselves to the landscape and cultural patterns and lead a lifestyle seen similar to other tribes around the world. The Bedouins also lead a nomadic lifestyle with long, hooded robes protecting the skin and activities such as weaving and knitting carried out by women in groups. This is similar to the Rabari women and their practice of weaving. The Bedouins expressed community bonds and individual uniqueness through the vehicle of the home environment, much like the Bhoongas. The tribes in Kutch are identified by their tattoos and embroidery depicted on the clothes. The people living in the Mojave desert also exhibit the same traits.

DRESS

AND

JEWELRY

A desolate, monotonous landscape coupled with the dry winds and extreme climatic fluctuations creates a compelling urge among the natives to express their feelings. Colour is a must to effuse joy and migratory stories are weaved into the fabric. Ample wool and cloth obtained room the domesticated animals, natural dyes from the plants, all contributed to generate the necessary tools for such an expression. Clay is abundantly available and used in limpan kaam, clay pottery and also for erecting the Bhoongas. The sounds of migratory birds and bells strung on the cattle are mimicked in the vernacular instruments. Our surroundings affect all our senses very profoundly, sometimes without us even knowing about it. It is this influence that finds an intuitive expression in the everyday activities and lives of the people.

The direct result of the amalgamation of nomadic lifestyle, cultural traditions and extreme climatic conditions prevailing can be observed in the clothing and ornamentation of people. The dresses are infinite combinations of vibrant colours in various media coupled with complexity of weaving techniques. Women mostly wear a ‘ghaghra’, a long skirt which is heavily gathered at the waist, cotton backless blouses covered by a long scarf or ‘odhani’. The materials used are such that they restrict the heat transfer between the body and the environment. Wool produced in plenty is one such ideal insulating material.

A girl's intricately embroidered odhani is her introduction to her in-laws and forms an integral part of a marriage dowry. An odhani essentially protects the head from the harsh sun and also blocks the wind from entering the ears.

The ghaghra is made out of layers of loosely woven wool which cut offs the heat exchange and yet allows air movement. Heavy embroidery at the bottom edge of the ghaghra helps it maintain its form.

The turban worn by men, just like the odhani, protects them from severe climatic settings. Rabari men, predominantly herdsmen, can be seen in loose pants as opposed to men in Saurashtra who wear tight fitted pants, called ‘churidars’, since they have to work in fields. Carrying wealth on their bodies is a cultural expression of a nomadic lifestyle and hence a major form of material investment. Heavy jewellery is worn by men, women and even animals preventing dust from entering their nose and ears. Women fix their nose rings and ear rings to their head thus distributing the load.

In the villages and nomadic camps throughout Kutch one can still see the extraordinarily rich living design and craft. Moreover the clothing styles, patterns and colors are the identity of a region not just a person and for every regional style there are community variations. They also indicate the age group of the person wearing them; young girls wear flower motifs with lots of colours and mirrors, newly blossoming bud designs are worn by married women, and open blossom by young mothers. Thus the myriad styles of Kutch represent a richly textured map of regions and ethnic groups. Each style has been shaped by historical, socio-economic, cultural and climatic factors. Also each has a regional element shared by several communities and ethnic distinctions to varying degrees. Traditional but never static styles have evolved over time.

CROSS CULTURAL SIMILARITIES The headgear of the Bedouin tribes of the Sahara desert consists of a ‘kufiyaa’ cloth and an ‘agal’ rope. Long hooded robes are worn to protect themselves from the wind, dust and intense heat. The headgear protects the neck from the sun, and can be used to cover the face in case of dust storms. The cloak also serves as a blanket. The Tuareg tribe belonging to the southern Sahara region use a blue cloth to cover themselves, as a result of which their skin acquires a bluish tint. Men wear veils to cover themselves.

ARTS

AND

CRAFTS

Kutch's uniqueness is something that was not born out of isolation but its openness to cross cultural influences. Its coastal location encouraged and allowed contact with the outside world and its interior land barriers prevented easy contact with the rest of the sub continent enabling Kutch to manifest unique qualities through its arts and distinctive integration of cross culturally influenced design. The design influences are derived from the contact with Sindh, trading exploration with the coast of Africa and interior Asia, and Islamic settlers. They have also been brought to Kutch by its nomadic but steadfast indigenous populations. The cultural traditions of ethnically diverse and aesthetically curious people of Kutch made the state's arts and crafts singularly identifiable, popular and unusually widespread in distribution.

EMBROIDERIES Most of the world renowned embroideries of Kutch were stitched by village women for themselves and their families. The colourful sparkling garments and household decorations, bags, animal trappings,. 0portable decoration suited to mobile life- have been used to create festivity on auspicious occasions or to generate wealth. Embroideries contributed to substantial economic exchange required for marriage apart from other social obligations. The deep rooted customs of giving embroidered articles as dowries to brides supported and perpetuated the craft. The techniques of producing variety of rich and fine embroidery is handed over from a mother to a daughter and the cycle goes on. Women of Kutch knit their colorful dreams with the help of needle. More than practical wealth, embroidery is an obvious material expression of culture. To artisans, embroideries communicate self and status, and they create bonds within society. Each community has its own distinctive style of stitching and needle work. It gives them their own individual identity which is very important, given their nomadic and semi nomadic life. Their perception of the natural surroundings also varies. For e.g. traditional to Kutch is a style of embroidery known as Hurmitch inspired from the Bavaliya tree or thorny acacia. The communities have distinct ways of expression which gives each community its unique identification.

Different stitches look good on different materials. A woolen fabric would require broader stitches as compared to a silk fabric in which finer stitches can be done. Thus embroideries of each community changed due to availability of materials and also their customs. Communities like Muslims were tabooed and could not use pure silk, the Brahmans could not use leather. The Sindhis did not touch wool and hence used cotton mixed with silk which is called Mushru. Disparity in embroidery styles create and maintain distinctions that identify community, sub community and social status within communities.

RABARI EMBROIDERY Rabari women are well known for their impressive mirror embroidery, which is emblematic of their pastoral life. Needle work is done by using minute close chain stitches. embroidery and combination of small mirrors.

BAVALIA EMBROIDERY This is also called Kutchi or Sindhi embroidery. Here the main stitch is of 5 square meticulously woven in one go. Repetitive design patterns are done with mirrors of various geometrical shapes tied by colourful threads.

AHIR EMBROIDERY Ahirs who migrated from Gokul, Mathura and settled in Kutch and Saurashtra practice this approach. The embroidery resembles Rabari stitches but only round mirrors are used with geometrical and floral motifs.Peacock in beautiful forms, stylized flowering bushes and putlis are some of the common motifs.

LEATHER EMBROIDERY It is a traditional craft of Kutch especially the Banni district. Sometimes the bark of babul trees is added while making the leather to give it a red tinge. Designs of fish, mor(peacock). Flower, Butti, double Butti, are common decorations. Main craft pockets are villages of Bhirendiara, Khavda, Dinara, Kunaria and Dumado.

TEXTILES The major textile crafts of the settled areas of Kutch, as opposed to the embroidery traditions of the rural and nomadic communities, are bandhani or tie-dye and block printing. These take place in many of the towns and villages of southern Kutch such as Mandvi, Anjar , Abdasa and Dhamadka. Textile production in these areas are dominated by the Khatri community of professional dyers and printers, who traditionally produce the fine tie-dyed silks of Kutch, as well as being involved to lesser extent in weaving and ajrakh priniting.

AJRAKH PRINTING (BLOCK PRINTING) Gujarat has been a centre of printing and resist dyes for centuries. The combination of two techniques is seen in ajrakh, traditionally a blue and red dyed and printed cotton cloth that is found in Kutch. Ajrakh, always made in a rectangular format, has a multitude of uses. It may be used as turbans, shawls or lungis by men and in certain areas as odhnis, not to mention the household uses.

BANDHANI WORK It is a type of dyeing practice. Bandhani work involves tying and dyeing of pieces of cotton or silk cloth. The main colors used in Bandhani which are all natural dyes are yellow, red, green and black. Bandhani work, after the processing is over, results into a variety of symbols including dots, squares, waves and strips.

CLAY DECORATION (LIMPAN KAAM) It was used in pottery and also inside the houses. Limpan is applied on the wall and symbols, geometric or nature inspired designs are worked on it. This clay is mixed with camel dung and is kept wet for few days. Camel dung is preferred over cow dung due to the longer fibers present in the camel dung which can be compared to nylon fibers.The whole clay surface is coated, except the added mirrors, with white earth called chedi mitti. Delicate hands of women work with great skill, patience and dedication to come up with creative designs. Intricacy of clay motives and smooth fine curves can be seen.

SILVER WORK Gold and silver work is commonly known as kutchwork. Kutch is famous for its silver work design as well as engraving in jewelry. Benefaction attached with inheritance of skill and workmanship helped in the growth of silver works. The elements were mainly drawn from nature. It incorporates elements of western derivations with traditional Indian motifs.

31 METAL WORK Due to the vast landscape sound serves as an apt medium for the shepherd and herdsman to locate and control their flocks from a distance. Kutch is famous for unique metal bells. The Iron Bell is used to recognize the animal by the farm animals' herders in Kutch. The blacksmiths are also called 'Luhars' and they are experts in making these bells from iron container. The iron bells are prepared in Zura, Nirona and Nana Angia of Kutch. Individualistic tone of each bell creates characteristic reverberating melody which is distinctive to each shepherd and his herd. The unique resonant tone is achieved through a covert family procedure for smelting metals. Straight sheet

PROCESS Preparing the iron bell is a very impressive process.

HANDLE CAP\HEAD GONG

BODY

Sheet is rolled with the help of interlocking

Oval shape at the bottom due to the pinch-the upper circular shape is retained for attaching to the head A small stick of wood is fixed inside the bell for ringing.

SECTION OF A REGULAR BELL

The pinch at the bottom of the bell lends each bell a distinctive tonal quality. The tone is dependant on the size of the pinch.

POTTERY The material earth used to make a vessel or a pot play a crucial role in shaping the form of the vessel. As the craft in Kutch is practical and functional the form is also based on the purpose it is going to serve. Like vessels meant for storing liquids have a broader base and large handles or chains. They have a smaller opening so that maximum surface area of the container could come in contact with the liquid and hence the liquid can stay cool. FORC

SPACE FOR ARM

CENTRE OF GRAVITY

UNSTABLE

SECTION OF A KUTCHII BELL

STABLE

Crafts developed as utilitarian objects or objects of need. The designs on the objects started off as graphical representations of what people saw. They were initially sketches of nature. Repetition of forms and difference in scales of those forms were used to create various patterns. The design forms were born out of the symbolism to flora and fauna. Animals and birds were later replaced by events like marriages or by characters like Rama from Ramayana and Krishna from Mahabharata.

All this was done by women as an amusement using hours of time available after essential chores when the men of the house were away for work. In the absence of natural flora & fauna, they create a second nature with variety of colors even in the stark surroundings. Crafts hence developed as means of their expression and also as a way of additional income. Sometimes being the external expression of inner self when passed on becomes a practice and a daily livelihood for the family. When somebody goes beyond the way of this expression it grows into a new tradition opening the gates for new ideas and craftsmanship.

D W E L L I N G S

A N D

S E T T L E M E N T

A well designed house is an embodiment of multiple sentiments. It reflects and incorporates the value system of the individual, the community, and, in case of masterfully created dwellings, even the entire region. It could be the outcome of a necessity, fulfilling utilitarian requirements, yet it has the potential to be a conceptual vehicle conveying the aspirations and sentiments of the dweller. It safeguards one from the natural elements, yet it will never alienate itself from its surroundings.

Choice is an ideal of modern times and we live in an age free from caste or economic barriers, consequently the freedom of choice is not confiscated from anyone. Choice is limited in non literate and folk societies. People have to make do with whatever is at hand. The form and arrangement of dwellings, for example, are constrained by the availability of local materials, the local climate and the socio-economic facts of life. People who have known affluence and have found it unfulfilling, may yearn for some kind of constraint, having outgrown their choices. The constraint of traditional architecture is a constant temptation, thus. This is one reason why it is beneficial to study it. It is pure, elemental architecture and often a product of elegance. When building in a predominantly traditional environment, or in a region with strong cultural roots, it is important for the designer to sensitively understand the nature of his insert. This is because; a form should grow from the surroundings , as it has an impact on the mental frame of the localites and it affects and often alters the dynamic forces at play in a settlement pattern. This gives us one more reason to analyze traditional built forms. The growing interests in traditional architecture among architects may also be viewed as a desire to seek better ways of understanding their heritage, hence for transmitting and recreating without having to accept a simplistic return to earlier architectural traditions. However, it can also be argued that there is no such thing as 'traditional building' and no larger field of 'traditional architecture'. There are only buildings that embody traditions Thus having presented the logic and reasoning behind the quest for understanding traditional built forms, we now proceed to comprehend the built forms and settlement patterns of Kutch .

COMPOUND OF THE MOBA AND KOTOKALI TRIBES OF AFRICAN SAVANNAH

Dwellings and settlements are both forms of the built environments which can themselves be conceptualized in different ways. Minimally, they involve relationships between people and people, people and things, and things and things. Their design is usefully conceptualized as the organization of four variables: space, time, meaning and communication. Common to all such conceptualizations is the essential point that built environments are more than artifacts. Since they are particular types of built environments, so are dwellings and settlements. Moreover, it is sometimes difficult to separate dwellings and settlements, particular in the extreme case of communal dwellings, where dwellings and settlements are one. In vernacular architecture the inhabitants have control over the creative and decision making process; hence the resulting structure closely reflects the context and culture of the community. The context meaning the constraints and potentials of the physical environment and culture meaning the total of human understanding, values and accomplishments of that region. It is not a generic product designed for a typical client. Technically, traditional or vernacular architecture emphasizes more on the community ideal as against individual creativity. However in the traditional settlements of Kutch, one can still witness individual intent and innovation in every bhoonga. It is essentially a well balanced sentiment. Housing can be conceptualized as a system of settings within which certain system of activities take place. These systems can comprise different settings arranged in different ways with different linkages and separation. The dwelling and its parts are linked to many other settings in the neighborhoods, the settlement and beyond. It is the cultural landscape which needs to be studied; and while this can be analyzed, we have split it into smaller components to facilitate easy understanding. As mentioned earlier, the idea is to grasp the fabric by shredding each strand. The specifics of such systems of settings, vary greatly with culture. Hence this conceptualization is essential to enable fair cross cultural references within the same parameters. Presented herein are similar nomadic dwellings and settlement patterns.

CROSS REFERENCE The Bedouin tribes express community bonds and individual uniqueness through the vehicle of the home environment. They reside in tents, the fabric of which is weaved from the hair of sheep and goats. It is woven loosely to allow heat dispersal and adequate insulation on cold desert nights. During rainstorms the yarn swells up closing the pores in the weave. The identity of different tribes is reflected on the exterior of the tents. The tents of the Tuareg tribes are made from goat skins and palm fibres and consist of low roof to withstand sandstorms. The inside of the tents are adorned by women and the tents are lightweight and mobile. Settlements forms are clustered around oasis. The houses of the people in the Mojave Desert are rectangular in plan and have an extended sloping roof forming a covered porch which is used for cooking. Weeds were used to thatch the roofs; cottonwood and logs were used as beams and frames of the house. House with minimal openings

37 In Kutch we are presented with an interesting self contained dwelling unit- namely the bhoonga and can also observe its behaviour in clusters and community arrangements. With a carefully inserted restraint, this unit modulates itself to meet mundane necessities, keeping in mind the dignified social customs, the aspirations as well as the economic setup of the rabari farmers. A bhoonga is the basic dwelling unit or a rabari ( rah-bari) meaning 'one who stays out'. It is a brilliant display of a pure geometrical form combined with material, physical and aspirational sensitivity. The Bhoongas are mainly found in the Banni region of Kutch. It is located in the north and north eastern desert area of Kutch known as the Motu rann. The Banni's are grasslands and are hence mainly occupied by pastoral, nomadic and semi nomadic communities. BHOONGA CLUSTERING

A typical bhoonga is a circular settlement, supported by thick cylindrical walls and a thatched conical roof overhead. It is 10'-15' in diameter and is supported on a 3'-4' high plinth, to protect it from the onslaught of saline floods. The walls are 7'-8' high and are usually 1'-1.5' thick. The walls are plastered both internally and externally with mud and dung mixture and are finally coated with white earth called chedi mitti. A house can have two or more bhoongas and each one is for different functions like cooking, sleeping, storage, fuels etc. Essentially they can now be described as a set of dwellings performing a set of activities as explained before.

Each Bhoonga cluster typically has the following amenities: the pianiaro, a raised portion of the plinth with spherical shapes scooped out to accommodate water vessels; a stand used to keep the vessels as they dry; birds and camel feeders.

The interior of the Bhoonga accommodates several amenities: the pedlo, a raised portion of the plinth in the interior of the bhoonga defining the storage area; the sanjeero and chaussaur are square and circular storage bins respectively; the chulo or the traditional fire place. Storage shelves and alcoves are carved into the wall unit, and are carved into the wall unit.

The otla or platform serves as an open to sky living area and most of the daily activities are carried out in the open. It serves as a common threshold and physically connects a family cluster of bhoongas together. The entrances to the bhoongas are oriented towards the centre of the plinth to avoid direct views to the interior from the public spaces. It is a private cum semi-public gathering space allowing interaction with travelers and strangers without compromising on the safety or dignity of the rabari woman. Around its periphery one would commonly notice a small dwarf wall, carved with motifs( limpan kaam), demarcating the entrance to the bhoonga. Since women work in the interior of the Bhoonga, with minimal light entering through small openings, loss of eyesight is a common complaint amongst the women responsible for intricate weaving work. In contemporary times women prefer working on the shaded platforms outside the house which provide adequate amount of light and shade. If weaving and knitting are carried out on a commercial basis, workshops are specifically constructed to satisfy their spatial needs.

The circular form of the bhoonga, with its minimal openings, aerodynamic design, and appropriate use of locally available materials, meets all the specificities of an ideal desert dwelling. Exhibiting a resilient stance and exuding pride in its simplicity, the bhoonga perfectly echoes the ideals of the resident.

GROWTH AND SETTLEMENT PATTERNS GENERATED The platform of a bhoonga is the link between the various, single individual dwelling units, not interconnected with each other. Naturally the growth and multiplicity of the individual units is mapped by the modulating and flexible surface of the platform.

When the need for another unit arises, as per the family's requirements, an additional bhoonga is constructed and connected to the house by extending the platform to include the new space in the domain of the house. Individual privacy is thus respected and maintained. The family also remains closely knit together.

STREET

A household may consist of two or more bhoongas, assigned with different functions, or to different married couples of the same family. In some cases smaller, enclosed units, indefinite in form and minus a roof, are used for bathing and storage. It is a cumulative process where a multiplication of these platform-houses generates clusters, which collectively form a settlement pattern called a vandh. The vandh is a polycentric arrangement in which the central courtyard spaces are kept vacant for cross ventilation and everyday activities. The courtyard has adequate room to carry out sundry activities, yet it is small enough to avail shaded corners.

COURTYARD

STREET

40 DELLY

BEDROOM Traditional Kutchi dwellings, witnessed in the village of KITCHEN COURTYARD LIVING (KARAI) (RASOI) (AANGAN) (OSARI) Ravapar also responded well in terms of climate, function and cultural needs. The house is split into two with the help of a courtyard and the entrance to the house faces the street. Otlas are built near the entrance and together with the living room i.e the osari they welcome members into the household. The kitchen offers a vantage to the entrance. Women can therefore monitor the front while the men are away at work.

The courtyard helps in keeping the house cool and it also serves multiple purposes such as drying of utensils, foodgrains, washing, etc. The courtyard is an open to sky space and is favored over other spaces. It is kept cool due to shading, resulting out of height to width proportions. A sloping roof, clad with Mangalore tiles, protects the house. In some cases attics are also inserted. The walls are covered with ordinary plaster and paint.

Apart from vernacular architecture, interesting insights were gained on the spatial organization of the Bhuj markets. In these markets traders shop at the ground level, while themselves residing on the first or second stories. This system is also noticed in other towns such as Jodhpur, Ahmedabad, etc. The advantage of not setting up purely commercial nodes in one area of the city is that these areas are not abandoned during the night and do not transform themselves into skeletal towns. The traders also develop strong community ties because of his practice.

The Bhuj market displays three main typologies of commercial built forms. Commercial cum individual residential Commercial cum religious Commercial cum community dwelling

BHUJ MARKET

COMPARISON WITH EGYPTIAN MARKET The Egyptian markets show numerous similarities to the market in Bhuj. The wares are pedalled informally, in a street market scenario, with goods laid out for display. The items sold are typical of a port town and include spices, textile, jewellery, dates, etc. A display of the performing arts include music and dance carried out in the Egyptian market square. It thus behaved as an important community centre, similar to the Roman forums and Indian chowks. In the Bhuj market however, the primary focus is on the fort with the market growing around its periphery and in the by-lanes connecting to the fort. The street acts as a vital connector wherein trading and community discussions are held. The diagram further elucidates this point. EGYPTIAN MARKET

FORT

MA R KE T

WATER BODY

FORT MARKET

C O N S T R U C T I O N

Numerous typologies of vernacular construction have developed throughout the history of architecture. Mud based architecture is one such typology. Readily available and with the potential to be used in different ways from baked earth, rammed earth, lump of clay to mud block construction, it can fulfill the needs of many users. Most mud architecture is based on a single cell, which can be duplicated or subdivided and seeded. The benefit is that the housing form remains dynamic and can grow with the inhabitants.

43 The typology of the circular bhoonga is primarily used in the villages of Ludiya, Dhordo, Tunda Vandh, Hodka, Jura, Khavda. The hamlets vary in form and construction detailing: mud block, wattle and daub, lump of clay or clay plaster with reed walls. Local methods, materials and manpower are kept in mind while constructing the bhoongas. The choice of materials responds effectively to the climate. The typology's specificity to the area and to the people results in a construction technique that is not widely applicable. Its richness lies in its specificity, thus understanding its development, form and construction method is valuable. The conical thatched roof, built in three layers, does not allow any seepage of rain water besides permitting the heat to escape.

Mud, the primary construction material, is able to withstand thermal movements and variations,maintaining steady internal environmental conditions.

The thatched conical roof acts as an insulting surface and covers almost 2/3rd of the wall area by its overhangs consequently the heat reception by the walls is very low. Also, because of the circular form of the house, theoretically only one point of the circle receives maximum sunlight, which is not the case in rectangular houses.

The incoming winds hug the circular form, smoothly flowing around it to facilitate ventilation. Thus, the entire form breathes continuously and the occupants are well protected from the desert extremes of heat and cold. Ventilation is taken care of by few small openings and the thatched roof. The windows with shuttered openings are positioned relatively low to the ground and are modestly sized. This blocks excessive penetration of sunlight while considerably illuminating the interior spaces.

FOUNDATION AND WALL CONSTRUCTION The blocks for the foundation are laid using the local mud and cement mixture for the mortar. The walls are laid continuous with the foundation, using a cow and camel dung and local mud compound. These are mixed with water to make a compound of workable consistency The plinth is then constructed with rubble and mud and is upto 1'6â&#x20AC;? high. It is finished with a smooth coat of mud, which overlaps onto the bhoonga walls reinforcing their base. By elevating the interior and exterior living spaces above the ground, the plinth shields the house from the invading flood waters. Sandstorms are absent due to the salt content in the soil.

BLOCK MAKING A catchment is made with the banni mud. Water and rice husk are added to the soil and the mixture is allowed to settle overnight and blended the next day. Camel hair and dung is also used on account of its highly fibrous nature, reinforcing the clay. Blocks are then cast and allowed to dry for 2-3 days to enable hardening.

ALTERNATE METHOD On certain occasions the central beam and prop are not used, especially when the walls comprise of crisscrossing vertical wooden members held together by mud and dung. In such cases the rafters rise from the wall and are tied to each other at the apex. The roof is then finished as mentioned above.

ROOF CONSTRUCTION A horizontal timber member called the adi is placed across the structure. The ends rest on slightly raised portions of the walls and are affixed with pegs. A vertical kingpost is made to made to stand in the middle of he horizontal member. It is known as the mann. A conical shaped roof structure requires a ring beam to hold it. This ring beam has two functions. 1. To distribute the compressive forces from the roof evenly to the wall 2. To supply a fixing point for the rafters. The rafters arising from the ring beam are then tied at the op to the mann and to each other with the help of fibrous reeds. The in-between voids are filled with thatching material such as reds, leaves etc. Finally netting is tied over the top to hold down the thatch.

EARTHQUAKE RESISTANCE

The uniformity of material, regularity of circular form, miniature openings and autonomy from surrounding buildings effectively safeguard the Bhoongas form earthquakes and calamities. Due to the circular shape of the wall in plan, inertial forces developed in the wall are resisted through shell action providing excellent resistance to lateral forces. In addition, the thick walls required for thermal insulation have high in-plane stiffness which provides excellent performance under lateral loads. The roofing materials are generally very light and develop low inertia forces. Since the roof is constructed from extremely ductile materials such as bamboo and straw, the performance of these roofs is usually very robust. Even in situations where the roof collapses, its low weight ensures that the extent of injuries to occupants is very low.

PLASTER FINISH The plaster compound, locally called gobar lepan , is made from Banni mud ,cow and camel dung. One layer is applied on the outside and made smooth by hand. This takes about one day. Then a layer is applied on the inside. This process is alternated until seven layers have been applied on both the inside and the outside. It is an arduous task demanding skill and patience. The final layer is made from Banni mud and cow dung.

If transmission is the essence of tradition , it would seem important that its nature be given serious importance. In all the great cultural undertakings of the human race, the oral transmission of tradition plays a great role. Historical songs and poems, dance and musical forms, hymns and text, all have an official function of transmitting certain beliefs and ideologies, confirming the identity of the region. Whatever the means of communication, in which the transmission of tradition takes place, it is the message which is of great importance.

Kutchi being only a spoken language without any formal script led to the growth of oral indigenous literature in the form of folk stories, songs of both religious and ethnic origins. FOLK STORIES The folk stories mirror the lives of the people, reflect their hidden desires and aspirations, and express the cultural traditions and religious beliefs in a manner which is easily understood by one and all. Lack of a written script facilitated the growth of these tales as they had to be passed down verbally from generation to generation. Even though the stories would undergo many changes during the process yet the gist of the story and its essence would remain unchanged. The ready acceptance of the stories was due to the presence of the many mythological and mystical characters and situations in them which heightened their fascination amongst the masses. For instance, at one of the places there is a natural water spring. It was something unusual for the illiterate people who interpreted it as a religious miracle. They assumed that Bhim(one of the pandavas) had come to that place, and couldn't find water for his mother. He pushed his knee into the ground and the spring emerged. Another folklore states that to silence the storms, the water in the river had to be cut off from the sea. Hence, we have Kutch becoming an island with water penetrating deep inside to form lakes in the monsoons. SONGS The songs are an expression of the people stirred by the nature around them and also the events in their daily lives. Songs describing the nomadic and domestic lifestyle are sung by women regularly on journeys and while performing their daily chores. Songs of a religious nature, called bhajans are also very popular as they again propagate the idea of love and oneness. In Pachim dhara na peer- devotee says that Lord Ramdev has come on horseback from the west, with his family and disciples to give them a taste of love and will introduce them to 'alakh'. The tribes who came to Kutch from Sindh, Pakistan, Persia, Africa, Central Asia and Europe brought their own music which, over the years, gave Kutchi music a unique identity with many ethnical origins yet very indigenous to Kutch. The main source of stimulation for the musicians has always been nature. With their art they try to replicate the sounds of nature using the natural resources which are readily available to them. Local materials like wood and mud being the most popular. Kutch being a desert has most of its population as non-vegetarians who know all the parts of the animals. They made use of their knowledge and used animal parts also to produce instruments. Like the skin of the camel which is stretchable, is used to cover pots in instruments and provides a very unusual sonic reverberation. Numerous instruments have been made to emulate the chirping of birds. Not only have natural sounds been imitated but also the various forms in nature. Ghado being one such instrument is made by baking earthen jar. It's a big jar with bulging sides and short neck . The hollow pumpkin must have been the inspiration behind the structure of the earthen pot (bulky) which are also given bends to create different sound qualities. Jodio pawo is a musical instrument having a pair of flutes (male and female) with different number of holes giving several kinds of melodies

Simple and uncomplicated daily discoveries also led to the development of various instruments. Bells which are extensively used for various purposes must have resulted out of the simple grouping of a glass and a spoon which would have been used for various situations to gain attention. Manjeera was another musical instrument played simply by gyrating two metal plates. Manjeera dance is a famous cultural dance which resulted out of a this simple discovery . Due to the extensive stretch of mundane and monotonous desert, dances were performed along with music and song, as a source of entertainment. Since there were less people all the dances were done in groups in order to involve everyone.

In spite of less rainfall, Kutch looks like a dreamland; that is because of the good nature of the people.

People of kutch are full of humility, when you meet them you feel their warmth. What is it in this region so strong, we can sense the love even from the animals.

Kutch rises in the world, like a fish in the ocean. People of kutch will create kutch wherever they stay

ACKNOWLEDGMENTS BIDADA HOUSING PROJECT

AR.ANAND PANDIT

DWELLINGS, SETTLEMENTS AND TRADITIONS

JEAN PAUL BOURDIER and others

EARTHEN CONSTRUCTION OF KUTCH

VAASTU SHILPA FOUNDATION

YATIN PANDYA

PRAKASH BOOKS

T.S.RANDHAWA

KUTCH, THE LAST FRONTIER

READERS DIGEST, FEB 2009, ROMANCE OF THE RANN

SHEILA SIVANAND

THE ARTS OF KUTCH

edited by CHIRSTOPHER LONDON

MARG PUBLICATION

WORLD HOUSING ENCYCLOPEDIA REPORT NO.72, ON KUTCH

E.E.R.I