Book on tribal art of uttarakhand by shekhar joshi 2015 by Shekhar Joshi

TRIBAL ART AND CRAFT OF UTTARAKHAND

SHEKHAR CHANDRA JOSHI

About the Book Uttarakhand, the 27th state of the Indian Union came into existence on 9th November, 2000 as Uttaranchal. The state was renamed as Uttarakhand in 2006. It has two distinct regions; the Garhwal in the West and Kumaun in the East. Here Bhotia (Shauka /Ran /Marchha/ Taulchha /Jad), Banraut (Van Rawat / Raji), Tharu, Buxa and Jaunsari are tribal communities. They have their own art and craft culture. The book is an effort to present an overall view of a critical study done during the first decade of twenty first century on art and craft traditions including the culture of the tribes of Uttarakhand. Visuals and text both shall highlight the strength of Tribal art and craft along with the cultural panorama of these tribes with issues and challenges for their betterment accompanied with suggestions. Position of tribal women in the society is also highlighted. Causes of deterioration and possible measures for upliftment of art, craft and culture of these tribes will add to the value of the book. Like variety of creatures in the sea, stars in the sky and flowers on the earth these gems of Tribal arts and crafts of Uttarakhand in the form of a book are being published. Of course, this book will bring to light rich and varied characteristics of art and craft traditions of the tribes of Uttarakhand and would be helpful to revive the dwindling arts and crafts of tribal communities. It is hoped that this publication shall inspire art and craft lovers, researchers and scholars for further micro and deep study in the field with other inter related subjects.

Preface It is my immense pleasure to publish the book on this subject. Indian art is amply rich and varied. It has been so over the centuries. Tribes, an integral community of the country have played an important role in this field. Tribes of India including Uttarakhand have their own unique arts and crafts. The art and craft of Uttarakhand tribes twinkles like a gem in the crown of the country‟s art scene. Tribes of Uttarakhand are scattered over the beautiful land of Kumaon and Garhwal regions from the foothills to lofty snow-covered peaks. The beautiful landscape, innocent, hard working people and the rich cultural heritage of Uttarakhand attract to people from all over the world. Certain tribal societies and groups assisted by Government and NGOs are doing a yoemans service towards the cause of tribes and their art.Having a close affinity with the land as my birth place happens to be in Dwarahat, Almora in Kumaon, as well as my major part of education and service have both been in Garhwal and Kumaon regions, where I was born and brought up, my friends from the tribal community and my exposure to the North East and India motivated me to take up this study. Later during my short stint with the Assam University and research work in Seoul Korea my resolve to work in this field grew stronger. I find a striking resemblance of most of the Koreans and North East Indians with our tribal brethren of Uttarakhand. The art and craft aspect of tribes in the newly carved state of Uttarakhand was untouched and silently demanding public attention. The aching desire and cumulative effect of my experiences motivated me to take up this pioneering study in the field of art and craft for my D. Lit study. I am grateful to Kumaon University Nainital for the award of D. Lit to me in the subject Drawing and Painting in the year 2011 with topic entitled “A Critical Study of Art and Craft Traditions of the Tribes of Uttarakhand” followed by sanction of a Major Research Project from the University Grants

Commission, New Delhi. I am thankful to the institutions / organizations and committee members and also to the concerned Authority and staff members for the opportunity and where-with-all provided to me to pursue the project which is so close to my heart. I am grateful to all those who I contacted for any kind of advice and assistance in the course of my study. I would like to mention their names separately. In case I miss out any names it would be only due to my ignorance and constraint of space. I hope they will forgive me. I express my sincere gratitude to all of them. My Special thanks are due to Dr. S. A. Hamid Professor and Former HOD English, Kumaon University, S.S.J. Campus Almora; Dr. Krishna Bairathi, retired HOD Drawing and Painting, Kumaon University, SSJ Campus Almora; Mr. Ram Gopal, retired Artist, G.B.P.E.D. Kosi, Katarmal; Lieutenant Colonel Bharat Bhandari; Ms. Laxmi Parwal and Ms. Bimla Rana, Project Fellows. My thankful credit goes to its publisher. Last but not the least; I am grateful to the tribal people who showered their respect and love upon me during my interaction with them and inspired me to complete this work. I am sure and believe with humility that this work will benefit our society, artists, art scholars and students of folk and tribal art the world over. Once again, I am glad to publish my work in a book form. I hope future researchers and art and crafts lovers will explore many more aspects of this subject for the betterment and well being of tribes and their noble cause.

Almora, March 21, 2015

Dr. Shekhar Chandra Joshi

Acknowledgements Grateful acknowledgements for their valuable contribution are also made to: Publisher of this book Professor H. S. Dhami Vice Chancellor Kumaun University, Nainital Professor V.P.S. Arora, Former Vice Chancellor, Kumaon University, Nainital Professor C.P. Barthwal, Former Vice Chancellor, Kumaon University, Nainital Professor D. S. Pokharia, Former Dean Arts Faculty, Kumaon University, SSJ Campus Almora Dr. S. S. Pangty, Director Tribal Museum, Munsyari, Pithoragarh Professor J. K. Joshi former Dean Coordinator SSJ Campus Almora Professor R.C.Pant, Former Vice Chancellor, Kumaon University Nainital Mr. D. C. Pande Registrar, Kumaon University, Nainital Dr. Kamal Pande Former Registrar, Kumaon University, Nainital Mr. B.C. Joshi, Former Registrar, Kumaon University, Nainital Mr. B.C. Joshi, Former Registrar, Kumaon University, Nainital Mr. S.C. Joshi, Former Registrar, Kumaon University, Nainital Mr. D. S. Bonal, Finance Officer, Kumaon University, Nainital Mrs. Bhagirathi Bangyal, Former Finance Officer, Kumaon University, Nainital Mr. O. P. Kotnala, Assistant Director / Incharge Development Commissioner for Handloom Weaverâ&#x20AC;&#x;s Service Center Chamoli, Uttarakhand (Government of India Ministry of Textiles) Mr. N. S. Dharm Saktu, Teacher, J. K. Navodaya Vidylaya Champawat Mr. Bhupendra Bisht Artist and Social Worker, Dharchula Professor Krishna Bairathi, Former HOD Painting, K. U. SSJ Campus Almora Professor S. A. Hamid, Former HOD English, K.U. SSJ Campus Almora Dr. V. R. Pande Reader in English SSJ Campus Almora Dr. J. S. Bisht, Reader in Hindi, Kumaon University SSJ Campus Almora Ms. Bimla Rana and Ms. Laxmi Parwal, Project Fellows Mr. Dinesh Nikhurpa Mr. Rajneesh Gupta, Kalsi Mr. Kripa Ram Joshi, Purori Mr. Suresh Joshi, Purori

Mr. Sanjeev Agrawal, Chakrota Mr. Ram Gopal, Artist, G. B. P. E. D. Kosi, Katarmal Almora Colonel Bharat Bhandari, Dehradun Late (Mr.) Ramanand Sharma, Former, Gram Pradhan, Fauzimatkota Mrs. and Mr. Prem Ballabh Mainali, Sitarganj Mrs. Renu and Mr. Ravindra Pande, Race Course, Dehradun Dr. Mohan Singh Mawari HOD Painting DSB Campus Nainital Dr. Sonu Dwivedi Campus Head Drawing and Painting SSJ Campus Almora Dr. Rina Singh Lecturer in Painting DSB Campus Nainital Professor S. B. Pande, S. S. Adhikari, K. Uni. SSJ Campus Almora Professor H. S. Dhami D.S.W., K. Uni. SSJ Campus Almora Mr. M. S. Bisht Lecturer in Computer Science K.U.SSJ Campus Almora Professor Purnima Pande HOD Painting HNB Garhwal Uni. Srinagar Dr. D. S. Bisht, Reader in Painting, HNB Garhwal Uni. Srinagar Dr. M. Bhatnagar Former Principal A. K. Girls Degree College Almora Dr. Sanjeev Arya Lecturer in Painting K. U. SSJ Campus Almora Dr Sudhakar Sharma Secretary Lalit Kala Academi New Delhi Mrs. & Mr. Bhuwan Chandra Joshi and their sonKamal Joshi Khatima Dr. (Mrs) Vinita Bhatt Sarojini Nagar Lucknow Dr. Mrs. Geeta Department of Painting CTGPG College Kashipur Dr. (Mrs) Geeta Pithoragarh Mr Vivek Pandey DFO Haldwani Nainital Ms. Kiran Purohit „Jaideep‟, Gopeshwar, Chamoli. My Guruji, Mr. Imtiyaz Ali Khan Rampur My father, Mr. Leela Dhar Joshi My wife, Mrs. Geeta Joshi My brother and his wife and their son Mrs Meenakshi & Mr. K.C. Joshi and Master Kanishka My sisters-husband and their sons and daughter, Mrs Pushpu & Mr. Ramanand Sharma; Mr. Lawayan, Miss Nishta and Mr. Garvit Sharma; Mrs Daya & Mr. Charu Dalakoti and Mr. Saurabh and Miss. Hita Dlakoti My sons Mr. Surya Prakash Joshi and Mr. Chandra Prakash Joshi My Students Mr. Kundan Kumar & Mr.Prakash Chardra Sati SSJ Campus, Almora

Contents

Preface Acknowledgements 1. Uttarakhand: An Introduction 2. Tribes of Uttarakhand: Bhotia/ Shauka/ Ran/ Taulchha/ Marchha/ Jad, Banraut/Van Rawat/Raji, Tharu, Buxa/Buksha, Jaunsari

1 20

3. Cultural Panorama of Tribes: 57 Dress and Ornaments (Apparel and Jewellery); Diet and Tastes (Culinary Arts); Pottery and Utensils; Games, Sports, and Amusement; Festivals and Fairs; God and deities; Education 4. Art and Craft of Uttarakhand Tribes: 109 Art and Craft of Bhotia/ Shauka/ Ran/ Taulchha/ Marchha/Jad, Art and Craft of Banraut/Van Rawat/Raji, Art and Craft of Tharu, Art and Craft of Buxa/Buksha, Art and Craft of Jaunsari 5. Position of Women in the Society

258

6. Causes of Deterioration and Possible measures for Upliftment of Art, Craft and Culture of Uttarakhand Tribes 269

7. Summary and Conclusion

285

Chapter One

Uttarakhand: An Introduction

c a. Uttarakhand, India in the world, b.Location of Uttarakhand in India & c. Uttarakhand

Map of the Asia indicating Uttarakhand, India

Uttarakhand is the 27th state of the Indian union. The total population of Uttarakhand as per 2001 Census is 8,489,349. Of these, 256,129 persons are Scheduled Tribes (STs) which constitutes three per cent of the total population of the state. These tribes have also added a noteworthy culture to Indiaâ&#x20AC;&#x;s rich artistic heritage. Indian art is represented by the cave art and different schools of art including architecture. Khajuraho, Konark, and Shore temples are a few important examples of architecture. Pal, Jain, Rajasthan, Pahari, and Mughal schools of paintings; and the art and architecture of Ajanta, Ellora and Elephanta caves reflect the artistic glory of Indiaâ&#x20AC;&#x;s rich cultural and artistic heritage. Another form of artistic skill shows in the variety of Indian handicrafts. The art and craft of India thus reflects different amazing aspects of its aesthetic heritage and traditions. The arts and crafts of India include painting, sculptures and handicrafts. The paintings executed on the walls and solid structures are known as murals while those done on paper or cloth in small scale are known as the miniature paintings. Ajanta and Ellora are the best examples of Indian murals in the world. Rajasthani, Pahari and Mughal schools are known for their miniature paintings. Madhubani, Tanjore, Kalamkari, Pithoro including other traditional and folk art forms are the popular painting traditions of India. Another hallmark of Indian art and craft reflects in Indian temple architecture especially in the sculptures made of granite and terracotta. Buddhist rock cut art of sculpting is the

best example of this that was developed later gracefully under the patronage of the Indian rulers. Carpets, marble table tops, hand made leather items and hand block printed items, blue pottery, semi-precious stones and Kundan jewellery are the popular handicrafts of India and is an important feature of the rich Indian art. Indian art has a number of varied aspects to it. We can trace back the beauty and skill of our ancient artisans on the intricately carved Bust of a priest-King or deity having a shawl in his shoulder from Mohenjodaro, Late Harappan culture, c.2000-1750 BC.

a. Bust of a priest from the Mohenjo-daro; b. A Mughal Painting-Court and carpet; c.PaintingBanithani with Odani reflect the evidence of rich art and craft of India

Different aspects of Indian arts and crafts vary from region to region and tribe to tribe. A major portion of India lives in its tribes. The northeast is Indiaâ&#x20AC;&#x;s main tribal area. Many tribes are found in central India while the tribal population there accounts for only around 10 percent of the regionâ&#x20AC;&#x;s total population. Anthropological Survey insists that there are 635 tribes in India. The Government of India however recognizes only 426 as tribes and 209 tribes are still left out. With hunting as the main source of earning, Chenchu are one of the oldest tribes. Bhil tribes are widely spread in the country. There are some other renowned tribes. Gaddi tribes are Type in Italies/ Khanabadosh or the Gypsies of Himachal Pradesh. These reside in Duladhar Ranges. Oraon is the most

progressive tribe of India; its people represent in Indian countries as well. The Bodos were active during the Assam Movement. The Gonds are known for their distinct folk dances. Mundas involved in freedom struggle. Hmar tribes have their roots connected to China. Khasis are from the Meghalaya. Dimasa belong to Brahmaputra valley. Fortunately, Uttarakhand has the pride privilege of having several tribes who have their own way of art and craft traditions. In order to understand the tribal arts and crafts of Uttarakhand it is important to know Uttarakhand as a region and its arts and crafts in general.

Uttarakhand: An Overview Uttarakhand, the 27th state of Indian Union and the 12th of the Himalayan range was carved out of the Himalayan areas of the erstwhile Uttar Pradesh (UP) as a result of prolonged struggle by the hill people for a separate state. The state came into existence on 09 November 2000 as Uttaranchal. The State was renamed as Uttarakhand in 2006. The state shares its borders internationally with Tibet (China) in the North, Nepal in the East and with Himachal Pradesh, Haryana and Uttar Pradesh in the West and South. The state occupies an area of 1.55% of the country and 18% of the Himalayan Region. Spread over 52,125 Sq Km of Himalayan/ Sub Himalayan area, the state lies between 28047‟ and 31020‟latitudes and 47045‟ and 8001‟ longitudes. Administratively the state has 13 districts, 78 Tehsils, 125 Taluks, 95 Blocks, 15761 villages and a population of about 8.48 million in 2001 census of which 76.89% lives in the mountainous areas. Uttarakhand has two distinct regions; the Garhwal in West and Kumaun in the East. The temporary capital Dehradun is located near the Western border. The state has a unicameral Legislative assembly consisting of 70 members. It has five representatives (seats) in the Lok Sabha (Upper House/ House of People) and three representatives (seats) in Rajya Sabha (Lower House/ Council of State) in the national Parliament. The 13 districts of Uttarakhand are Almora, Bageshwar,

Champawat, Pithoragarh, Nainital, Udham Singh Nagar in Kumaon region and Dehradun, Haridwar, Chamoli, Pauri, Tehari, Rudraprayag, and Uttarkashi are in Garhwal region.

Uttarakhand and its Districts

The majestic landscape of Uttarakhand has the rolling foothills, fertile river valleys, snowcapped Himalayan peaks and plains of Bhabar, Tarai (Udhamsingh Nagar) and a small part of Gangatic plains (Hardwar). The mountains gradually descend in height from north to south, with Sivalik ranges and foothills stretching along the stateâ&#x20AC;&#x;s Southern border. Nanda Devi (7, 817 m / 25,646 ft) is the highest peak and is located in the Northeastern part of the state. Numerous glaciers, which in fact are the feeders to Alaknanda, Bhagirathi and other tributaries of the Ganga and Yamuna are part of the Northern reaches of Uttarakhand. The climate of Uttarakhand varies with altitude. While temperatures may go up to 420C in the plains in summer they rarely rise beyond 200C in higher inhabited areas. The winters enjoy a sub zero temperature almost all over the state.

The state has six (ritus) seasons/ namely; Vasant (Spring), Grishma (Summer), Varsha ( Rainy), Sharad (Autum), Hemant (Winter/ Snow), and Shishir (Winter), each lasting almost two months beginning mid March (mid March to mid May- Vasant and so on). The state has produced and inspired many an eminent personalities, who have excelled and carved a niche in their respective fields. Swami Vivekanand, Pandit Madan Mohan Malviya, Gurudev Rabindranath Tagore, Mahatma Gandhi, Pandit Jawahar Lal Nehru, Brooster and other luminaries have drawn inspiration from the „Dev Bhumi‟ (Abode of Gods) Uttarakhand. The „Sons of the Soil‟ who have contributed to the causes of academics, politics, science, art and culture, history and many other fields include Pandit Badri Dutt Pandey (Kumaun Kesari), Bharat Ratna Pandit Govind Ballabh Pant, Sumitra Nandan Pant, Padamashri Ranvir Singh Bisht, Awatar Singh Panwar, C.P Joshi, J.P. Joshi, H.N. Bahuguna, Ruskin Bond, General B. C. Joshi, Padamashri Yashodhar Mathpal, Padamashri Shekhar Pathak, Padamashri K. S. Valdia, Padamashri H. C. S. Rawat, Padamashri B. D. Pandey, ICS; Sundar Lal Bahuguna, Jaspal Rana, Mahendra Singh Dhoni and many others.

a. Swami Vivekanand; b. Mahatma Gandhi; c. Padamashri R. S. Bisht

a.& b. Shri Sundar Lal Bahuguna; c. Shri B.D. Pandey, Ex Governor WB & Punjab; sketches(a,b,&c) by Shekhar Chandra Joshi (a) in finger nails and (b & c) in pen and ink along with their autographs

Art and Craft of Uttarakhand Art is an expression and exchange of feelings, signs, and thoughts. Inspiring joyfully it also attracts the viewer or listner as it is towards the same. It can be displayed by visual and performing depictions for its recipients. Hence it is a simple method of communication. Besides it works for a better function. It brings relaxation to our body, mind and soul and also inspires us to create a new work of art and leads towards the sublime. The artistic way of working creates pleasant and healthy environment that helps to finish an extra load of work perceiving and providing the full joy of the beauty of art. Functionality and beauty can not be separated from each other. According to Devi Prasad, who appears to be agreeing to the Pythagorean school of thought, “Beauty and functionality are essentially related to each other and there are certain principles, mathematical in nature that govern their application. They can be learned and applied intelligently.”1 The art and craft of Uttarakhand Tribes expresses similar feelings. The art and craft of Uttarakhand itsself is very rich. The heritage of Uttarakhand depicts especially in the visual arts as paintings, temple architecture and many performing folk arts. Gandhiji‟s Swadeshi movement also focused a special attention on the plight of the Indian artisans and craftsmen. It also apparently focused on the continuity of

the rich art and craft traditions of Uttarakhand. Five years after Indian independence, the Government of India set up an All India Handicrafts Board under the dynamic guidance of Smt. Kamaladevi Chattopadhyay. A Charkha Centre was also launched in Chanoda near Kausani, which still continues to encourage the tradition of folk arts and crafts.

Performing Arts Chholia, Jhora, Chancheri, Chapeli, Bhagnaula etc. are major performing folk arts of Uttarakhand. These are performed during marriages, fairs, religious rituals, and others occasional ceremonies. Nanda Jat is a peculiar tradition of performing arts. Chholia (Chhalia) is a war dance. The performers of Chholia wear unique garments having coloured frills on white –based dress. The vivid and harmonious effects put up by the steps of red, orange, green, blue, and yellow during the dance movements project an impressive array of colours. The dance begins with the blowing of the Beenbaja- Mushak Been (Bagpipe), Ransingh Tutari (Bugle) and beating of Dhol and Damuas (drums). Two people with shield and sword perform the dance. Women do not participate in this dance. Jhora is a group dance performed spontaneously in a circle by men and women. There can be hundreds of performers/ participants at any one time in Jhora dance. This starts with the lead singer‟s voice over the staccato beats of a „Hurka.‟ The dancers move in a coordinated way putting their hands on each others‟ shoulders and their bodies swing in synchronization with the song which they also repeat with the beats of Hurka. It is a fine synergy of rhythm. Jagar, Baisi, Ramoli, Jhumelia and Ghaneli performed in dancemusic are ritualistic ceremonies. Thadya is a free-movement dance. Chanchari is a kind of playful competition between performing men and women. The participants put forth witty questions and responses in lyric. The dance appears to have evolved out of Jhora. The main theme of these dances is love and innocent romance.

According to Bhatt and Bhargav, “Bhotia Dance is performed by Bhotias and is connected with death ceremonies. It is believed by them that the soul of the dead person resides in the body of a goat or sheep and by dancing the soul can liberate.” 2 A dramatic performance played by two men is called Chhapeli in which one acts as a woman. Hurkiya Bol is an enchanting dance-music performed in the fields when women do the sowing, hoeing, and transplanting especially during the Kharif crop. The dances of Uttarakhand Tribes will be described subsequently elsewhere. The Ramlila Manchan of Uttarakhand has played a vital role in establishing this art. The Ramlila of Laxmi Bhandar (Hukka Club) Almora and Jagar/Dhol Dance of Garhwal are very popular.

Painting Uttarakhand has a proud presence in the field of prehistoric rock paintings. 3 On the bank of the Suyal River near Barechhina in Almora, where two painted rock shelters reveal paintings of animals and humans drawn with fingers in black, red and white colours. According to Agrawal & Kharkwal, “Some of the pottery shapes (have been) obtained from the burial (sites) of Kumaon. There are a large number of sites with typical megaliths. A variety of megalithic types are available in Kumaun: cairns, menhirs (monoliths), dolmenoids, cists and some suspected passage graves also. We must, however, emphasize that these identifications are based on surface observations (only). We have not excavated any so- called “megaliths” during our exploration. Some sites have been, however, excavated by the Garhwal University and, at our instance, by the Archaeological Survey of India. It is interesting to note that charcoal from the filling of a cist from Gagrigol has given a radiocarbon date in the third millennium BC. It is obvious that, like the Swat valley in Pakistan, the megalithic tradition in Kumaun also seems to be old and perhaps continued up to the early historical period” 4

“Dabral (1968) was fortunate to examine 10 burials at Malari. Out of 10 burials, two were horse burials. He also has reported red ware shapes and bronze utensils from these graves. He had tentively placed these burials between 5th century BC and 1st century BC.; said Dr. Agrawal who also examined the graves at Malari on behalf of the Archaeological Survey of India in the late 1950s. The site was again explored by a team of Garhwal University which undertook a small scale excavation (Nautiyal and Khanduri) in the 1980s, which yielded horse burials. They have also reported a ware/ (utensil), which include two snouted pots, one with a splayed out mouth. These pots bear vertical and horizontal grooved lines, which form a sort of geometric pattern all along the body and also on the oval handle. A small pot was found decorated in black on the neck; its body has an angular chain design. Mathpal (1986:20-22) has also reported stone-lined burials from NaulaJainal villages of Bhikyasain tehsil in Almora district.” 5 Sense of lines, colour and design as shown in red and black wares and megaliths and Burials including rock paintings reflect the cultural value of ancient artistic richness of Uttarakhand in both the regions of Kumaon and Garhwal. Paintings collected in the Gobind Ballabh Pant Museum Almora reflect an influence of painting from Rajasthan and Mughal Schools to Kumaun. Research on these paintings would reveal the facts on the probable unique Kumaun School of Painting. Garhwal School of Painting of Uttarakhand has played an important role in Indian art. “About the middle of the 17th century A.D.

(a,b,c) Miniature Paintings of Garhwal School a.Krishna lifts mountain; b. Lady with Shiva; c. A Procession

Suleman Shikoh, a Mughal Prince, took refuge in Garhwal. The princebrought along with him an artist and his son who was his court painters well versed in the Mughal style of miniature painting. After nineteen months, the prince left Garhwal but his court painters enchanted by the environments, stayed behind. These painters settled in Srinagar (currently in Pauri District of Uttarakhand), the then the capital of the Panwar dynasty and introduced the Mughal style painting in Garhwal. With the passage of time, the successors of these original masters became expert painters and also developed an original style of their own. This style later on came to be known as the Garhwal School of Painting.â&#x20AC;? 6 Maularam, Jwalaram, Tejram, Brijnath were the great masters of the Garhwal School. Maularam was also a great poet as well as a renowned astrologer of his age. A rich collection of his contribution is displayed in the H.N.B. Garhwal University Museum at Srinagar and Maularam Art Gallery. The credit goes to Barister Mukandilal who introduced first the importance of the paintings of Garhwal School. The masterpieces of the Garhwal School of Painting include the following: 1. 2. 3. 4. 5. 6. 7. 8.

Illustrations of Ramayana (1780 A.D.) Illustrations of Gita Govinda Celebrations of Balaramaâ&#x20AC;&#x;s Birthday (1780 A.D.) Series of Raginis Nayikaon ka Ankan Paintings of Radha and Krishna Kaliya Daman Krishna Lifting Mountain

The main theme of these paintings is based on religious back ground along with the depiction of the natural beauty of the people and region. Delicate eye brows and thin nose with definite nose bridge on soft oval shaped face, sandalwood paste on forehead, beautiful women with fully developed breasts and thin waist line reflect the special features of the Garhwal School to spread a message of love in fusion of religion and romance.

Temple Architecture The rich temple architecture of Uttarakhand proudly contributes to the ocean of the great Indian architecture. Pun, Katyuris, Panwars, and Chand dynasties of the region built big stone temples in different places such as Adi Badri, Kedarnath, Tungnath, Kamleshwar, Lakhamandal in the Garhwal region and Baijnath, Dwarahat, Champawat, Gangolihat, Jageshwar, Nandadevi, in Kumaun region. Some of these temples were erected with highly intricate and ornamental carvings, having beautiful idols. According to Purnima Pande â&#x20AC;&#x153;The salient features of this style of architecture are the lotus shaped roof, lion over the elephant which is projected over lower Shikhara normally covering the audience hall and outer walls executed either in Panch Rath or Sapta Rath pattern, giving the temple a cylindrical shape. The main temple is invariably surrounded by a couple of smaller temples, which houses deities of lower hierarchy.â&#x20AC;? 7

Woodcarving Tun wood, known for its termite resistant properties is used in the local architecture. The woodcarving of Uttarakhand is famous for its beautiful designs. Wooden doors and windows of houses are carved with the designs of creepers and floral forms based on lotus, pomegranates and grapes, images of Gods and Goddesses, humans, birds, animals and other sacred signs and emblems. Ornamental wood carvings on front doors are known as Kholi in the local language.

Folk Art Folk art plays a vital role in Uttarakhand. Aipan, Peeth, Patas, Dekara, Rangwali etc. are the ritualistic folk arts of Uttarakhand. Almost every ceremony and festival starts with the graceful presentation and visualization of these.

Aipan and Peeth Aipan are put with nimble fingers and palm during every ceremony and festival for decorating the floor and walls of houses associating with some ritualistic figures. The worship place/room especially the seat of Gods and Goddesses are decorated with tantric motifs called Yantra. These can be compared with Rangoli from other parts especially South India. The main difference is however that of wet Rice powder (biswar) being used over a brown (Geru) background in Aipan. Putting dots and lines, figures are drawn for different Peeths. According to some extend to Dr. Purnima â&#x20AC;&#x153;For Shiva and Vishnu the Peeth is a square figure drawn by putting 12 to 19 dots, both longitudinally and transversally. In the Vishnu Peeth the number of dots is 19. The dots are joined to denote the cosmic field condensed at the central point. The centre or Bindu represents the place where the deity resides. The outer largest Square is the plan of a raised alters and the internal lines leading towards the centre represent the flight of steps. The steps symbolize entry from the earth through the cosmic field to the throne of divinity. Shakti Peeth is represented by two interlocked triangles forming a hexagon. The circles represent lotus petals numbering 12 to 64. The whole Yantra is framed by lines of a square. It is an area where the object and subject meet the central point, Bindu which controls everything, serving as a vehicle of the mind. The circles symbolize wholeness or totality and denote the elemental earth or the material quality of nature.â&#x20AC;? 8 Vishu and Shakti both are worshiped by the majority of Uttarakhandis. Besides, Swastik Peeth is common for all the deities including Ganesh and Panch Devatas made by nine-point square. Either leaves, flowers, petals, conch shell, etc. or wavy or zigzag dashed lines are put in the outer part of the square.

Chauki Chauki of Namkaran (Naming ceremony), Janeu (Thread ceremony), and Byah (marriage) are executed with different motifs and designs. The motifs are of sun, moon, bell, and conch shell including the utensils used in Puja. Namkaran Sanskar Chauki is made by putting Aipan on wooden Chauki during the naming ceremony of a new born baby. Arranging zodiac signs of Great Bear (Sapta Rishis) in hexagons by putting Aipan during the Janeu (Scared thread ceremony) imitates a boy to perform the social ritual. Dhuliargh Chauki (Wooden seat for the groom) is used during the marrige (Vivah/ Byah). An Aipan symbolizing cosmic universe with the crown and making nine squares at the centre encircled by lotus petals are drawn.

Patas and Dekara Pata are the paintings based on Legendary and Puranic myths painted on a big wooden sheet or sheet of paper pasted on wall or directly painted on the wall of the place where rituals and ceremony are to be held. Pata are generally painted with Jev Matrika, Shri Krishna Janma, Laxmi and Durga in red or multicolor. Different geometrical patterns are also drawn by arranging dots which are then joined by lines to form different shapes called Barbood. Dekaras are the colourful unbaked clay idols of Gods and Goddesses made by the people of Uttarakhand for worship. Lord Shiva and Parwati is very famous Dekara in which their marriage is depicted especially during a typical Kumauni marriage. These are usually made of colorful clay or sweetened wheat flour. These are built either in relief or in three dimensional forms. Ghugutas are made of sweetened flour to celebrate the festival on the day of Makar Sankrati. Ghugatas are needled into garlands and

offered to crows in the early morning. Children invite to crows shouting loudly the following words. ‘Kale Kauva Kale ; Ghughuti Mawa khale’

Rangwali Pichhora and Ornaments The tradition of colourful ornamentation on Anchal cloth is a unique symbol of Kumaon. Women wear the cloth Rangwali Pichhora or Kusumia during all the rituals and ceremonies. The Rangwali Pichhora is about three meters in length and one to one and half meter width white muslin cloth dyed in yellow colour and dried in the shade. Designs of Swastik, the motifs of sun and moon are made on the cloth in red colour by padded wooden stick including bell and conch shell at the centre part. The rest of the Pichhora is stamped with the help of padded small coins. Colour and patterns of Kusumia has a different look regarding the Kusumia tradition Dr. Pande explains, “In one tradition, the lemon yellow background bears pink or red rose patterns, whereas in the Kusumia, the traditional yellow base has crimson or red patterns embossed on it. The red colour is the symbol of abiding conjugal life Suhaag, the warmth of fire and sun health and wealth, the joy of spring; and the golden colour means attachment for the material world. The combination of the two colours is symbolic of the focal theme of a functional life.” 9 Like all Indian women, ornaments are liked by the women of Uttarakhand. They are made in gold, silver and copper overlaid in brass by the skilled traditional Swarnkaras or goldsmiths. Following ornaments are used by Uttarakhandi Women. 1. Guluband –The neck band made of a series of square shaped gold tablets. 2. Pahunchi –worn on the wrists. 3. Nath – Nose ring. 4. Mang tika –worn over the parting of hair on head.

5. Bulak –nose ring. 6. Hansuli –a solid silver ornament worn around the neck. 7. Bichhue –ring worn on the fingers of the feet. 8. Dhaguli and Sut –Silver bangles like ornaments 9. Anguthi –ring 10. Karnful –ear rings/ jhumkas. 11. Chainpatti –Ankle jewellery (silver). 12. Chareu –a black (fine beads) necklace worn by married women. 13. Mangalsutra –A black bead and gold necklace worn by married women. Based on occupation, there are following castes in Uttarakhand. 1. Kouli -Weaver 2. Patawa -Works in silk (weaver) 3. Auzi - Tailor 4. Bedi - Basket maker 5. Rudia - Ringal (baskets) worker 6. Tirua - Black smith who makes swords 7. Pajain - Kumhar (Potter) 8. Od - Rajmistri (Mason) 9. Tamta - Copper Smith 10. Bakharia - Syce 11. Dhunna- Quilt maker (Cotton beater) 12. Saraki / Badaie - Cobbler 13. Lwar / Lohar –Black smith 14. Sunar –Goldsmith 15. Mistri –Carpenter Thus it shows that Uttarakhand has a unique combination of the entire stream of artisans who follow the traditional folk arts and crafts over the generations. Uttarakhand is fortunate to have tribal communities associated with it. They have their own art and craft. The reasons for the distinct art and craft forms of the tribals of Uttarakhand are not clearly established. The next few chapters will reveal the art and craft traditions and their present status amongst the Uttarakhand Tribes.

Purpose of Study A National Commission for Scheduled Castes and Scheduled Tribes has been constituted by virtue of the Indian constitution (Sixty fifth amendment Act 1990.) The components of the Commission are; a Chairperson, Vice Chairperson and five members appointed by the President. The main functions of the commission are to investigate and monitor all matters relating to safeguard the interests of the Scheduled Castes and Scheduled Tribes. The Commission is empowered to enquire into specific complaints with respect to the deprivation of rights of Scheduled Castes and Scheduled Tribes. The Commission acts as an adviser in the planning process of development of the Scheduled Castes and Scheduled Tribes. Separate departments have been set up for welfare of the Scheduled Castes and Scheduled Tribes in states and Union Territories. However, the infrastructure of such departments differs from state to state. All the states having scheduled areas have constituted Tribal Advisory Councils under the provision of the Fifth Schedule of the Constitution. These councils advice on the matters related to the welfare and advancement of the Scheduled tribes. For overall policies, plans and coordination of programmes, the Ministry of Welfare is the nodal agency. Tribal Research Institutes have been set up in many states of the country. These institutes have museums for displaying the Tribal Artifacts. The main functions of these institutes are research, education, data collection, training etc. Tribal sub plans are prepared by professionals. Tribal literature is also published by such institutions. Indian Red Cross Society, Ram Krishana Mission, Bhartiya Adimjati Sevak Sangh, Servants of Indian Society etc. are some voluntary organizations engaged in promoting welfare of Scheduled Tribes. Keeping in mind above said facts the main objectives and hypothesis of the present research work are as follows:

Objectives 1. To explore and bring to light the rich and varied characteristics of the art and craft traditions of Uttarakhand Tribes. 2. To promote and support documentation, research and survey of the changing phases of the art and craft of Uttarakhand tribes facing threat of extinction as a consequence of rapid modernization. 3. To disseminate and promote awareness of the richness of the culture of Uttarakhand Tribal Art and craft among the urban people, and to help them preserve their cultural heritage.

Hypothesis 1. That the supposedly less awarded Uttarakhand Tribal population, especially its middle class population, shows less interest appreciate their art and craft. 2. That remoteness serves as a barrier for local people to interact with the outside world. Due to difficult undulating topography and inaccessibility, life in Uttarakhand is hard enough for the interested artists and scholars from outside, to highlight the regionâ&#x20AC;&#x;s rich indigenous art, craft and cultural aspects of Uttarakhand Tribes. 3. That Uttarakhand state, ever since its creation, is without any serious institution/ official support for the arts and crafts. As a result, there is no provision for any officially sponsored programme / research in this novel field.

Methodology The study is carried out on a two-pronged basis i.e. Desk Research and Primary Data Collection. (i)

Desk Research Desk Research involved collection of secondary data and other related information on the following aspects

1. Study of the arts and crafts of the main tribes of Uttranchal/Uttarakhand including its hills and plains. 2. Study of published official documents and other related reports with reference to the state 3. Study of role-played by the state and the other supporting organizations. 4. The secondary data was collected through desk approaches by collecting information available in the survey and field work. (ii)

Primary Data Collection

The assignment initiated with in-depth interaction with the Tribal community of State and Government organizations of the state. This enabled the study to understand and collect all the relevant secondary information on the tribes, their art and crafts and their current status. Thereafter Principal Investigator and project fellow(s) visited the tribal areas to interact with the local tribal artists and craftsmen. The issues on which these discussions deliberated include: * Type of art and craft in the community involved in the field; hills and plains both. * Level of dependence on the art and craft and other livelihood options of the community * Source of raw material and extent of sustainability (future) of the art and craft based on the raw material * Mode of product sale, any middle-men involved * Willingness/initiative of the community to promote the art and craft * Existing and future Government /institutional support/patronage required * Whether the tribal art and craft can be continued and preserved in future. The Primary data was collected from predominantly tribal districts namely, Chamoli, Pithorgarh, Udham Singh Nagar, Almora, Dehradun, Haridwar, and Uttarkashi, The research grant was approved by the University Grants Commission, New Delhi for a major research project.

Chapter Two

Tribes of Uttarakhand

Map of Uttarakhand indicating Tribes

Bhotia/Marchha

Jaunsari

Bhotia/Shauka

Raji/Vanraut

Bhotia/J ad

Buxa

# * O <> + +‟ +” +< +> +:

Tharu Jaunsari Raji Buxa (Buksa) Bhotia Marchha Taulchha Ran Shauka/Johari Jad

Tharu

Marchha

Jad

Tharu

Ran

The total population of Uttarakhand as per 2001 Census10 was 8,489, 349. Of these, 256,129 persons were Scheduled Tribes (STs) which constitue three per cent of the total population of the state. The state had registered 20.9 per cent decadal growth of ST population in 1991-2001. Following tribes living in the hills and plains are the inhabitants of Uttarakhand. 1. 2. 3. 4. 5.

Bhotia/Shauka/Ran/Marchha/ Taulchha/ Jad Banraut/ Raji Tharu Buksha (Buxa ) Jaunsari

Population and Proportion of STs, 2001 Census Sl.No.as mentioned in the list by the department 1. 6. 4. 3. 2. 5.

Name of the Scheduled Tribe All Scheduled Tribes Tharu Jaunsari Buksa Bhotia Raji

Total Population

Proportion to the total ST Population 256,129 100 85,665 83,262 46,771 36,438 517

33.4 32.5 18.3 14.2 0.2

Source- Office of the Registrar General, India, p. 2, http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

As mentioned above, there are total of five (5) notified STs in the state, and all of them have been rated in 2001. Tharu is the largest of the

five STs of Uttarakhand. They account for 33.4 per cent ST population of the state, followed by Jaunsari (32.5 per cent), Buksa (18.3 per cent), and Bhotia (14.2 per cent). Raji is small in number.11 The STs in Uttarakhand are predominantly living in rural areas. A majority of the ST population is concentrated in four districts, namely, Udham Singh Nagar (43 per cent), Dehradun (38.8 per cent), Pithoragarh (7.5 per cent), and Chamoli (4.1 per cent).

Work Participation Rate (WPR) In 2001 Census, 41.1 per cent of the STs have been recorded as workers, which is below the aggregated national level for STs (49.1 per cent). Of the total workers 73.1 per cent have been recorded as main workers and 26.9 per cent as marginal workers. The female WPR of 31.9 per cent is just lower than male (49.9 per cent).12

Distribution of Total, Main & Marginal Workers among STs Percentage of Workers T/M/F Total Male Female

Total Workers 105,300 (41.1%) 65,502 (49.9%) 39,798 (31.9%)

Main Workers 76,961 (73.1%) 55,597 (84.9%) 21,364 (53.7%)

Marginal Workers 28,339 (26.9%) 9,905 (15.1%) 18,434 (46.3%)

Source- Office of the Registrar General, India, p. 3, http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

Category of Workers Category wise analysis of the total ST main workers reveals a high of 67.9 per cent recorded as cultivators, 7.7 per cent as agricultural lbourers, 5.2 per cent in the category of household industry, and the remaining 19.2 per cent as â&#x20AC;&#x17E;other workersâ&#x20AC;&#x;. Jaunsari and Tharu are predominantly cultivators. Of their total main workers, 80.6 per cent among Jaunsari and 78.5 per cent among Tharu have been recorded as cultivators. Buksa have recorded 54.1 per

cent of their main workers as cultivators. However, a high of 28.3 per cent as agricultural labourers among recorded among Buksa speaks for their greater dependency on primary agricultural sector.13 It shows clearly that 5.2 per cent tribals work for the household industry and the remaining 19.2 per cent are engaged in other works including 67.9 in farming and labour (5.2 percent). It could be appreciated that the time given by them for their art and craft works is minimal. It is also true that they do this work utilizing the spare time side by side the cultivation, agricultural and other work.

Religion The STs in Uttarakhand are predominantly Hindus constituting 99.1 per cent of the population. Besides, a total of 1,344 persons have been returned as Budhists.14

Stateâ&#x20AC;&#x;s Scheduled Tribes Population by Sex and Sex Ratio (Source: Census of India 2001)

Area Code

Districts

05 01 05 01

Uttarkashi

Area

Population

Sex Ratio

Persons

Males

Females

Total

2,685

1,414

1,271

899

Rural

2,449

1,284

1,165

905

130

106

815

05 01

Urban 236

05 02

Total

10,484

5,083

5,401

1063

Rural

7,730

3,688

4,042

1096

05 02

Urban 2,754

1,395

1,359

974

05 03

Total

106

755

05 02

Chamoli

186

05 03 05 03

Rudrapraya Rural 157 g Urban 29

05 04

Tehri

Total

691

517

174

337

05 04

Garhwal

Rural

273

169

104

615

05 04

Urban 418

348

201

05 05

Total

99,329

51,922

47,407

913

Rural

94,910

49,435

45,475

920

2,487

1,932

777

05 05

Dehradun

805

526

05 05

Urban 4,419

05 06

Total

1,594

888

706

795

Rural

1,348

744

604

812

144

102

708

05 06

Garhwal

05 06

Urban 246

05 07

Total

19,279

9,422

9,857

1046

05 07

Pithoragarh Rural

14,934

7,341

7,593

1034

2,081

2,264

1088

05 07

Urban 4,345

05 08

Total

1,943

899

1,044

1161

Rural

1,619

746

873

1170

05 08

Bageshwar

05 08

Urban 324

153

171

1118

05 09

Total

878

461

417

905

Rural

488

255

233

914

05 09

Urban 390

206

184

893

05 10

Total

740

385

355

922

05 10

Champawat Rural

573

296

277

936

876

05 09

05 10

Almora

Urban 167

05 11 05 11

Nainital

05 11 05 12

Total

4,961

2,568

2,293

932

Rural

3,962

2,054

1,908

929

514

485

944

Urban 999 Udham Singh

05 12

Total

110,220

55,941

54,279

970

Rural

108,808

55,081

53,727

975

860

552

642

Nagar 05 12

Urban 1,412

05 13

Total

3,139

1,728

1,411

817

Rural

2,958

1,628

1,330

817

100

810

05 13

Haridwar

05 13

Urban 181

Distribution of Individual Scheduled Tribes Population by Sex and Literacy Rate (2001) Tribe All Scheduled Tribes

Bhotia

Buksa

Jaunsari

Raji

Total Rural Urban Total Rural Urban Total Rural Urban Total Rural Urban Total Rural Urban

Population (Nos.)

Male (Nos.)

Female (Nos.)

Literacy Rate (%)

256129

131334

124795

63.23

122808 8526 17784 13156 4628 24264 24054 210 43409 41571 1838 282 254 28

117401 7394 18654 13882 4772 22507 22337 170 39853 38510 1343 235 217 18

61.65 85.91 79.92 76.75 88.92 49.94 49.78 68.81 58.85 57.58 89.25 35.79 30.73 86.11

240209 15920 36438 27038 9400 46771 46391 380 83262 80081 3181 517 471 46

Tharu

Generatic Tribes etc.

Total Rural Urban Total

85665 84073 1592 3476

43637 42568 1069 1958

42028 41505 523 1518

67.00 66.85 74.82 66.55

Rural Urban

2155 1321

1205 753

950 568

61.73 74.31

Population Ratio w.r.t. Population (2001) State/District/ Sub-district Uttarakhand Udham Singh Nagar Kashipur Kichha Sitarganj Khatima Dehradun Chakrata Vikasnagar Dehradun Rishikesh Pithoragarh Munsiari Dharchula Didihat Gangolihat Pithoragarh Chamoli Joshimath Chamoli Pokhari Karanprayag Tharali Gair Sain Uttarkashi Puraula Rajgarhi Dunda Bhatwari

Population 8,489,349 1,235,614 481,208 395,908 175,069 183,429 1,282,143 118,667 232,713 742,037 188,726 462,289 46,546 61,089 136,057 70,387 148,210 370,359 39,919 91,993 35,462 55,170 88,432 59,383 295,013 62,794 62,274 100,130 69,815

Total

Rural

Urban

3.02

3.81

0.73

8.92 3.20 3.14 18.95 26.83 7.75 61.62 8.53 0.43 1.62 4.17 15.61 15.05 1.12 0.02 0.86 2.83 14.30 4.01 0.15 1.17 0.32 0.17 0.91 0.62 0.57 0.83 1.59

13.07 5.21 5.46 21.98 28.87 15.73 62.74 9.26 0.25 2.59 3.71 15.61 12.88 0.66 0.02 0.20 2.42 17.70 3.39 0.15 1.16 0.32 0.17 0.90 0.62 0.60 0.83 1.69

0.35 0.07 0.18 2.15 2.78 0.65 24.83 1.99 0.48 0.46 7.26 0.00 26.07 13.63 0.00 2.37 5.43 8.59 6.05 0.00 1.21 0.00 0.00 1.03 0.00 0.31 0.00 1.29

Bageshwar Kapkot Bageshwar Nainital Kosya Kutauli Nainital Dhari Haldwani Champawat Champawat Garhwal Srinagar Pauri Thali Sain Dhoomakot Lansdowne Kotdwara Hardwar Roorkee Hardwar Laksar Almora

249,462 77,031 172,431 762,909 50,477 141,874 72,689 497,869 224,542 224,542 697,078 49,800 146,074 93,409 44,010 169,788 193,997 1,447,187 778,241 479,671 189,275 630,567

0.78 1.65 0.39 0.65 0.05 0.33 0.10 0.88 0.33 0.33 0.23 0.20 0.09 0.02 0.02 0.02 0.67 0.22 0,02 0.63 0.00 0.14

0.67 1.65 0.21 0.80 0.05 0.23 0.10 1.30 0.30 0.30 0.22 0.04 0.01 0.02 0.02 0.02 0.81 0.30 0,01 1.11 0.00 0.08

4.15 0.00 4.15 0.37 0.00 0.51 0.00 0.34 0.49 0.49 0.27 0.46 0.49 0.00 0.00 0.06 0.07 0.04 0.03 0.06 0.00 0.72

Bhikia Sain Ranikhet Almora Tehri Ghansalis Devprayag Pratapnagar Tehri Narendranagar Rudraprayag Ukhimath Rudraprayag

146,565 204,591 279,411 604,747 117,913 100,824 96,967 203,252 85,791 227,439 80,185 147,254

0.01 0.07 0.26 0.11 0.01 0.00 0.02 0.29 0.08 0.08 0.11 0.07

0.01 0.05 0.16 0.05 0.01 0.00 0.02 0.13 0.03 0.07 0.10 0.05

0.00 0.27 1.02 0.70 0.00 0.00 0.00 1.15 0.20 1.06 1.87 0.89

Source- Office of the Registrar General, India http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

Bhotia/Shauka/Ran/Marchha/ Taulchha/ Jad

Bhotia is a transhuman community of mongoloid origin having cultural affinity in the past with the Tibetans. Probably for this similarity the Bhotia region is called as Bhod or Bhot. The meaning of Bhot is Tibet. The area where this tribe was residing lies in high mountains of Uttarakhand in between the border of Nepal and Tibet called Bhot. Bhotias were associated for generations with Tibetans through trade. Basically they were indulged in the Trans-Himalayan trade, but after occupation of Tibet by China this trade came to an end. Apparantly they had been influenced by Tibetan culture and traditions due to a long trade interaction with them. Bhotia/ Shauka/ Ran of Kumaun and Marchha/ Taulchha/ Jad of Garhwal regions are residing in the heights of 1500- 6000 feet. “ These tribal groups are scattered over eight main river valleys known as Johar, Darma, Byans, Chaudans (Pithoragarh district), Mana, Niti (Chamoli District), Nilang and Jadung or Jad (Uttarakasi district). The Joharis or Saukas inhabit Johar Valley, Rans inhabit Darma, Byans and Chaudans are locally known as Darmis, Byansis and Chauansis after the name of valleys; Marchas inhabit Mana and Niti valley; Tolchhas inhabit Niti Valley and the Jadas inhabit Nilang and Jadung Valleys” 15 Johar, Darma, Byans, Chaudans are in the Pithoragarh district of Kumaon region. Mana, Niti of Chamoli District, Nilang and Jadung or Jad of Uttarakasi district are in Garhwal region. The origion of Bhotia/ Shauka/ Ran is from Mongol or Kirat as indicated in ancient in Sanskrit Literature. Ran is the main sub caste of Kirat which entered here through Arunanchal Pradesh.16 Tolchha and Marchha of Chamoli and Jad of Uttarkashi are of the same origion as Mongol or Kirat. They are known currently „Maun Khmer‟. The „Maun’

and „Khmer‟ words are derived respectively from the combination of Tibetan-Burmese and Cambodian languages. This word is also used for Bhil-Kirat tribes. The World encyclopaedia states that the Shaka tribe migrated from Asia Minor. The Chinese text describes them as herdsmen and sellers of wool, who lived near the hills of Kashgar and Khasgiri. They migrated there in about 130-140 B.C. The Chinese defeated and drove them away southwards in 160 B.C. probably some of them came to India through Tibet via Kumaon. The ancient name of Afghanistan was Shakasthan or Shaka Dwip (island). The Persian writers have called it Sejistan. Some people of the Saka tribe have been stated to be living in Johar and Darma, but in modern times some people from here have intermingled with them.17 Shaka is the synonymous of Shauka. Gradually after 1815 they built their living places known as Khera such as Kuti Khera, Nabi Khera, Naplchyon Khera, Garbayang Khera of Dharchula. Later very few Bhotias shifted to lower areas of Uttarakhand in the Almora, Bageshwar and other parts of the state. In 1962, after the Indo-China war, Government of India banned their trade with Tibet. According to Samal “the sudden disruption of the Indo-Tibetan trade, which was the mainstay of Bhotias economy and adjunct to their socio- cultural life, resulted in their niche-deterioration forcing them to seek alternative sources of livelihood.” 18 Bhotias reported to Tibet as Hundesh Tibetan‟s as Huniyas. Trade, pastoralism and agriculture including woollen industry became the main profession of this tribe. Earlier the woollen industry of the Bhotias was also a source of economy as they received enough raw wool from Tibet. Bhotias have two settlements; the upper or summer settlement which is called Mat, where they stay from May –June to October- November and cultivate limited varieties of corps like buckwheat (Fagopyrum esculentum and Fagopyrum tataricum). Since the rugged and greater portion of the region lies above the tree line and remains covered with snow for more than half the year they come down to their residences in the lower reaches.

In the lower or winter settlements which are called Munsa during the biting cold days they stay for the remaining months of the year. In these days they cultivate wheat (Triticum aestivum), paddy (Oryza sativa), maize (Zea mays), Jowar (sorghumvulgare), potato (Solanum tuberosum) etc. They have the herds of sheep, goat, yak, mules/ponies, etc. Bhotia dogs (Tibetan Shepherd) accompany the herds and always bark to protect them. “In Johar, Darma, Byans, and Chaundas Pattis of the Pithoragarh district, people speak either the Bhotia dilect of northen Tibeto- Burman family or a mixed form of Kumauni. In Askot, the Rajis or Ban Raut speaks a language belonging to the Austric family. In Johar pargana, a large number of Bhotia speak languages belong to Tibeto- Burman families.”19 Bhotia speak different dilects of Bhotia languages all belonging to the Tibetan Branch of Tibeto-Burman Languages. Their common languages of conversation are also Hindi, Kumauni, Garhwali, and Nepali.

a a.

Chhinka and b. Village near Pandukeshwar

There are different opinions about the origion of Shauka Tribes. However these are the oldest Tribes of Uttarakhand as per Dr Bisht20 Shauka or Bhotia are by and large the same. Historians mention that the tribes of Bhat region, comprising five Himadri valleys living in Garhwal Himalaya, are one of the ancient cultural groups of the regions, bordering Tibet. “They are locally known

as Shaukas, which is one of the successors of Saka the ancient tribe of Central Asiaâ&#x20AC;?21 Bhotia/ Shauka/ Ran/ Marchha/ Taulchha/ Jad are residing in the following places. Bhotia - Pithoragarh, Almora, Bageshwar Shauka - Jauhar valley of Pithoragarh Ran - Darma, Byans, and Chaundas valleys of Pithoragarh Marchha - Mana valley of Chamoli Taulchha - Niti valley of Chamoli Jad - Nilang and Judang valleys of Uttarkashi, The Government has been facilitating them by providing reservation in education and employment. Hence they are well setteled and serving the country through government jobs in education, engineering, medical, police and administrative services according to their education levels. Following are some of the Bhotias who have rendered their yeoman services to Uttarakhand and the country:1. R. S. Tolia resident of Munsyari (Pithoragarh)-Noted Beaurocrat 2. S. S. Pangty, Retd. (Govt of India) 3. Dr. I. S. Pal Director General Medical Health Resident of Bampa (Chamoli) 4. Dr. Ramesh Chandra Sayana Director General Medical Health Resident of Kailashpur (Chamoli) 5. Dr. Raghu Bir Singh Rawat, IFS, Chief Forest Conservator Resident of Chamoli 6. Shri Kishan Singh Kunwar Chief of Irrigation Resident of Chamoli 7. Shri Indra Singh Pal, Appar Maha Nideshak Chikitsa (Senior Director General Health Services) resident of Chamoli Currently the following leaders are actively serving the community of tribes of Uttarakhand belonging to their community: 1. Shri Gopal Singh Rana, MLA Khatima 2. Shri Kedar Singh Fonia, MLA Badrinath

3. 4. 5. 6.

Shri Gagan Singh Rajwar, MLA Dharchula Shri Munna Singh Chauhan, MLA Vikasnagar Shri Pritam Singh, MLA Chakrauta Mrs Chauhan, Jila Panchayat Adhyaksh (President of District Panchyat ) Dehradun

Population of Bhotia Tribes in State/ District (2001) State/ District Uttarakhand Uttarkashi Chamoli Rudraprayag Tehri Garhwal Dehradun Garhwal Pithoragarh Bageshwar Almora Champawat Nainital UdhamSingh Nagar Hardwar

Person (Nos.) 36,438 1,784 10,192 101 128 725 214 18,647 1,913 798 205 1,207 460

Male (Nos.) 17,784 871 4,905 62 67 369 137 9,073 881 418 105 614 248

Female (Nos.) 18,654 913 5,287 39 61 356 77 9,574 1,032 380 100 593 212

Source- Office of the Registrar General, India http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

There are many tribes who took initiative towards self development including its society as well as for the betterment of the country. Comarade Govind Singh belongs to Taulchha / Marchha tribes from Chamoli district who played an important role in Chipko Movement (Andolan) by ardently supporting his leader Shri Chandi Prasad Bhatt, Magyasase Awardee in the Eightees. This movement brought out the importance of ecological balance among the people to maintain a close relationship with trees.

Padmashree Lakshman Singh Jangpangi is an important Bhotia figure who was conferred the covetted award. “Babu Ram Singh of Shauka was an eminent freedom fighter.”22 Padmashree Mohan Singh Gunjiyal, Indo-Tibetan Border Police is an Everester and a winner of consecutive all round best skier awards at the national levels. Besides the Mount Everest, the summits he scaled include Nanda Devi (25,646ft.), Kamet (23,416 ft.) and Chaukhamba (23,416 ft.). He accomplished 24 expeditions successfully and led a number of them. In recognation of his outstanding life time achievements in the field of land adventure, the President of India, on 31.08.05, conferred upon him the “Tenzing Norgay National Adventure Award for the year 2004. Sri Mohan Singh Gunjiyal is one of the recipients of prestigious Padmashree Award for the year 2006.” 23 Man Singh and Pandit Nain Singh Milamwal (Rawat) were famous personalites from this land who are credited with detailed mapping of the Indo –Tibet region. Man Singh was known for inventing Mani-Kampasi. Campass is an instrument that helps in finding the North direction. Nain Singh was awarded by Royal Geographical Society and Victoria Gold for his noteworthy work. Padmashree H. C. Rawat and Arjuna Award Winner and Padmashree Hukam Singh Pangty belong to this land of tribes who have outstanding lifetime achievements in the field of adventure. Padmashree Harish Chandra Singh Rawat is the first tribal from this area who conquerd the Mt. Everest in the year 1965. On his success he was awarded by Padmashree in the same year. He was born on 03 July 1934 in the village Sarmoli at Munsyari. He was the recipient of Arjun Award in 1962. In a meeting with researcher when he was on his way towards Munsyari he observed that “we don‟t have good quality wool now days. He advised we should think about that.”

Padmashree Harish Chandra Singh Rawat (in middle) and Shekhar Chandra Joshi and his wife Ms. Geeta Joshi

Following organisations are working for promotion of Bhotia Tribal art and Crafts: - Association for Himalayan Environment Action Research and Development, Dharchula, â&#x20AC;&#x17E;Established in 1999 by Dr. Dinesh Vyas, Director - Ran Kalyan Sanstha: This organisation is working for the all round development of the society. - Mansarovar Uni Khadi Katai Bunai Sahkari Samiti Limited Pithoragarh, President Smt Parvati Khati - BAMSAIF an association dedicated to ST and SCâ&#x20AC;&#x;s promotion was constructed in Pithoragarh on 27 May 1994. Some words of Bhotia language along with their Hindi translation by Gita Mehra,24 Satyavan Singh Kutiyal and Dr. Dinesh Vyas 25 are mentioned with English translation with in brackets. Chayakti - Madira (Wine) Chhaku - Bhat (Rice) Chamma - Dal-Sag (cooked grain -vegetable) Kuton - Roti (Chapati) Fafar - Anaj (A kind of Grain Ougal is also called Fafar in Nepal) Pattimuti - Roti of Ougal (Chapati of Ougal) Jya - Namkin Chai (Salty Tea)

Nabu - Kira (Insect) Samu - Nasht (Destroy) Chamo - Bali Dena (Sacrifice) Gwan or Dharign - Maran Sanskar (Death ceremony) Go Ja Chi - Kahan Ja Rahe Ho (Where are (you) going) Aaya Garh - Yahan Ja Rahain hain (Going there) Hakhemvnoja - Khana Jaldi Banalo (make food fast) Chya Tung - Chai Pi Lou (Drink Tea) Ghasi - Chale Jao (Go) Manag - Jangal (Forest) Bhairya - Bhed (Sheep) Khato - Charpoy (Cot) Chaddar - Chadar (Bedsheet) Chhe - Jija (elder sisterâ&#x20AC;&#x;s husband) Nauki - Kutta (Dog) Chha - Namak (Salt) Jyung - Haldi (turmeric) Dung - Lahsun (Garlic) La - Hath (Hand) Prasya - Sar (Head) May - Aankh (Eye) Nan - Sabse Chota (Youngest) Tawa - Didi (Elder Sister) Sy-Kaku - Chacha (Uncle)

Teme - Bhabhi (Wife of elder brother) Namasya - Bahu (daughter- in - law) Si - Bua (Fatherâ&#x20AC;&#x;s sister) Chits - Chhoti Chirya (Small bird) Say - Jangal (Forest) Sin - Lakari (Wood) Limlin - Chir ka Ped (Pine tree) Sara - Aao (Come) Dan - Pet (Stomach) Nau - Thuddi (Chin) Akchham - Dari (Beard) Rach - Kan (Ear) Lake - Pair (Foot) Shai - Dant (Teeth) Chhaie - Kamar (Waist) Naim - Nak (Nose) Lampan - Anguli / Ungli (Finger) Puchha Kham - Bal (Hair) Bana - Gala (Neck) Mala - Bakra (He Goat) Bhainsi - Bhains (Buffalo) Kautam - Hal (Plough) Bharkuddu - Puri (Puri) Lakku - Muli (Radish)

Yaula - Juta (Shoe) Mourung - Darwaja (Door) Valat Massumma - Shor mat karo (Donâ&#x20AC;&#x;t make noise) Khe Gani - Bhukh Lagi Hai ? (Are (you) hungry) Ja Ja - Khana Kha (Eat Food) Lunti - Garam Pani (Hot water) Ti - Thanda Lagana (Feeling Cold) Nu - Dhudh (Milk) Rantan - Wahi (That) Bhar - Ghee (Ghee) Marti - Sarson ka Tel (Mustered Oil) Sa Marti - Mitti ka Tel (Kerosin Oil) Baro Furi - Dhal (Shield) Pisu khanda - Talwar (Sword) Bini - Dhanush (Bow) Chanrum - Ban (Arrow) Gwi Room - Tarkash Tona (a Quiver) Sangi Bhutya - Bhala (a Spear) Mansa Guli - Lal Mitti/Red clay se nirmit Ghar (a house made of red clay) Thum- Charu - Riti-Riwaj (Culture) Chame Thochim - Sagaai (engagement) Dhami - Vivah (marriage) Vyanthlon - Pugree (turban) Yar - Ek Rupee ka Sikka (One Rupee coin)

Momandi Than - Shwet (Safed) Dhwaja (White flag) Lakchhyab - Kan ki Baliyan (Ear Rings) Mi - Adami (Man) Aapa - Pita (Father) Mai - Aag (Fire) Aful - Ladala (darling) Lyaptarain - Maila-Kuchela (dirty) Chalkhe - Sidi (Grandfatherâ&#x20AC;&#x;s seat) Akhan - Darati (Sickle) Aarvee - Doka (Basket used to carry (on back) Ubin - Vastra (Clothes) Kamla - Mahilaon ke vastra (Womenâ&#x20AC;&#x;s clothes) Dafia and Hinwal - Pakshi (Himalayan Birds) Sutan - Pajama (Trousers) Himal - Himalaya (Himalaya) Huniya - A Tibetan Khampa - Indian citizen of Tibetan origin Chanvar - An animal of Tibet, Yak Chhirpi - A solid cheese make from Yak milk. Chuyunt - A garment made of waste wool Gormo - Tibetan for Indian Rupee Lhuk - Sheep Lham - canvas shoe Dhori - A shoe made locally from leather

Jambu - A scented herb (spice) Naikor - A Tibetan pilgrimmage Jabbu - A breed of Tibetan Yak Dhadandela - A pot made of bamboo to store grain Pankhula- A woolen bed sheet Pithagdan - A roli pot Sura Gai or Yak- chiefly for the purpose of carriage; Mules, bred between the two foregoing species. Where the sire is a Yak, the produce is called „Jabbu‟ and in the opposite cross, it is called „Garjo‟

Pithagdan or Pityamor (A roli pot)

Banraut / Banraut / Raji

The Rajis, socially and economically, are the most under developed tribal community of the state. They are also called Banraut (Kings of forest) or Van Raji (royal people of forest) or Van Manush (wild man or man of forest). They still prefer to live in the forest and claim themselves to be Rajputs, and the original inhabitants of Central Himalaya or descendants of one of the aboriginal princes of Kumaon. Crooke (1896) was of the opinion that they were servants of the king Kutpur, who expelled them. Few decades back, they used to avoid going to habitations of other communities, used to hide away in forests from out side and the only relationship they had with the other people was through barter of wooden impliments and utensils. They are found in the remote forests of Pithoragarh and Champavat Districts. It is worth mentioning here that

Vanraut(s) in the forest and home

a large number of this tribe is residing in Nepal border of Pithoragarh and Champawat districts. It seems the Raji tribes of India and Nepal

have close relations with each other. In 1967, Government of India recognized them as a tribe of Uttarakhand and as a primitive tribe in 1975. The Government provided land to them in 1976.26 There are few villages of Banraut or Raji in Uttarakhand residing in near by villages at Dharchula and Didihat of Pithoragarh and Champawat districts. The names of those villages are Chifaltara, Ganagaon, Kimkhola, Madanpuri, Katyula, Kantoli, Kuta Chourani, Altari, Kauli Jamtari, Kuna Kanayal etc. Khirdiwari is settled in Champawat district. In Askot, the Rajis or Ban Raut speaks a language belonging to the Austric family. They now are developing themselves to speak Munda, Kumauni and Tibetan. According to Samal et al “Raji are divided in to a number of sects, which appear to be clans/lineages and do not marry with in the same sect. Singh (1994) refered these sects as exogamous partilineages called rath. The community practices bride price. Various modes of acquiring spouses are negotiation, elopement, exchange and intrusion. Monogamy is the norm. Levirate, sororate and cross cousin marriages are practiced. Divorce and remarriage are also permitted. Post- martial residence is patrilocal. Nuclear family predominates.” 27 In marriage, the father of a girl gives money to the boy to whom he wishes to marry his daughter. After the marriage they live together separate from the family. They give a name to their new born baby after the six months of his/her birth. Remarriage is also allowed for the women. Raji or Banraut worship the „Jangal Devata‟ and „Baghnath‟ God. The Rajis are said to be having their own peculiar Gods, but they also worship those of the Hindus and, like the people of Kumaon, and indeed of the entire Himalaya, attribute great power to the local deities, spirits, goblins and defined persons as per Atkinson adding that It has also been reported that the name of one of their favourite objects of worship is Khudai, a name that has no connection with the Muslim name for God. According to “Samal the Rajis have a number of deities of their own like Chuchurmal or Churmul, Malayanath, Gananath,

Kholiya, and Malkan Jan or Mallikarjun, Uskarnath, Ghatola, etc. which are individually associated with specific clan as family deity. For example, Mallikarjan is the family deity of Baitara clan, Uskarnath of Sarari and Gananath for Katuria. However some of the deities, i.e., Mallikarajan, Gananath, Chuchurmal, etc., are worshipped by the entire Raji village inhabited by various patrilineages.â&#x20AC;? 28 It means that Banraut or Raji also have a series of Deities. Initially they were worshippers of nature only. Later they became conscious about their family and began to worship the same clan of each family recognised by them. Jangal, Baghnath, Churmul, Malaynath, Ganganath, Mallikarjun, Kholia, Uskarnath, Ghatola etc. are the main deities of Raji or Banraut to whom they have had been worshipping. It was the result of joining the society step by step. They are illiterate and still learning gradually day by day. â&#x20AC;&#x153;They also worship Hindu deities like Mahadev, Parvati, Ganga, etc. in addition to all aspects of nature. They celebrate the Hindu festivals; Nandadevi and also perform Jagara (spirit possession). Their modern religious practices specially the Jagara, explain their attempt at cultural approximation to other Kumaonies (Joshi & Pande, 1995). Thus, at present, as commented by Singh (1994), Raji religion is a mixture of their traditional faith and local forms of Hinduism. Their deities are of three types; some are of the entire community, some are of clan/lineage and some of the entire village. The tribe is highly superstitious. After the death of a member of the family, even a child, entire family quits the village and settles in another village or place. The family may return to the parental village after few years. This characteristic, i.e., quitting the village after death of a family member, is gradually diminishing, particularly after allotment of land to families.â&#x20AC;?29 It is true they can not establish themselves at one place for a long time. The death of any family member becomes a cause of shifting. They try to forget the separation of dead family member establishing themselves at another place. However, their earlier mode of livelihood was based on forest. They got it from wild edible plants, roots, tubers, hunting and fishing. They also learnt manufacturing wooden vessels in

the forest and supplemented these to near by areas. Now they are inspired by their neighbours and acquainting with their coustoms. They often go to temple and perform a major worship once in a year or more. They look new modes and methods of living the life around in near by areas. The structure of a temple of the Raji is very simple. It looks like a hut in Trident shape made of stone and thatched roof. It acquires around four to five feet length and width in each side including its height. They put some stones inside the temple for worship representing the deities. At present, mostly Raji or Banraut have been changing from hunter-gathers to agriculturists and skilled and unskilled workers engaged in agricultural and non-agricultural production. The Governments initiative to provide allotted land to them for agriculture and housing for a settled life also brought a bright change in their life. Gagan Singh MLA Dharchula and resident of Kimkhola is a noteworthy personality. He is also a social worker.

Populations of Raji Tribes in State/ District (2001) State/ District Uttarakhand Uttarkashi Dehradun Garhwal Pithoragarh Almora Champawat Nainital Udham Singh Nagar

Person (Nos.) 517 10 20 17 364 1 99 5 1

Male (Nos.) 282 10 14 7 190 1 56 3 1

Source- Office of the Registrar General, India, http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

Female (Nos.) 235 6 10 174 1 43 2 -

Tharu

The Tharu are a tribal Tibetan - related people that originally inhabited the eastern zone of the Tarai, along the border with Nepal.30 However they had migrated from Rajasthan and reached first at Meena Barah Rana, the place where now a days the SIDKUL has been established on the Kathgodam Sitarganj Road in Tarai as per Shri Gopal Singh Rana, Advocate and MLA Khatima. Government has allotted three acres of land for construction of a Barah Rana Monument, Shiv Mandir, Chhatrawas (Hostel), Statue of Maharana Pratap and Goushala (Cow shelter). Major General (Retd.) B. C. Khandudri, the Chief Minister of Uttarakhand performed the Bhumi Pujan on 21 February 2009. He also laid down a foundation Stone for the monuments. All the Tharus of Uttarakhand State took part in this programme. Most Tharus are settled in the tract of Tarai on the banks of River Sharada over about 10-12 miles, extending from Kashipur to Banbasa/ and habitation from Kichha to Banbasa. The main habitations of Tharus where they reside in Uttarakhand are Khatima, Banbasa, Rudrapur, Sitarganj, Kichha, and Nanakmatta of the Nainital and Udham Singh Nagar Districts.

A view of Tarai area

Tharus are subdivided into many sub-tribes, although a majority of them live in Udham Singh Nagar. They have large families that live communally, and it is traditional for brothers to live under one roof. They had a tradition of Badala marriage. It means marriage by exchange, in which two men marry each others sisters. Now, „Tean Tiki‟ is becoming popular in which marriage with any near relative is finalized. “The institution of joint family is still very strong among the Tharus and they are a patrilineal, patriarchial and patrilocal society. However, women are treated very well and sometimes get more importance. Tharus have a „Biradari Panchayat‟ as their political organization.”31 They spend usually five to six days in performing the marriage ceremony. The very first Day, in Chulha Baithana they make arrangement of cooking the food. Worship of the Land is performed on the second Day called Bhumisain Puja - Nyota Dalana (Contribution/donation of money, Haldi Lagana (applying of Turmeric paste) and Arrival of Barat are the programmes of third day. The Groom acompanied by ladies and gents proceeds to Brides‟s home to bring her. On the fourth day, ladies and gents from bride‟s side also accompany the barat to groom‟s home. In Bhitoni, the fifth day bride returns to her parents‟ home along with ladies and gents. Finally, the sixth day ends with departure of relatives. Following Tribal leaders and eminent personalities are serving the community of Tharus in Uttarakhand: 1 2 3 4

Shri Gopal Singh Rana, Advocate and MLA Khatima Shri Dan Singh Rana President of Tharu Vikas Parisad Khatima Smt Shasi Bala Rana, President of Self Help Fedration Khatima Smt. Chhiddo Devi, Treasurer of PSF, Sara Saria, Machhali Jhala, Nankmatta

Following Institutions/NGOs are currently working for the promotion of Tharus: 1. Tharu Vikas Parisad, Khatima 2. Swayam Sidhha Samuh (Self Finance Fedration) of Tharu

3. Mahila Samakhya funded by Manav Sansadhan Vikas Mantralaya (Human Resource Development Ministry), Government of India

Table â&#x20AC;&#x201C; 6 Populations of Tharu Tribes in State/ District (2001) State/ District Person (Nos.) Uttarakhand 85,665 Uttarkashi 3 Chamoli 9 Tehri Garhwal 274 Dehradun 97 Garhwal 7 Pithoragarh 39 Bageshwar 11 Almora 6 Champawat 427 Nainital 248 UdhamSingh 84,532 Nagar Hardwar 12

Male (Nos.) Female (Nos.) 43,637 42,028 3 6 3 272 2 63 34 4 3 25 14 3 8 3 3 218 209 138 110 42,896 41,636 6

Source- Office of the Registrar General, India http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

Shri Gopal Singh Rana, Advocate and MLA in middle sitting with his Tharu family and researcher infront of his house, (left) the old house

Buxa (Buksa)

The Buxas associate themselves with the Vanraj or King Jagat Dev of Dharanagari, Rajasthan. The forefathers of Buxas came to Uttarakhand from Dharanagari, Rajasthan. It is said also about the origion of Buxa that â&#x20AC;&#x153;In the fourteen century AD, after the killing of royal rajput kings in the battle, Rajput queens for the survival of their lives and modesty, migrated to the foot hills of north India with their servants. They later had martial relations with these servants. Thus this tribe evolved and called Buxa.â&#x20AC;?32 The foothhills of north India are known for their dense forests, wild creatures and adverse climatic conditions where they felt safe and prefered to accomodate themselves. Natives of the foot hills of Himalayas, Buxa Tribe is spread over five districts of Uttarakhand namely Udham Singhnagar, Nainital, Haridwar, Dehradun and Pauri. The Buxa habitants also spill over to parts of Bijnor district in adjoining Uttar Pradesh. In Uttarakhand they are mainly located in Gadarpur, Bajpur, Kashipur and Vikasnagar. Agriculture is the main source of livelihood of this tribe but during their off time, Buxas also have an expertise in other occupations like fishing, cot knitting, mats, and hand fan making, wood work etc. They cultivate rice (Oryza sativa), wheat (Triticum aestivum), maize (Zea mays) and pulses. The Buxas are divided into several exogamous clans (gots or gotras) of equal status; the feeling of higher and lower status is not attached to them. Ghagaria, Dom Dakaria, Lohar, Mahal and Nat (Chopharia) are the five main castes and gotras of Buxas. Most Buxas are unaware of their old living places. However, there are some Buxas who know their

old living place (khera) as well as their Gotras. Following examples are listed:Name of living place (Khera)

Name of Gotra

Etaowa

Gujrar

Palpuria

Adhoie

Nakhia

Van Gujrar

Mehtab Van

Mehtavania

Hastanwale

Chauhan

Jukara

Gujrar

Shisgarhi

Khurpia

Miti Vare

Barh Gujrar

Madanpur Vale

Manjhi

Laga Vale

Bhat

Mahaula

Teli

Galjar Puria

Gaur Brahamin

Sihari Vale

Tomar

Gobara Vale

Agrawal Baniye

Kanera Vale

Kannojia

Dandavaria

Bhitvire

Maholi Vale

Ahir

Matkotia

Mithi Vir Sukhwasi

Kutari-Kutara

Kutara

Boria Vale

Chamar

Shishona Vale

Nigauria

Manpuria

Naie

Buxas who do not know their Gotras are known by their living place (Khera). Besides, they have accepted their Khera as their Gotras too. Following examples are listed:Name of living place (Khera)

Name of Gotra

Paulgarh

Paulgariya

Pachula

Pachulavale

Kharia

Khariawale

Koya

Koyawale

Kamodpur

Kadopuria

Chhimal

Chhimalwale

Parjiya

Parjiawale

Sarbatpur

Sarbatpuria

Gandola

Gandolawale

Jogipur

Jogipuria

Tarkhera

Tarkheria

Bhikhampur

Bhikhampuria

Barua

Baruawale

Gadaria

Gadariawale

Chanakpur

Chankpuria

Palsia

Palsiawale

Chaurasi

Chaurasiwale

Simaria

Simariawale

Shikarpur

Shikarpuria

Pakariya

Pakariawale

Tuni

Tunewale

Dhuriya

Dhuriyawale

Atharkhera

Atharkherawale

Parwar

Parwarwale

Dhaula

Dhaulawale

Kamdevpur

Kamdevpuria

Munshaphapur

Munshiphpuria

Dallpur

Dalpuria

Hasira (Hajira)

Hasirawale (Hajirawale)

Buxasâ&#x20AC;&#x; habits and customs resemble closely with Tharus. â&#x20AC;&#x153;Marriages are usually arranged, but elopement and marriage by service are also reported (Singh, 1994). The Buxas are monogamous. Bride price is customary. Junior sororate and junior levirate marriages are allowed. All the sons inherit an equal share of their parental property. The dead are cremated with observance of population. The Buxas worship several deities of the wider Hindu Pantheon as well as their clan deities like Bhumia, the village and regional deities. They celibrate Hindu festivals with enthusiasm33

Population of Buxa Tribes in State/ District (2001) State/ District Person (Nos.) Uttarakhand 46,771 Chamoli 7 Tehri Garhwal 3 Dehradun 15,330 Garhwal 1,202 Pithoragarh 7 Nainital 2,945 UdhamSingh 24,387 Nagar Hardwar 2,890

Male (Nos.) Female (Nos.) 24,254 22,507 4 3 2 1 8,174 7,156 644 558 4 3 1,477 1,468 12,368 12,019 1,591

Source- Office of the Registrar General, India http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

1,299

Jaunsari

The term „Jaunsari‟ represents a number of tribal groups, namely the Khasa, artisan classes, Koltas and Bajgis who inhabit the Jaunsar area (upper Dehradun district) and Rawain (present day Uttarkashi).These together are called Jaunsaris. Chakrata, Tyuni and Kalsi are Tahshil headquarters of district Dehradun where the Jaunsaris are in majority. Jaunsar is divided in two major parts; the hilly area of upper reaches and the low lying places known as Bhawar (Bawar). They speak Jaunsari language while Bawari is spoken by the inhabitants of Bawar. It is said that Pandava brothers namely Yudhisthir, Bhim, Arjun, Nakul and Sahdev alongwith their wife Draupadi and mother Kunti proceeded to heaven through this region. Later, this region was under the king of Hastinapur named Parikshit who was the grandson of Pandavas. Lakhamandal of Jaunsar has a connection with the story of these Heros of Mahabharat to whom Kaurava wished to kill by burning. A Lakshagraha (palace of wax) was built for this purpose. Pandavas smelt the conspiracy and escaped from the Lakshagraha before it caught fire. There is a cave in Lakhamandal near the temples from where it is believed the Pandavas escaped. These temples are associated with Shiva, Parasuram and Pandavas. Coming out through the cave the Pandavas reached Chakranagari (The modern day Chakrata, a beautiful hill station of Jaunsar). According to Dr. Bhatt, “The Jaunsaris are well known to be one of the few polyandrous societies in the world, although this practice is receding into history. Marriage and sexual (moves) also tend to be more liberal, with women enjoying greater freedom to choose and divorce. Jaunsaries are also famous for their colourful clothes and festivals.”34

The Khasas comprises of Brahmins and Rajputs. They are traditional landowners and are mainly cultivators. They belong to upper priviliged class. Artisan or service classes namely Koltas and Bajgis are expected to serve the upper class. They earn their livelihood from agriculture and craft. Koltas have been restricted from owing land. Koltas are at the lowest level of the Jaunsar class structure and are the lowest service class. The Khasas of Jaunsar Bawar have evolved a practical mode of polyandrous matrimony. When the eldest brother marrys a girl, she becomes the common wife of the rest of the brothers. In case the brother is minor, he may later marry another girl to match his age. Thus both polygamy and polyandry have got mixed up and some scholars call it „polygaynandry‟. Intercaste marriages are also common among the people. The Khasa wives have got two names- „Dhanti‟ and „Ranthi‟. „Dhanti‟ is a wife who lives in her parental house and enjoys full freedom. „Ranthi‟, on the other hand lives in her husband‟s house. Jaunsari people live in two/three storyed homes made of stone and wood. Most Jaunsaris worship „Mahasu‟ devata including hero-worship of four brothers namely Basik, Botha, Pawasi and Chalda, who are known for their valour. Many jaunsaris have contributed for serving the society and the nation. Kesari Chand martyred in 1965 in Indo-Pak war at Chhamb-Jorian sector in Jammu & Kashmir. Currently there is an association named “Shahid Kesarichand Smarak Samiti” doing a yoemans service in Chakrata. In eigthenth century, Nant Ram Negi, a resident resident of village Mathela killed to a Mughal commander after entering fearlessly into his camp at Shahi Bagh all alone. A popular folk song of Jaunsar named „Harul of Nantram‟ describes the bravado of Nantram. Harul, are the Jaunsari songs which describe bravery of the heros. Kedar Singh, a social worker, also known as „Netaji‟ actively participated in politics and freedom movement. He was a resident of village Bisoie. Gulab Singh was another famous leader of the region. Mr. Pritam Singh, MLA Chakrata, Mr. Munna Singh Chauhan, MLA Vikasnagar and his wife Mrs. Chauhan, Adyaksh, Jila Panchyat (Chairman of District Panchyat), Dehradun belong to this area. Shri

Kripa Ram Joshi, educationist and journalist; Ratan Singh Jaunsari, theater personality; Major J.P. Singh Rana, Retd DIG & writer; and Smt Devaki Chauhan, social workers have excelled in their fields. These personalities have inispired other Tribals in the region as a source of multiple powers for their upliftment. Population of Jaunsari Tribes in State/ District (2001) State/ District Uttarakhand Uttarkashi Chamoli Rudraprayag Tehri Garhwal Dehradun Garhwal Pithoragarh Almora Nainital UdhamSingh Nagar Hardwar

Person (Nos.) 83,262 684 21 7 216 82,147 83 7 4 5 37

Male (Nos.) 43,409 413 15 4 133 42,726 55 5 3 3 21

Female (Nos.) 39,853 271 6 3 83 39,421 28 2 1 2 16

Population of Generic Tribes etc. in State/ District (2001) State/ District Person (Nos.) Uttarakhand 3,476 Uttarkashi 204 Chamoli 225 Rudraprayag 78 Tehri Garhwal 70 Dehradun 1,010 Garhwal 71 Pithoragarh 215 Bageshwar 19 Almora 69 Champawat 9 Nainital 551 UdhamSingh 803 Nagar Hardwar 122

Male (Nos.) 1,958 117 153 40 43 576 41 125 15 36 6 333 407

Female (Nos.) 1,518 87 102 38 27 434 30 90 4 33 3 218 396

Comparative Chart of the Tribal Population in Uttarakhand (2001)

District Uttarkashi Chamoli Rudraprayag Tehri Garhwal Dehradun Garhwal Pithoragarh Bageshwar Almora Champawat Nainital UdhamSingh Nagar Hardwar Total of State

Bhotia 1,784 10,192 101 128 725 214 18,647 1,913 798 205 1,207 460 64 36,438

Warm welcome by Jaunsaris

Buxa 7 3 15,330 1,202 7 2,945 24,387 2,890 46,771

Tharu Jaunsari Raji Generic 3 684 10 204 9 21 255 7 78 274 216 70 97 82,147 20 1,010 7 83 17 71 39 7 364 215 11 19 6 4 1 69 427 - 99 9 248 5 5 551 84,532 37 1 803 12 51 122 85,665 83,262 517 3,476

Coating Haldi before marriage

A Jaunsari with cow infront of her residence; Sisters making preparations for cooking food

Jaunsaries Organisations: Serving following organizations to the community of Jaunsaris in Uttarakhand Vishvakarma- Kasht Kala Udyog (Wood Craft Industry), Lakhamandal funded by Khadi Gramodyog A Jan Shikshan Sansthan, Dehradun sponsored by Human Resource Development Ministry Government of India Priti Rana Memorial Trust, Jaunsar Society for Motivational Training, Chakrata Shahid Kesarichand Smarak Samit, Chakrata

Chapter Three

Cultural Panorama of Tribes

Culture comprises the mode and manner of eating – drinking, living and the day to day life including their social relation which the art and craft of that particular society reflects according to their behaviour. The overall combination of these, forms the cultural panorama of any particular caste/tribe. Hence it is necessary to understand first the cultural aspect of the Tribes to understand their art and craft traditions.

Dress and Ornaments: (Apparel and Jewellery Design) Dress and ornaments, diet and tastes, games, sports and other amusements, festivals, fairs and education etc. are the main aspects which help understand the culture of Uttarakhand Tribes. Dress and ornaments are important to cover and enhance the beauty of our body. Dress helps to protect the body from the vagaries of weather as also render a distinct identity to a tribe. According to Dhamija, “Jewellery must have originated from man‟s innate desire to decorate his person. Objects taken from nature; flowers, wild berries, leaves and feathers were converted into ornaments. Even today, in many of the tribal societies, feathers, cowries, seeds, even wings of insects, are utilised as important means of embellishment.” 35 Thus, dress and ornaments attract every one. Tribes wear heavy or light clothes according to the climate. Women have a keen desire for ornaments. Generally the tribal women of well- to- do class wear silver, dimond, pearl, and gold ornaments. Lower class tribal women show the same appetite for ornaments, but have it satisfied in less costly material. They are usually loaded with tires of heavy rings-in silver, ear and nose rings and bulky necklaces of coins or beads. The dress and ornaments of Bhotia/ Shauka/ Ran/ Marchha/ Taulchha/ Jad are the same with minor changes. They live in the higher mountains and their need of dressing and ornamentation is similar to each other. These tribes wear heavy and thick woollen garments and garner heavy ornamentation. Their particular clothes and ornaments

reflect a combination of the sense of their body protection from the cold weather as well as the charm of attraction.

a.Tribal lady in modern dress b.Bhotia women in their traditional dresses and ornaments

Following is the table of female dresses worn by the Bhotia and others Shauka/Ran/ Marchha/ Jad. Sl. No.

Name of Cloth

1. 2.

Chund (woollen cloth) Jyujad

Chung

Phuya Bail

Pangari

Pankhi (Woolen sheet)

Ghunghati

(Method wearing)

of Name of Tribe Shauka/Ran

(a cloth around the waist) (A coat having Bhotia high sleeves) (A kind of Bhotia Kurti and a cloth on the head) (Cloth around Marchha/ Taulchha the waist) Marchha/Taulachha

(Head gear)

Marchha/Taulachha

Ghagari

(Skirt)

Lawa

(Thick woolen Marchha cloth around /Taulachha the body)

10.

Kolang

11. 12.

Angari Pagara

13.

Pakara

14.

Khopi

15.

Kamala Angara

(Thick woolen cloth around the body) (Blouse) (A cloth around the waist) (A cloth around the waist) (A cloth tied on head / head gear) and (Woolen Angia / blouse)

Marchha /Taulachha

Jad

Jad Jad Shauka Shauka

Shauka

A thick woollen cloth wrapped around upper and lower part of the body is called Chund, Lawa or Kolang. A cloth around the waist is called Jyujad, Pangari, Pagara, Pakara. Khopi and Ghunghati are worn on the head. Chung, Angari, Kamala and Angara (Angia) are put on the upper/lower parts of the body by women. Chung is a coat having high sleeves. Ghagari is a skirt worn in lower portion of the body. Ranga Bakkhu or Radga, looks like a gown is the main dress of Bhotia menfolk. They put on Churidar Pajama and long Chauga (coat) up to the knee. The Chungbala and Chauga (up to knee) as also worn by Ran. They put on sweaters, coat, chaubandi, khasakhasi. Topi is a white turban on special occasions especially during the marriage. Byanthalo is the name of Ranâ&#x20AC;&#x;s turban. Ear rings are worn by boys after the Karnbhed ceremony. Golden chain, around the neck is also worn by some of the tribes.

Following jewellery is worn by female tribals:-

Sl. No. 1. 2. 3. 4. 5. 6.

7. 8.

9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Ornament Bichhuwas Keels Nath Karnphul

Mode of wearing Toe-rings of Silver Small Stud/nose pin Nose Ring of Gold Ear Stud of Gold / Silver Munare Heavy gold/silver ear ring Hansuli Heavy Silver Ornament worn around the neck Chandrahar Necklace of Silver Rupen mal Necklaces with Colored Beads/ Coins/ Teeth/ Claws Dubjyor Necklace of Silver Dor Armlets of Silver Chainpatti Copper/ Silver/ Colored Glass Syundara (Teeth of hung on near the bust Veena Kasturi) or waist Paunji Hands Dhagula Hands Attardan hung on near the waist Kankuri Ears Maijam A strip on Feet Jhartar Wire on Feet Amrittar Feet Pulia Feet Guloband Gold around neck Jhumke Ear Ginal Neck Murki Ear rings Bujani Ear rings Gokhar Ear rings

Nath, Bir, Jhupia, Panchmani, earrings made of gold are the ornaments that adorn the face. Sutuwa, Tyar, Chanarhar, and coral and gold plated tyalar and Mohan Mala are made of silver and embellish the neck. Bangles, Paunji, Dhagula of silver are worn in the wrist. Attardan and Syusandal made of silver are hung on near the waist. Besides Syusandal small silver clips and Kankuri, and a brush named Sudnyarl made of thick hair of wild boar are tied with it. These are used by them for various purposes like removing any thorn from the feet, dirt from the ear and teeth, and cleaning of ornaments. Maijam made of a strip, Jhartar made of wire, Amrittar and Pulia are made of silver and adorn the feet. Women also wear Guloband, Karnful, Jhumke and bangles made of glass. Girls put on a silver ornament named Ginal on neck and small earrings made of silver or gold Murki, Bujani and Gokhar. Women hang Syundara on the front. Devaki Devi resident of Chhinka says (showing Syundara) originally it was the teeth of Veena Kasturi. We use it as a symbol of fashion and also for removing any kind of foreign body from our body/ teeth (like removing thorn from feet or something struck between the teeth while eating). Dungar Singh Dhakriyal „Himraj‟ presented a white turban and self woven woollen „Ranga‟ Bakkhu to late Pandit Jawahar Lal Nehru, the first Prime Minister of India on Republic Day in the year 1962 at New Delhi. The dress of female Banraut or Raji is Lahanga, Dhoti, Angia, and Audhani. Menfolk put on Dhoti or Langot and Kurta. Male has long tail of hair (Choti) on his head. They don‟t wear many ornaments.

Banraut Woman

Unlike other tribes of Uttarakhand they can not afford heavy garments and ornaments due to their poverty. As such they could not develop dress sense. The Dresses of Tharu and Buxa have distinct similarity. The male put on Kachchha or dhoti, Kurta or Kamij, Vasket and kot (coat). They wear topi or mudasa. The Turban is also a common head gear. Buxa women wear Gunia or Lahanga and makhamali Angia. Gunia covers the lower part and Angia or Odani covers the upper parts of the body (breast and back). Buxa women create a ball of hair on the top of the head called â&#x20AC;&#x17E;Khuntaâ&#x20AC;&#x; which is a point of attraction. Following ornaments are popular among the Tharu and Buxa women.

Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Name of Ornaments

Mode of Wearing Silver Chain on Ghunghat Ghunghat Mangtikka (Tikka) Forehead Nathania or Nathani or Fulli Nose Kanful, Kanputia and Ears Jhipjhipi Hansuli, Sankar, Katula Around the neck Lil Gudana / Godana Hands (Tattooing) Hasalia, Har and Halem Around the neck Khaduwa and Bankh Armlet Bankara and bichhuwas Feet Pukhhor and Bundion Ears Kaindhani Waist

Buxa women and man (Courtsy: Dr Vinita and Gita)

Name of tribes Tharu / Buxa Tharu / Buxa Tharu / Buxa Tharu / Buxa Tharu/ Buxa Tharu/ Buxa Buxa Buxa Buxa Buxa Tharu

A silver chain is attached on Ghunghat worn the head by Tharu and Buxa women. Mangtikka (Tikka) made of silver is put on the forehead by Buxa and Tharu. Nathani made of gold, Kanputia, and Jhipjhipi are the ornaments for nose and ears. Buxa call them Nathania or Nathani or Fulli and Kanful (earrings). Old women and few men put on Duriyan in their ears. Buxa women decorate their ears by Pukhhor and Bundion special occasions. Hansuli, Sankar and Katula are made of silver. The Hansuli is worn around the neck along with long Sankar and Katula. Many coins are fixed in Katula; paisa wala Katula. Hasalia, Har and Halem are the neck embellishments of Buxas. Lar (Har) including Motiyon ki mala is also popular with Buxa women. Silver Khaduwa and Bankh (armlet) are the ornaments of wrist and arm respectively. These are also called Khaduwa, Taingani and Paunchi by Buxa. Khaduwa are also worn by male Buxas during marriage. Khela are put on by Buxa on upper arm. They put on finger rings made of silver called Thelia. Kaindhani is tied up around the waist. Originally it was a male ornament but was adopted by women later. It is made of silver. Bankaras and bichhuwas made of silver are for the feet. Buxas put on Jhanjhan and bichhiya on feet. Tattooing (Godana) is also common among the Tharu and Buxa. They call it Lil Gundana. Tattooing is a good sign. Poor women wear Tattoos on her body instead of jewellery. Bindi, mole, locket, flower etc. are seen on their body. Om, Swastik, flower, trishul, Hanuman etc are also seen on male bodies.

Tattooing by a Tharu woman

It is believed by Tharu women that if they don‟t have a tattoo of „Namaste‟ on their hands‟ they will not get married. „Om‟ is the common symbol for male tattoo.

Dress and Ornaments of Jaunsaris In the early stages Jaunsaris wore the clothes made of the peel/bark/ fiber of Bimal Bhang and Kubar Pat. Following dresses and ornaments are worn by Jaunsari brides/ women. 1. Ghaghara 2. Kamij 3. Kurti 4. Dhantu on Head 5. Timuria of Gold 6. Churiyan 7. Chak Made of Silver 8. Murki 9. Tilli 10. Naath Lahanga or Ghaghara, Kurti, Tandu, and rukal are the main dresses of Jaunsari women. Kamij and Mekhala is a woollen coat also worn during winters. Lahanga or Ghaghara is the lower dress of the women/bride. The Ghagara has seven to nine Pallas made 4-5 meters cloth. A Ghagara has fixed frills called „Lawan‟ which are quite similar to the pleats of a saree. A Kamij is worn to cover the bust and is covered by Kurti over it. Coloured steps are tied on the Ghagara and Kurti both. Rukal is the square cloth of one meter size that is worn on head. Tandu or Dhantu is tied on the hair above the head. Also a Chhak made of silver is embroidered to decorate Dhantu. Bulak, Baliyan, Kanthi, Dhagule, Temonia, Jhumke, Khagali, Bichchu, Murkiyan and Churiyan are the ornaments of Jaunsari women. Timuria made of gold are worn on the neck and churiyan are for the hands. Murki in the shape of betel-leaf is worn in the ears. Bulak, Naath or Tilli is worn in the nose.

Comperative dress styles of the Jaunsari women reflect the changing dress sense among this tribe now days although both the styles are in vogue currently. The dress of a Jaunsari Male is Pajama Churidar or normal Pajama, coat or a coat up to neck, woollen or cotton cap during the summer. They wear woollen pajama, long coat and cap made of goat and sheep wool. Woollen Pajama is called „Jhangele‟ while „Chora‟ is the name for the woollen long coat and woollen cap „Diguwa‟. They wear „Saluka‟ or „Talka‟, like a Vasket (Sleeveless woollen jacket) and also a shirt called „Jhaga‟ in Jaunsari. They put on colourful woollen shoes with leather sole called „Aal‟. A similar shoe made of pure wool is called „Khursa‟ is used walking on snow. A traditional Jaunsari bridegroom does not wear any Turban. He wears a garland during the wedding. The modern grooms have started wearing a turban. A Churidar Paijama is worn in winters. Following organisations are working for the cause of Jaunsaris:- Vishvakarma- Kasht Kala Udyog Lakhamandal Funded by Khadi Gramodyog - Jan Shikshan Sansthan Dehradun Sponsored by Human Resource Development Ministry Government of India - Shahid Kesarichand Smarak Samiti, Chakrata, Dehradun - Priti Rana Memorial Trust, Jaunsar

Diet and Tastes (Culinary Arts) The Bhotia tribes of Uttarakhand are generally non-vegetarian. They eat flesh of their sheep and goats half raw and cooked, and are fond of boiling it with rice. They generally eat grinded parched barley during journey mixed with water, as oatmeal in Europe and sattu in Bihar and Eastern Uttar Pradesh. Nilang Jads to the west and the Darmasand the Byansis on the east eat the flesh of the Yak. Boiled potato is eaten after frying it with little salt and chillies. Dried and smoked meat is also eaten by the Bhotias. Like tea, Marjya is a favorite drink of Bhotias. It is salty and hot with ghee topping flavoured with secret tea leaves. A cylindrical shaped pot called Dambu is used for making Marjya. Jadu is another popular dish. It is a kind of porridge made of flour, Kotu ka Atta, Madua (Ragi), Corn, Barley flour boiled with salt to taste and seasoned with pepper, Jambu herb and ghee. Mixed Sattu (mixture of flours) is called Palti Yadu. It is called Marjyadu in Darma.

c a& b.Cooked and raw food, c.Kitchen and d. woods

Natural water and artistic look given to springs by Bhotia

a a&b. Beverage Marjya and its preparation

c c. Making Local Daru (whisky)

Jambu is a kind of herb grass found in these areas. The dryed Jambu herb grass is used in food as Tadka (seasoning with hot oil/ghee). It is very good for health and adds taste to food. Khaja (whole grain) is eaten by tribes especially by women.

Wines Almost all these tribes drink alcohol made by them; daru or local whisky, produced by Distillation and Jan, obtained by simple

fermentation are common. Jan is a favorite beverage. Daru and Jan are common drinks due to cold climate of their habitat. Other common name of Jan is „Chhank‟ among the Garhwal tribes. Daru and Jan both are produced from rice. To hasten the fermentation dried yeast (balma) reduced to powder is added, in a few hours the Jan is rendered fit for use. Balma is prepared from barley or other coarse grains. An infusion of berries or springs of the juniper in water is made to filter through this grain. The dough is kneaded, and when ready it is dried in small cakes for storage. The Bhotias offer Daru to their God. Daru is also collected from each family and offered to the village Isht/Deity. For worship and festivals the Bhotias prefer to eat meat and drink Daru lavishly with family members and relatives. Meat and vegetables are dried under the sun as dehydrated reserve food for the rainy and winter seasons and some special occasions. The Bhotias use wheat, rice, maize, madua (Ragi), and jhungara. They also consume pulses namely urad (Bengal gram), gahat, bhatt (soyabean), soontha, tur, lobia, and masur. Bhat, Dal, Chounsa, and Ghat‟s Thatwani are delicacies. Patyurh is a kind of green vegetable mixed with Besan (Gram flour) and fried in oil. Lemarhi or Sundar Kala is a kind of food cooked as noodles. Morning drink named Lla Kaln or Majyan is favourite among Ran and raw orange (green skin) of KhelaRanthi is also liked by them. Gwan is a sacrament for the departing soul of the dead among Ran. It is a descriptive narration by Sayamo or Amrimo nominating to dead through Sayakcha or Amricha.36 They offer Mar Go Jyadu (porridge made of flour) to their dead in a large shallow circular metallic vessel (often used for kneading flour). They also put in it a cooked piece of meat, Napal Hymu (Sattu) and Sum Chhan Pwo (fried grains of three kinds).37 “Du Sattu Meat and Pwo is main food of Ran. In the past they used to manage and bring Yay from Tibet for nine days of Gwan as a vehicle of dead.”38 Now a days Gwan lasts only for two days.

Bhotia women busy in pealing boiled potato

Pottery and Utensils Hanuman Singh Nabiyal39 has mentioned following utensils with their uses. He has apealed to the Ran community to contribute it to give a wider shape to his endeavors in preserving the Ran cultural heritage. 1. Khang: A traditional wooden pot used for measuring grain. In other communities it is called Nali. 2. Kuwach: A traditional leather bag used to store grain and flour. 3. Silandi: Used as a stainer made of leather. 4. Gulokosi: A wooden pot used for Making Chapati (Syili and Palti Kuto) 5. (a) Tibari: A clay pot used to prepare salty tea. (b) Dum Dumchha: A wooden pot used to store ground red chillies.

6. Different Shapes Dugpa and Dunklin: Dugpa is a wooden pot. „Duklin‟ is made of stone. These are used to pound/crush chillies. 7. Dongbu: A wooden pot used for making salty tea and also used for preparing Butter- milk (Mattha). 8. Syatron: A leather bag use to store oil. 9. Jugali: Made of wood, used to drink Satani. It is used collectively during a group function. 10. Jham, Ealinchai: Jham is a container made of wood and that made of clay is called Ealinchai. Jham is a reservoir that is used to keep grains. Kalinchai is a pot used to keep a single grain. 11. Pari: A traditional object made of wood used for measuring liquids as quarter, half and one unit. 12. Sa Ghari: Made of clay used to store grains. 13. Nailjyu, Chhyakulou, and Jagali: Nailjyu is a wooden object tied to the nose of animals to control them. Cheyakulou is an object used for offering food and drink to animals. Jagali is used in doors to close/lock them from inside similar to a bolt/latch. 14. Bin, Kauliyan: Bin is a traditional bell made of Bronze (Kansa) tied around Cows and Calf‟s neck (Kauliyan- Bronze). 15. Karkha: A woollen /cloth bag used to carry grains on the back of goat. 16. Dandali, Falam, and Yimpu: Made of iron and wood is used level soil in the fields. Falam is used to plough the field. Yimpu is the part of a plough (hal). 17. Kanche: Made of wood, used to hold a Diminutive big boiling pan (Jhayan). 18. Pil: Made of wood and wooden barkis used to fix Diminutive big boiling pan (Jhayan) and big pan at one place. 19. Narli Saj: A traditional object used for smoking made of wood (hookal). 20. Kich Mayangn: Made of Nigal (Reed) is called Mayangn used in auspicios ocassion as a good omen. 21. Ril- Thal, Chutaka Bunaie ka: Ril-Thal is an object made of wood and iron strip commonly used in Ran – Raju tapestry weaving of Chutaka (carpets). 22. Tabdu: A wooden object used to thresh wheat to remove grains.

23. Rinchipe: A leather object (belt) worn to rest the waist of a weaver. 24. Chung: A woollen cloth worn by women in upper portion. 25. Bala: A woollen cloth worn by women in lower portion below the waist. 26. Bith- Thaili: A bag made of woollen cloth used to keep equipments for the tailoring of traditional clothes. 27. Dauri Poula: A shoe worn by men is made of the Sambar leather. 28. Bapche: A traditional shoe made of woollen cloth worn by women. 29. Talli, Linche, Karaya: Talli is a Plate made of bronze used to eat rice. Linche is a pot made of silver used for drinking salty tea. Karaya, a pot made of bronze used by men to drink Barchhayan. 30. Khoryan, Mul Kanche, Karaya: Khoryan is a traditional pot made of bronze used by women to eat food/ rice. Silver coated wooden pot called Mul Kunche is used by women to drink salty tea. Made of bronze, the Karaya pot is used by them to drink Barchhang. 31. Dhyaja-Dachyrou: A green wooden stick offered during the worship of God and deities.

Banrauts or Rajis eat vegetarian and non vegetarian food. They, however, like milk and milk products. In the forest, they eat whatever they find. Tubers and roots are also eaten by them. They eat the flesh of goat and chichar.Wild fowl is hunted for food and is a Raji delicacy. They use wooden casks namely Harpia and Naliya for their milk products. Tree of Khammiya is used for making wooden pots. The wood of this tree is light and good for making the pots.

Food of Tharus 1. Machhali (Fish) 2. Bhat (Rice) 3. Mithe Chawal (Sweet Rice)

4. Bhuja (Made of dried wet Dhan) 5. Gulgule (Sweet) 6. Gurh (jaggery) 7. Sharab (liquor) Tharus are generally non-vegetarian. Fish is the favorite dish of Tharus. They are fond of Machali Bhat (fish and rice). Beside, they also use wheat, maize, madua, and jhungara. They consume the pulses namely urad, gahat, bhatt, soontha, tur, lobia, and masor also. Tharu ladies don‟t allow males to enter the kitchen. Hence, Male has to eat his food out side the kitchen. The Jaad Rum (Sharab) is the favorite hot drink of Tharus. Fish is the favorite dish of Buxas. They too, like Tharus are fond of Machali Bhat. The flesh of forest animals is also eaten by them. They, however, eat little amount of cereals like wheat, maize, madua, and jhungara. They also consume the pulses namely urad, gahat, bhatt, soontha, tur, lobia, and masor now a days. Eating food is called „Chhakhana‟or Chakhana to food. Wine is consumed both by male and female for the dinner. They chew tobacco „Tambaku‟. They perfer to eat „Gur‟ (Jaggery) as a sweet, called „Kachi Mithaie‟. Halwa puri, Khir, Lapsi, Khajara etc. are other delicacies of Buxas and are consumed during festivals and functions. The Jaunsari tribes of Uttarakhand are generally non-vegetarian. They also consume wheat, rice, maize, madua (Ragi), and jhungara. They also consume the pulses namely urad, gahat, bhatt, soontha, tur, lobia, Rajma and masur now a days. Rot, Shemi, Shira, Patanda, Ashka and Chapati are their favorite dishes. They like the chapati made of maize flour, maduwa, and Sattu (Floured mixture of seven fried grains like maize, wheat, maduwa) Sugar or salt is mixed in Sattu with hot water to get the taste as desired by the user. Rot (sweet made of wheat flour), Shemi (sweet or salty dish made of grounded rice), Shira (made of grounded rice cooked in steam), Patanda, a plain dosa type dish made of wheat flour is eaten with dal and vegetables, and Ashka (liquid of grounded rice cooked on askari)

are very popular dishes of Jaunsar Bawar. Chips, Shakuri or Laddus made of grounded rice are eaten in Jaunsar. They like pickles and prepare many of them to add taste to their food. They prepare tasty pickles from Ginger (Adrak), Amla (goosebeery), and Gural (Kachnar). The locally brewed wine is called Sur. It is made by mixing jaggery in maduwa and consumed. Jaunsaris are very superstitious and believe in mythological treatment including witchcraft/voodooism. As observed above, the culinary arts among the Uttarakhand tribals are quite developed. The traditional dishes and drinks present a great variety of food and beverages. The nutritive and comfort value of these needs to be researched and popularized. The richness of the tribal food and the simplicity of their preparation make them a great platter even for a person of modern times; as it is a nutritive and can be cooked in minimum time with least effort.

Games, Sports and Amusement Dance and Music is the prefered way of amusement of every tribe. Bhotia/ Shauka/ Ran/ Marcha/ Taulcha/ Jad tribes including other tribes of Uttarakhand take active part in dancing and singing. They usually dance and sing songs daily. Almost every tribe of Uttarakhand indulges in dance and other amusement including traditional games and sports. There are many common outdoor games like Kabbadi, Gulli Danda, Rassa-Kassi, and Batti. Indoor games like bagh-bakari are also played by the tribals in the state. Jhijhi and Hanna of Tharu, weight lifting of Jaunsari, etc. are the unique among the tribes. Rond- Rond is a game played like baseball, by tribal children. Childhood is a golden era of life when we forget all the things during play. Hiding handkerchief is played fondly by childern. A child with his/her closed eyes searches the handkerchief which is put on the ground in between the players. During the search, other children tease, pat on his/her forehead until he/she finally finds it. Gulli- Danda is played by boys even girls participate in it now a day. Ghunnimar is another interesting game is the players stand on one foot within a circle. Pushing and hitting one another continues till only the winner remains in the circle. Girls and boys play it separately forming their groups. Kabbadi is played by the boys. A Raquet like game played with a wide wooden bat was quite popular among Bhotias, which has since vanished. Rassa-Kassi (Tug of war), volley-ball, football and cricket are also popular sports amongst tribals. Guchchi is another game played by them. It was played with small stones or coins. Boys played the game performing the role of horse and goat etc. They also play Barat- Barat (Wedding) and dance Chholia. Batti is another simple but popular skill game. It requires five or seven solid round/square pebbles. The charm of the game is in the skill of playing with all but one batties on ground and trying to catch the batti thrown in the air. It has different stages depending upon the degree of difficulty.

Put Ki Khel is also popular among tribal girls. Reference of the game crops up in a folk song when a sister in law (Nand) refuses to look after her brother‟s (Bhabhi‟s) child because of she wants to play Put ki Khel. The game is played with ball and five/seven small piecesof flat stones placed one upon another. The main player hits the pile of stones and others catch the ball. The player has to escape being hit by the ball thrown at him/her by the fielders and at the same time rebuilds the pile. If he she can build it with out being hit by the ball, he/she is the winner and gets to play another turn. The game is an excellent test of aiming, agility and concentration. Amrita Hyanki describes the games as played by Ran tribe in Amtikar (page 126 to 129) with the title „Ran Khailon ka Luptpray Bachapan‟ (The Diminishing Child hood games of Ran Tribes). According to her following games were played. 1. Byolo-Byoli, Nanu-Rinhansya: Girls play the game of childish affair making dresses and food from local vegetation. 2. Teacher Ji Massab: Teacher orders the students to sit in a circle. The game is then played with clapping and singing the song “Ghora Hai jamar ka, Aage Pichhe Mar kar, Raste Main Jata Tha, Meri Chithi Kho Gaie, Kisi Ne Pa Li, Lal Sahab Ko De Dena”. 3. Uraku-Muraku: This game played by girls sitting in a circle and putting hands on the ground, singing a song the girls put their fingers touching others hands one by one. “Uraku-Muraku Dan Durku, Lava Lachhi Pitalm Khachi Talima aur Maur Taur.” 4. Panna- Patti: Two female friends stand opposite to each other and throw their palms at each other, clap and sing. One says, “Panna-Patti”. Another replies, “Ranna Ratti” One says, “Na Bachi Minm Ulo Danesh?” Another replies, “Balyan Chhang” One says, “Jye Datan la Madan?” Another replies, “Madag” 5. Lala-Lala Main Da: Played by two female friends singing and trying to reach the roof made by first friend by putting her hands on ground making a kind of tower, Kuti/Minar. Second Friend: Lala Lala Main Da.

First Friend: Thvo-Thvo Ra. Second Friend: Lala Lala Main Da. First Friend: Thvo-Thvo Ra. Second Friend: Thak –Thak. First Friend: Khami Lye. Second Friend: Jyi Satho Lihye. First Friend: Kh Lan Ani, Jya Tung Ra. Second Friend: Na Mala Bhutwa Jaye. First Friend: Ra-Ra. As soon as the Tha (little finger) of second friend touches the same finger of first friend they hold twisting each other‟s fingers and sing. Than Ja-Han-----------! Tongaka (Gutti): Female friends sit in a circle and play Gutti with five or eleven small smooth stone/pebbles. Deciding the order of playing they sing “Chhyu Jye Kachhyu”. In Gutti, the player plays with the stones scoring and announcing the same Ekka, Dukka, Tikka, Chaukka, Panja, Taro, Kota and finally Bazi. Sar Sati: Two female friends holding hands of each other jump and move in a clock wise direction as they sing. First Friend: Sar Sati. Second friend: Gamla Gati. First Friend: Ti Tungm Kasiyani. Second friend: La Lake Phyasiyani. Addu (Ekka-Dukka): Almost girls play Addu drawing six rectangular blocks on earth by coal or Kharia - Chalk (Mandali). Addu is made by a slate stone of circular shape that is thrown by a player in each rectangular block one by one and pushed with a single foot, standing/moving on the same foot without touching the line. Sometime boys too join the game. This game is akin to the popular stepping stone played by children in Europe. Sampolia (Put ki Khel): Sampolia is mostly played by girls. This is a game of making a Minar (tower) of flat stones. This tower is destroyed with the help of a ball by the player. Other players try to hit the thrower who has to attempt putting the stones together

without getting hit by the ball. Sometimes boys also play this game separately. They may also join the girls in the game. 10. Va-Mala (Bagh-Bakari): A grid is drawn on ground with charcoal or Khadia - Chalk. The game is played with pebbles; a larger one represents the Bagh (Tiger) and some smaller pebbles represent Goats (Bakri). The Bagh attempts to eat the Bakris. 11. Wa-Jyali: This game is kind of modern Checkers. It is played by two teams by putting their coins on a square containing sixteen smaller squares in it. They try to capture each others coins. 12. Hwa- Hwa, Ksha- Ksha (Bag - Bakari): Any healthy boy or girl in the form of a lion attacks others who stand crying in a queue escaping the attack of the lion. 13. Murga-Jhapad (Cock fight): Standing on one foot two boys push each other exhibiting their strength. They try to balance attacking each other. Du-Du (Kabbadi), Yaukana-Dokana (Gulli-Danda), and Guchhi are other games that are vanishing from the traditional games scene. A Table of Gulli- Danda as described by Chandra Prabha (Chanda) Raipa (Amtikar, 130) is given below.

Counting Hindi/English

Table - 11 Table of Gulli- Danda in Counting in Tukbandi local Bol/English language meaning

Ek/One

Tige

Do/Two

Nise

Tin/Three

Sum

ke Act and Postures during playing YaukanaDokana (GulliDanda) Ek Ghunna Rest on Tek/Rest on one one knee knee Do Ghunna Tek/ Rest on Rest on both Knees both the knees Ankha Meen/Close Closing your eyes the eye

Char/Four

Hath ko Gu Jhar/ Clean the dirty hand

Panch/Five

Dnie

Chanwali Khanch/Close your fist

Chhaih/Six

Tugu

Chhakka La Machhakka/Playing after a friend‟s call

Sat/Seven

Nhisya

Churi Hath/Make a bangle

Aath/ Eight

Jyade

Kukur Kath/Dog‟s bite

Nau

Gwi

Bhiyan Bhon/…Eyebrow

Das/Ten

Chyi

Bazar Man Bus/ Sit in the Market

Egyarah / Eleven

Chyate

Bald Bigyar/An angry Ox

with hand. Acting as if cleaning a dirty hand Close the hands into Mutthi (fist) Playing after a fellow player shouts Chhakka One hand holding another hand Putting hand in between the legs Holding the eye brow. Sit in a crosslegged posture on ground Put both hands on ground to make a posture like an Ox (on

Bar/Twelve

Chyanye

Lakara Pharh/Wood riving/splitting

Ter/Thirteen

Chyasam

Tinkuli Pher/ In Puzzle

Choudah/Fourteen Chyappi

Mipali Paundh/Holding an eyelid

Pandrah/ Fifteen

Chyabandan Tika Ma Chandra/Putting a sign on forehead with vermillion (Pithya)

Sol/Sixteen

Chyatu

Baunkani Bol/ Carrying on back

Sattar/Seventeen

Chyonye

Aathar/Eighteen

Chabajye

Kan Ma Chhatar/â&#x20AC;Śon ear Ghat Ki Ghatar/ sound of a quern (Ghat)

Unis/Ninenteen

Chirgu

Bis/Twenty

Nhanssa

Dharti Ghunis/â&#x20AC;Ś.lie on the earth Paunka Tis/ arms on the waist

all fours) Holding both hands to act as if cutting wood Making a posture of half sitting Holding an eyelid with hand Act of putting a sign (Tilak) on forehead Carrying a friend on the back Hold the ears To hold hands on waist with a twist Lie down on earth/ ground Putting hands down on the waist

Ran Sansthan actively organises Jhyanmo Than- Marathon, Badminton and Volley ball in the region every year.

It is very difficult to comment upon the games and sports of Banraut/Raji. They reside in the dense forests away from the society and avoid any exposure. Some families who are closer to society are unaware of their games and sports. They however sing, dance and play in a wild fashion. Dance, Mimicry and Fishing etc. are the means of Tharu leisure activity, games, sports and amusement. Jhijhi and Hanna are played by young girls and boys. The following song is sung during the game. Meri Jhijhi ko Pet Pirano Galayak Chavar Mere Hanna ka Pet Pirano Galayak Chavar “There is a pain in the stomach because it is empty; Please put some thing to eat” Girls and boys alternately sing the song. Currently cricket, football and volleyball are also played. Buxas are very fond of singing and fishing. They prefer dancing. Mridang is their favourite instrument of amusement. Playing Mridang is common among Buxas. A game called „Khel‟ a special kind of dance where only men take part, is played after dinner at night. A team of players performs the characters of play while others enjoy it. - Madari - A person who plays Mridang is called Madari. - Sathi - Chhena, a kind of musical instrument played to accompany Madari. - Mashalchi - A torch during the play held by a man called Mashalchi. - Nachania - A man who dances wearing female dress is called Nachania. - Sangi (Swangi) - A person performing mimicry is called Sangi. Jaunsaries are fond of playing Kabaddi. Weight lifting and stone lifting are popular games. Gulli - Danda is also played in Jaunsar. Generally men play these games. Kho-Kho is played by women particularly by the girls. Now a day‟s cricket is gaining popularity among Jaunsaris.

Festivals and Fairs Festival and fairs are like bursts of joy, where everyone participates to make it a very colourful and festive celebration. This celebration expresses intense belief, ritual fasting, and prayer to seek overall happiness and to break the monotomy of life. They also fulfill the desire of meeting relatives, nears and dears. They mark the change of season, harvest and express the happiness and satisfaction. The festivals and fairs bring joy, zeal, togetherness, passion and a deep sense of belonging. They provide major recreation with social and mythological gathering of traditions. These facts are universal and equally apply to the tribes of Uttarakhand. Various collective forms and traditions of worship- in the long run emerged as major festivals. People gathered together, worshipped, engaged and celebrated the festivities which in due course evolved into fairs. The festivals and fairs of Bhotia/ Shauka/ Taulchha tribes have a religious background. To whom, how, why, when and where they worship (their God and Goddesses) are the main aspects that reflect in their festivals and fairs. Their trust on their artistically religious beliefs and celebration render these festivals noteworthy and thoroughly interesting.

Gods and Deities of Uttarakhand Tribes Almost every village has its own Isht Devata/Devi who is worshipped by the villagers tribes once in a year or more. The place for the worship of Isht Dev/Devi is called Shaiyal. Tribes worship to their own Isht of the village/family. Hiramani is the Isht of Malari village. Khsetrapal and Bhumiyal are also worshiped in each village. They believe that these are Almighty and would protect them and their wealth. Worship of Isht in each village is performed by a family of that village member on turn on rotation basis with in the village/family one by one.

They offer sweets and meat to their Isht Dev/ Devi. Dish of Fafar is considered to be the most pious offering to Isht. The offerings to Isht Devata/Devi are eaten by the people of the same Gautra only. The offerings to Isht Dev/ Devi after wedding cermonies are exempted from these bindings; in this case, it is called â&#x20AC;&#x153;Maitri Devataâ&#x20AC;? and is accepeted. During the Vyas Muni worship, tribes do not eat meat or drink wine for three days. They eat only fruits. Gabla or Gabla Kebag Ranchim, Chan, Namju Nyuntang Narsingh Savari, Sain Kivan, Dev Runia, Nipun-Vidhuva, Vir Singh, Jamu, Danu etc. are also worshipped by them. Gabala is a God worshiped for trade and prosperity. Gabla is considered as a Gana of Shiva. Kebag Ranchim of Gabla is known as Ardhnarishwar or Shiva. Tribes of Darma Viyang Sannin worship this deity. It is believed that the God named Chan protects them from the bad Omens during their stay and movement in the areas in the high Mountains. They worship the spirit of the dead. They remember the spirits in trying times like on loss of a sheep from the herd/hordes. Main is that pious soul/spirit of a dead saint to whom they remember, said Geeta Mehra in her research thesis.40 Sidhua-Vidhua is another spirit of a shepherd. During the illness of any sheep they remember Sidhua-Vidhua for its recovery. Vir Singh and Jammu Danu are the spirits of old Danpurias and are remembered at the time of any crises. Besides these they believe on sorcery and evils. Nature worship is an important aspect of the tribes. They worship the mountains. Hardayal, Hansling, Dronagiri, Nigula (Panchachuli) are the mountains in their areas. Nanda and Nigula Godesses are worshipped by them. Nigula is named after the Panchachuli Mountains in Darma valley. All Tribes of Chamoli worship Dronagiri Mountain particularly the tribes of Kosha and Dronagiri villages. Dhawala Puja is performed to gain in business and trade. It helps in protecting the money and riches. The puja is performed on the day of Basant Panchami.

Spath worship is carried out in the months of October-November. Villagers of Chaundas celebrate it by singing songs and dance. The elder son is authorized help in the family matters.Members of each village collectivly invite other villagers for their celebrations. Villagers donâ&#x20AC;&#x;t cook food in their homes and enjoy the function in the hostâ&#x20AC;&#x;s place. Atama pujan is the rememberance worship of dead spirits for their satisfaction. Mati Pujan is the worship of soil/land. They worship it entering in to an old and new home both and even before construction of the home. Nabbu Samu worship is performed for the good agricultural produce. Nabbu is an insect and Samu represents destruction. They pray for destroying the insects that ruin their harvest. Villagers of each village tie insects wraped in a bhojpatra or clothes in the horn of Goat. After a circular walk of the Goat in all surrounding fields followed by a youth, the goat is killed at a crossing point in the south of the village. The head of Goat is offered to Dev temple and then distributed as Prasad to villagers. For protection of crops or wealth from the attack of bad evil, the worship is called Miltu Fainkana. Few plants of different growing crops are thrown by villagers at a figure that looks like a lizard on a particular common spot. The worship is called Miltu and they act to frighten the destroyer insects by knives and swords etc. in their hands. The worship is also performed by kicking same plants towards south. The worship of Nudhal is performed when villagers get new grains from the crops. They make a cake called Dhal from the new grains, offer it to God and also distribute it to all family members and relatives. The worship of bad evils is called Chammo. This worship is organised by individual family or villagers together. Tuesday and Saturday in the Krishna Paksh are considered most auspicious for this worship. During the worship for disappearance of bad evils in the beginning of night all the family members sit in the courtyard along with their tools and impliments facing towards south. They also put

grains including salt, chilli and Chamma made of Sattu besides rice and barley on a plate. It is called „Vrapa Spaije‟. They believe that bad evils are transferred by them in that „Vrapa Spaije‟. Mandal Tyar of Ran, celebrated on Makar Sankrantri at Mandal. This day homes are cleaned and applied/smeared with red clay and dung. A wheat plant with dung applied on the roots, with akshat and chandan is placed for decoration infront of the house. People including children take early hot bath in the sulpher water at Taponi (Tapovan) and bring Bel and its leaves to offer worship. People joyfully dance, sing songs and cook Poories and other dishes including Dal Bhat on this day. Shirpanch (Shripanchami) is celebrated by Rans on the day of Basant Panchami. Yellow handkerchives are distributed to family members by mothers and sisters dyed in yellow-basanti colours. Khusimo is a group cooking occasion among children when they collect rice, dal, chilli, ghee and wood from each home of a Khera and cook it together and eat at one place. “Near Kuti Khera, bus statand at there was a Ramlila Ground where we used to take part in Ramlila late Jodh Singh Patiyal „Jyota Pandit Ji‟, late Chandra Singh Garbiyal, and A Sajjan of Kuti were renowned managers of Ramlila of that time. We used to make DhanusBan and Gadda and replay the act of Ramlila.” 41 As told by Nrip Singh Napchyal. In the past, when the Ran wrapped a Gur ki Bheli in Malu Pat (leaves), it was a sign of their departure to their Kuncha. Before departure they celebrated Visu fesival in the month of Baishakh. They applied Bichhu Grass (Pachhu) to each other during the festival. It was believed that it keeps away diseases.42 The lower castes among the tribes also performed the task of preist for them. Among some of the lower castes people used to carry the Doli particularly when they went to Tibet for business. They got a hearty farewell at the time of their departure to Tibet. Tribals were given a warm welcome by villagers on their return.

Bhavishya Vani is performed by a person called „Dagria‟ or „Lama‟. It is believed that he is answering to their questionnaires on behalf of the Almighty God. Besides, they are superstitious and believe in Mantra too. Some beliefs/Superstitions of Bhotias are :-

Good / Bad Omen Good Omen Watch a filled pitcher or a pot of water; women holding child in her lap; and breast feeding her child while starting the journey.

Bad Omen Seeing an empty pot; Blind; and widow while starting a journey. To see an empty pot during business, and festival. Crossing of the way by cat or snake. Hear voice of a fox. Keep a thorny branch pressed by a To reach home on Tuesday and stone out side the boundary of the leave home on Saturday. village while entering into village at night Tie a piece of leather on the horn Whistling at night of cow/cattle Besides their own traditions and religious beliefs they were also influenced by the Hindu Gods and Godesses namely Brahma, Bishnu Mahesh, Durga, and Laxmi and their incarnations such as Ram, Krishna and Kali etc.

Fairs and Festivals of Bhotias The Bhotia Tribals celebrate vivid festivals and fairs basically baed on their religious themes and thoughts. The main festivals/ fairs are:-

Chhurmul Pujain (Pujan) A fair named Chhurmul Pujain is celebrated in the month of Bhadra in Jauhar.43 They also worship their Goddess Milkatia Devi in

Munsyari. Shauka Tribe of Darma valley worships their ancestors Maharshi Vayas on the full moon of Bhadra organising a festival. Organising fairs and celebrating festivals of Chhurmul Pujain in their respective places they remember their Gods and Goddesses. This fair is marked with traditional gay and gaity, ritualistic dances and other performing Bhotias arts.

Honkara / Hunkara /Hokara â&#x20AC;&#x153;Hunkara Devi is named after Durga; Singh Vahini / Simha Vahini is worshiped by Shaukas in the village Hokara. Like Durga Hunkara Devi is said to have emerged to their rescue roaring in the regionâ&#x20AC;? 44 said S. S. Pangtey. The iconography of Hunkara Devi is represented in a large rock that looks like a shanku (cone), located in the midst of a dense forest below the village Hokara. It is located 12 km west of Tejam and 8 km from Quinti. It establishes the belief of Bhotia tribes in Tantra and nature as is common in the Hindu mythology. Associating with Durga they try to find a Sakaar Roop (live from) of their beloved and respected Goddess. According to a folklore after the Devasur Sangram [battle between Devatas (Surs) and Demons (Asurs)] in the Hindu mythology, the Devatas went into hiding. Durga (Singhavahini) is said to have emerged to their rescue, mounted on the roaring lion. It is believed by Shaukas that like Durga or Singhvahini the Hunkara Devi has been emerging to their rescue from time to time. A swarm of devotees throng each year to Honkara Devi for worship on the eighth day of Shukla Paksha of the Hindu months of Chaitra (March- April) and Asoj (September- October).

Vyasrikhi Mela In the month of Shravan, on the day of full moon a fair named Vyasrikhi is celebrated in Manila at Gunji. Hindus also celebrate the festival of Rakshabandhan on this day.

Jauljivi Mela A famous fair called Jauljivi Mela is organised by the tribals of Darma and Vyas valleys in Jauljivi. Tribes bring beautiful, artistic crafts items and other goods for sale. Indian, Tibetan, and Nepali merchants as

a a. Jauljivi Mela Stalls

b b A Cultural Programme.

well as people of all nearby locations take part in the festivities. They take a pious bath in the conflunce of Kali and Gauri rivers. The mela marks the rich tradition, dance performances and folk arts. After 1963, the spirit of the fair became low year by year due to Indo- China war when the Government banned trade with Tibet. Government of Uttarakhand has revived thus fair once again. The king of Surya Vanshiya Pal Rajwar was the founder and organiser of the fair traditionally. Currently it is celebrated in the month of November in the holy conflunce of Kali and Gauri rivers at Jauljivi.

Kandali Mela A fair known as Kandali Mela is celebrated in the valley of Chaudas after the gap of every twelve years. It is named on the plant Kandali or Kirji (Elimenthara Gosipiana) those blossoms during August to October after every twelve years at the height of 6000m. Tribes believe that the growth of Kandali plant is harmful for them due to its bad smell and poisionous effect like a devil. The blossom of the plant is believed to be the cause of destruction.

The festival of Kandali is celebrated by Shauka tribes during the blossom of Kandali plant with full enjoyment. Man and women both wear their full traditional dresses and ornaments and worship their God. Beats of timbale, bugle/ turahiâ&#x20AC;&#x;s sound and a wonderful and thrilling view when all the tribes holding swords in their hands proceed towards the Kandali plants. The women take sickles in their hands to destroy the evil plants of Kandali. After destroying to Kandali plants they perform a dance that looks like the Chholia Dance of Kumaon signifying a victory over the devil. They also distribute sweets, fruits and wine etc. to celebrate the victory. According to Dr. Nivedita the latest Kandali Festival was celebrated on 19 October 1999 and the next festival would be held in 2011.45 It is also believed thet the Kandali festival celebrates the defeat of Zorawar Singh's army, which attacked this area from Ladakh in 1841. The women go out in procession in their traditional attire to destroy the Kandali plants, where the soldiers were hiding. The demoralised army retreated along the Kali River, looting the villages on the way. The women resisted them and this feat is re-enacted to mark this day.

Kaul Kamphu or Nanda Devi Festival In the month of September on the day of Ashtami the Bhotias celebrate the festival of Nandadevi at Bhains Khal in Milam Glacier. Red and white coloured buntings are hung around the spot of festival. Flag masts coloured with goatâ&#x20AC;&#x;s blood. Participants sing and dance Jhora- Chancheri and Dhuska. Tribes in the Johar celebrate the festival by covering a long distance on foot, called Nandajaat to worship, dance and perform ritual of collecting Brahmkamals (Kaul Kamphu). The festival of Nandadevi Rajjaat is described in the succeeding paragraphs. Nandadevi Rajjaat is a famous festival of Uttarakhand. It covers a long celebration period of three weeks. People from across the globe participate in this Rajjaat Yatra of Nandadevi. Goddess Nanda Devi has a special place and is worshipped by most of the Kumaonis. The region

around Mt. Nanda Devi and its sanctuary, which falls in the districts of Pithoragarh, Almora and Chamoli, is the main worshiping area of Goddess Nanda. Nanda Devi Rajjaat is organized once in 12 years. It starts from Nauti village near Karnprayag, Chamoli. The Jaat goes upto the heights of Roopkund and Hemkund with a four horned sheep. After the havanyagna is over, the sheep is freed, decorated with ornaments. Food, clothing and the other offerings are discharged. Some people also celebrate annual Nanda jaat. Tribes of Almora, Chamoli and Pithoragarh also take part in the Nanda festival.

Festival of Shri Hyan Gabala Dev Shri Hyan Gabla Dev mela began in 1977. When, some learned tribes assembled from fourteen villages decided to launch it in the month of August 1977. They gradually started Atwan Mahotsav to worship the Shri Hyan Gabla Dev from the year 1998. The mantra „Jai Syang Se Gabla Dev‟ is written on the top of the Souvenir (Smarika) of Atwan Mahotsav.

Festival of Pandawa and Bagadwal Dance The Tribes of Garhwal, mostly from Chamoli perform Pandawa and Bagadwal. The dances start from the beginning of the month Bhadon (Bhadrapad) onwards starting from the very first day of celebration „Sakranti‟. The main dancer of Pandavas called „Paswa‟ dances as the incarnation of a particular Pandawa brother namely (Yudhisthar, Bhim, Arjun, Nukul, and Sahdev). Pandawas of MalariJelam are famous for this dance. They perform the Pandav Lila during their dances. It is performed by enacting the story of Mahabharata in dance and music. Jitu, Kishnu, Bharana, Saubunu and Saubuni Bagdwal dances are very popular in the valley. These are performed by the villagers of Malari, Gamsali, Farkiya and Jelam in their own way after the month of

Bhadon. Malari is known as the village of festivals. They celebrate a festival almost every month. The Sharad Sankranti is celebrated as the festival of Hariyali. Pauna dance is celebrated on the day of Nandastami. Lagot, the idols (Masks) of forefathers are worshiped in a common ground. Tribals move dancing around the village holding lagot in their hands before worshiping. The festival on Astami of Bhadon is very popular as also the festival of Nanda. The Lata village celebrates it as a large fair. The Doli (palanquin) of Nanda visits Niti Pass from Lata along with devotees every year or after every twelve years with great dance performance. The temple of Nanda at Lata is famous for its serene beauty. On the day of Basant Panchami they worship „Kshetrapal‟ or „Bhumiya‟ Devatas, singing and dancing „Thadiya‟ and „Chauffula‟. These are very popular dance forms of Uttarakhand. Nanda Astami Jat Yatra is also celebrated in the areas of Urgam, Bharki, Palla Kimana, Dwing, Dadau, Dumak, Kalgoth, Gwarh, Lata, Tapovan, Raini and Badrinath on Bhadon Mas Shukla Paksh Dwitiya Tithi and Nanda Astami up to 10 Tithi corresponding to the in the August-September months of the Gregorian Calander.

Hariyali Mela The Hariyali Mela is celebrated at Urgam, Panchyat Chowk and Joshimath on the eve of Baishakhi in the month of April. All tribes join this Mela. Mana villagers celebrate the Ghaniyal Mela in the month of November. The festivals of Deepawali and Holi are celebrated by the tribes. They worship their Bahi-Khate (account books) in the early morning. In the night they light lamps (diyas) made of Aata (Wheat Flour). They cook Haluwa- Puri. A garland made of marigold flowers, cucumber slices, oranges, walnut and cooked food is offered to the Goddess.

The Bhotias also play the colourful festival of Holi with full enthusiam. Men and women both separately perform Swang (mimicry). In the month of Falgun (February - March) after the Shivratri and before Holi, Jad tribes, who are predominantly Buddhists, celebrate the festival of Losar (the Tibetan New Year) on Amavsya (new moon). Wearing their traditional dress they proceed to the dancing place of the village holding the lamp made of chhiluka (Pine wood Chippings) in their hands. They prepare sweets and pakka Khana. Jad Tribes of Uttarkashi take part in the festival held at Uttarkashi on the Day of Makar Sankrantri.They sell woollen clothes, chutkas (small carpets), and carpets etc. The Gauchar Mela of Chamoli is also famous for the tribal trading. Tribes of the Niti and Mana valleys of Chamoli come with artistic handicraft items for sale in Gauchar. Dharchula and Munsyari tribes do a roaring business in Jauljibi Mela. These tribes also take part in melas/fairs held in other places according to their choice and demand.

Festivals and Fairs of Banraut / Raji Banraut or Rajis celebrate the festival of Aanthu. It is also called (Gaura Mahotsav). The festival is celebrated in the month of Bhadon (August - September). Women and men, holding each otherâ&#x20AC;&#x;s hands form a circle and dance in a circular motion with great zeal. During the dance they sing songs in praise of Goddess Gaura in Munda language. The head of the family buys new clothes for all members of the family.

Festivals and Fairs of Tharus Tharus take part in the Jhankaieya Mela after 15 days of Deepawali festival. They take bath in the Sharada Nahar. This place is about 8 km from Khatima. They worship and perform religious rituals.This holy dip is believed to be as holy as a dip in the Ganga. A

fair is also held every year at Chika Ghat near the Kailash River in Sitarganj. Tribes now a days also take part in the festival of Futa Shivling of Chakarpur. â&#x20AC;&#x153;A temple of Futa Shivling at Chakarpur near Tanakpur is famous for the worship among Shavisim. The foundation of the temple was laid by an unknown Tharu Tribal. A large number of people turn out at this temple on every Monday. Every year a grand fair is organized by Shiv Mandir Committee on the occasion of Mahashivratri Dayâ&#x20AC;?46 According to the priest of the temple Baba Shyam Sundar Das the Futa Shivling frequently changes its colour especially on the day of Maha Shivratri. According to hearsay once people were carrying a Shivling to Nauganvan Nath from Narmada. It fell on the way. They came back to search the Shivling. On finding this they began to lift it. They found that it was cracked (Futa) and was stuck in to the earth. They built a Shiva temple on that place it self. Hence the name Futa (Cracked) Shivling became famous. In the month of Shravan, Tharus celebrate the Teej. Women sing songs in groups. Girls and boys perform Jhijhi and Hanna dances respectively in their groups.

Festivals and Fairs of Buxas The Buxas celebrate festivals similar to Hindus with enthusiasim. They celebrate Panchami, Holi, Deepawali, and Navratri/Dussehra. Chaiti mela of Kashipur Buxas is very famous. Other festivals celebrated by the Buxas are:-

Satyanarayan ki Pooja- Chaitra (February- March) Doungad Pooja- Baishakh (April) Dalaieya Pooja- Jyesht (May) Goura or Moura Pooja- Jyesht/Ashad (May - June) Ashdi Pooja- Ashad (June) Tiju- Shrawan (July - August)

Chaiti Mela Buxas celebrate Chaiti Mela held in Kashipur every year in the month of Chaitra. They participate in the mela on Ashtami, Nawami and Dashami. Buxas of the villages namely Tharibairia, Bhuri, Bareni, Khabari, Bannakhera, Bhuria, Dhiramkhera, Kopa etc. take part in the festival worshiping Khokara Devi, Mata Devi and Monteshwar Baba. According to Bhagat Gokul Chandra and Ashok Kumar Agnihotri Rot, Goat and Chhatar are offered to Devi Mata by the Buxas of Bajpur, Gadarpur and Ramnagar.

Tatooing in the Chaiti festival

Buxa Temples in Kashipur

Buxas also celebrate the festival of Shivratri. Chanan, Gadarpur and Jharkhandi festival of Shaktifarm are very popular among the Buxas. Buxas come to these festivals to sell and buy wares and household goods. They sell their wooden artifacts in these fairs. Buxas also worship the forest God and Goddess of hills and plains both. They also worship their ancestors and spirits. These are Purnagiri Mata, Shitala Mata, Jwala Devi, Haija Peer, Bibi Fatima, Hazrat Ali, Gurunanak Dev, Tismar khan, Bujja Shikari, Kutan Pradhan, and Dalpuria etc. Bhumia and Bhumani are their village God and Goddess. They also worship Brahma, Vishnu and Mahesh and their incarnations. They also worship Nau Devian (nine Goddesses of Hindus Nav Durga). They play Mridang, Dholak, Chhena (Kartal), Manjira, and Ghunguru for recreation. They make traditional chinha during the birth, Chhati (sixth day), Namkaran (Naming ceremony), Mundan (Tonsure), Mangani (Engagement), Vivah (Marriage), and Mrityu (Death).

Festivals and Fairs of Jaunsaris The Tribes of Jaunsar Bawar celebrate vivid festivals and fairs. A large number of songs, tales and dances still exist in their art. The main festivals/ fairs are:-

A scene of Jaunsari fair (Courtesy: Jaydeep Samiti Gopeshwar)

Bishu Mela Bishu Mela (festival) is celebrated in Jaunsar Bawar with enthusiasm and grandeur from 13th to 16th April. Houses and cowsheds are painted with local white clay named Kamera and red clay. Mythological weapons as sword, bow-arrow and Dangar are cleaned in the morning hours. They involve themselves in dancing and singing songs to praise the Gods and Goddesses. Buransh (Rhododendron) are offered to the deities. Martial tribes take part in the performance of Thoura (bow and arrow). They learn and practice the art of war with bow and arrow. Different rich dishes like Kachori and Shakulia etc. are cooked at home during the festival.

Jagara Jagara is most important celebration to worship the God Mahashu the residing deity of Hanol. Tribals sing devotional songs through out the night i.e. called Jagara. In the month of Bhadon, the tribal perform invocation rituals for the whole night in the temple of Mahashu.They sing devotional songs. Jagara is a kind of devotion ritual in the praise of Mahashu. In the early morning the symbolic Mahashu takes bath in the near by Tauns river accompanied by the devotees. He- Goat(s) is sacrificed to make an offering to the God Mahashu.The meat is later distributed amongst the devotees. Sacrificing of goats is also practiced during the Bhadon month in the villages Bisoie, Khatava, Gabela, Thaina and Lakhwar.

Buri Dewai Buri (Old) Dewai (Diwali) is the festival of Jaunsari Deepawali. It is a colourful festival of Jaunsar Bavar. They celebrate it one month after the celebration of countrywide festival of deepawali. Tt is called Buri Dewai. According to folklore the Jaunsaris learnet of the victory of Lord Rama one month after the rest of the country due to their

remoteness. Another reason was that they were already engaged in their other works at that time so could not celebrate it with others. In the celebration of Buri Dewai villagers give flame to Dimsa holding a torch made by the sticks of local wood early in the morning around four o clocks. Dimsa is an effigy of evil demon like Rawan made by collecting grass and local wood. Before burning the Dimsa each villager bring a torch just after worshiping at home. They also take a round of their homes and proceed to burn the Dimsa. These torches made of Bhimal sticks held in the hands of the villagers become the means of setting the Dimsa on fire. Incidentally Buri Dewali was calso celebrated in other parts of the uttarakhand hills in the past. This practice by the name of „Pongala‟??? is also popular in the south Indian state of Tamilnadu. In the month of Margshirsh (Magh) on the night of Amavasya (newmoon night) people sing ritualistic songs “These songs describe the wonder of Mahashu Devata who was the first incarnation in the old family in Devya- Samusari Devlari”47 according to Major Rana. It is believed that God Mahashu killed dseaded demons and saved the Jaunsari tribals. Therefore this festival is celebrated in the honour of Mahasu Devta

Nunaie Nunaie is a unique festival celebrated by the Jaunsaris. According to Bhatt and Bhargava, “An annual festival in honour Shilguru, the God of sheep, is held in the month of Sravan (August) in Jaunsar Bhawar region of Dehradun. This festival is generally known as Nunai, such as is held at Baila and Jadi. At Lohari, the festival is known as Shemiat, and it is held on the first day of Sravana, usually just a few days before the Nunai is held in Jadi”48 The meaning of Nunaie is removing or cutting. It is celebrated just after the tribes get down from the high mountains after spending around five months with their sheep. During this period all the sheep have full wool. The wool is removed when they reach home with their

shephereds. The shepheherd spend a hard time on the top of the mountains. They are welcomed back home, greetings and joys of reunion are exchanged. The Jaunsaris enjoy the festival of Nunaie by indulging in feast and dance. The reason for celebration of this festival is to unwind after the difficult time spent away from home and the pleasant reunion with family members near and dear ones.

Attkari Festival The festival Attkari of Jaunsar Bawar is celebrated for three days every year in the month of April â&#x20AC;&#x201C; May at Dvan?? Temple near the village of Thadiyar to worship Pavasi Maharaj. Tribals tonsure the Rair of their children in this festival.

Panchon Ke Mele The Festival of Panchon Ke Mele is celebrated in the Jaunsar region in the month of October every year with full enthusiasm. This festival is also known for the celebration of Dushhara. It is celebrated with full involvement and organising Ramlila.

Magh Festival In the month of Magh, this festival lasts for two days, when they bring their he-goat in a common courtyard for exhibition and compete to win the award of the biggest goat. The win is celebrated with traditional joy and delight.

Shahid Kesari Chand A festival is organised in the memory of Shahid Kesari Chand on 3 May at Chakrata. He took active part in the freedom struggle against the British Rigme.

View of Jaunsari Festival (Courtesy Unknown Photographer)

Mond â&#x20AC;&#x153;Mond is an important and major festival of Jaunsar Bawar region of Dehradun area. While Bissu is an important spring festival, Mond is a bigger one still, organized on a large scale crossing the khat boundaries, unlike Bissu which is only an intra khat festival. At all places, Mond attracts people even from out side Jaunsar Bawar. The Mond of Dunghiara (situated at a distance of about 5 km. south- east of Chakrata on the Lakha Mandal Road) is said to attract the largest number of participants.â&#x20AC;?49 Laksha Grah Fair is held in Lakhamandal, on the banks of the river Yamuna in the month of Bhadra (August- September) every year and is also important among Jaunsaris.

Education Among STs, 63.2 per cent of the population has been recorded as literate, which is well above the national average (47.1 per cent). The male and female literacy rate of 76.4 per cent and 49.4 per cent respectively suggest for wider gender gap in literacy. Bhotia with 79.9 per cent literacy rate are well ahead of other STs. The female literacy rate (69.1 per cent) among Bhotia is also the highest among the five STs of the state. Raji have recorded the lowest literacy rate of just 35.8percent, as shown in following Statement.50

Literacy Rate (7+years and above) Sl. No. 1. 2. 3. 4. 5. 6.

Name of the Scheduled Tribe Total Male Female All Scheduled Tribes 63.2 76.4 49.4 Bhotia 79.9 91.5 69.1 Buksa 49.9 66.0 32.4 Jaunsari 58.9 71.7 44.8 Raji 35.8 47.2 22.5 Tharu 67.0 80.4 53.1

Source- Office of the Registrar General, India, p.3, http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf.

As per 2001 Census, 76.6 per cent of the ST population of age group 5-14 years has been attending educational institutions. Bhotia have recorded the highest percentage (86.4 per cent) of school attending population, closely followed by Tharu (82.3 per cent). On the other hand Raji have recorded the lowest of 50 per cent. The Jannsari (75.1 per cent) and Buksa (63.7 per cent), the remaining two STs, also have recorded below the state average. Merely 4.3 per cent of total literates among STs are having educational level of graduate and above. Bhotia with 11.6 per cent of their literate population as graduate or having higher level of education are on the top among STs. On the other hand Buksas have recorded a low of just 0.7 percent.

100

Scheduled Tribes Population Distribution of Uttarakhand population among literates and illiterates (Source: census of India 2001) Districts

Area

Area Code

Total Population

No. of literates

persons 05 01

Total

2,65

male

No. of illiterates

female

Persons

Male

female

728

845

302

543

1,009

659

781

275

506

103

1 ,840 1,112

Uttarkashi 05 01

Rural

2,449

1,668

05 01

Urban

236

05 02

Total

10,484

7,393

4,127

3,266

3,091

956

2,135

05 02

Rural

7,730

5,241

2,946

2,295

2,489

742

1,747

05 02

Urban

2,754

2,152

1,181

971

602

214

388

05 03

Total

186

115

Rural

157

Urban

Total

691

425

318

107

266

199

05 04

Rural

273

185

123

05 04

Urban

418

240

195

178

153

Total

99,329

46,299

29,81 4

16,485

53,030

22,108

30,922

Rural

94,910

43,096

27,89 4

15,202

51,814

21,541

30,273

172

Chamoli

05 03

Rudrapraya g

05 03 05 04

Tehri Garhwal

05 05

Dehradun

05 05

101

05 05

Urban

4,419

05 06

Total

1,594

05 06

Rural

1,348

05 06

Urban

05 07

3,203

1,920

1,283

1,216

567

649

587

287

720

301

419

670

463

207

678

281

397

246

204

124

Total

19,279

12,801

7,147

5,654

6,478

2,275

4,203

05 07

Rural

14,934

9,482

5,469

4,013

5,452

1,872

3,580

05 07

Urban

4,345

3,319

1,678

1,641

1,026

403

623

05 08

Total

1,945

1,330

720

628

613

197

416

05 08

Rural

1,619

1,100

587

513

519

159

360

05 08

Urban

324

230

115

05 09

Total

878

715

382

333

163

05 09

Rural

488

393

207

186

05 09

Urban

390

322

175

147

05 10

Total

740

374

241

133

366

144

222

05 10

Rural

573

270

177

303

119

184

05 10

Urban

167

104

Total

4,961

2,626

1,590

1,036

2,335

978

1,357

05 11

Rural

3,962

1,811

1,162

649

2,151

892

1,259

Urban

999

815

428

387

184

874

Garhwal

Pithoragarh

Bageshwar

Almora

Champawat

05 11

Nainital Nainital

102

11 05 12

Udham

Total

110,220

59,008

36,71 9

22,289

51,212

19,222

31,990

05 12

Rural

108,808

57,971

36,01 1

21,960

50,837

19,070

31,767

05 12

Urban

1,412

1,037

708

329

375

152

223

05 13

Total

3,139

1,160

835

325

1,979

893

1,086

05 13

Rural

2,958

1,042

762

280

1,916

866

1,050

05 13

Urban

181

118

SinghNagar

Haridwar

Scheduled Tribes Population Table8: literacy rate by sex and gender gap in literacy rate (source: census of India 2001) Districts

Area

Population

literacy

Gender gap in literacy

Area Code males 05 01

Males

females

Total

1,414

1,271

90.2

64.8

25.4

Rural

1,284

1,165

89.7

64.0

25.6

05 01

Urban

130

106

95.4

73.4

22.0

05 02

Total

5,083

5,401

92,4

67.2

25.2

05 01

103

female

Uttarkash i

05 02

Rural

3,688

4,042

91.3

63.3

28.0

05 02

Urban

1.395

1,359

95.4

78.8

16.6

05 03

Total

106

84.3

63.5

20.8

Rural

87.1

61.8

25.3

Urban

73.7

75.0

-1.3

05 03

Chamoli

Rudrapra yag

05 03 05 04

Tehri

Total

517

174

66. 5

75.9

-9.4

05 04

Garhwal

Rural

169

104

87.9

72.9

14.9

05 04

Urban

348

57.7

80.4

-22.7

05 05

Total

51,922

47,407

69.9

42.8

27.1

Rural

49,435

45,475

68.9

41.2

27.1

05 05

Urban

2,487

1,932

89.8

77.1

12.7

05 06

Total

888

706

79.0

49.8

29.2

Rural

744

604

75.2

42.3

32.8

05 06

Urban

144

102

97.6

92.0

05 07

Total

9,422

9,857

89.1

66 .4

22.7

Rural

7,341

7,593

87.3

61.7

25.6

05 07

Urban

2,081

2,264

95.3

81.4

13.9

05 08

Total

899

1,044

92.0

70.3

21.7

Rural

146

873

92.0

67.9

24.1

05 08

Urban

153

171

92.0

83.9

8.1

05 09

Total

461

417

97.2

89.3

7.9

Rural

255

233

96.7

88.6

8.2

05 09

Urban

206

184

97.8

90.2

7.6

05 10

Total

385

355

76.3

50.6

25.7

Rural

296

277

73.4

46.3

27.2

05 10

Urban

85.3

64.5

20.8

05 11

Total

2,568

2,393

73.2

52.0

21.1

Rural

2,054

1,908

67.5

41.6

25.9

Urban

514

485

94.7

89.6

5.1

05 05

05 06

05 07

05 08

05 09

05 10

05 11 05 11

104

Dehradun

Garhwal

Pithoraga rh

Bageshwa r

Almora

Champaw at

Nainital

5. 7

05 12

Udham Singh

Total

55,941

54,279

78.5

49.0

29.5

Rural

55,081

53,727

78.3

48.8

29.5

05 12

Urban

860

552

92.9

68.8

24.1

05 13

Total

1,728

1,411

59.2

29.7

29.5

Rural

1,628

1,330

57.5

27.1

30.3

Urban

100

86.9

72.6

14.3

05 12 Nagar

05 13 05 13

Haridwar

Fifteen schools on the basis of Ashram Padhyati are running in different districts of Uttarakhand for Scheduled tribes and scheduled caste students where they get education free of cost. They are provided all the necessary items fee, food, dress and clothing, books etc. during their course of study in the Ashram Padhyati School. Tribes have shown their keen interest in education. From the primary level they are graduating to higher standards. Various educational institutions have a reserved quota for the STs in accordance to Government Policy. Dharchula and Munsyari are the major educational centres of the tribes in the past. Dharchula has an average literacy rate of 75%, higher than the national average of 59%: male literacy is 80% and, female literacy is 69%.

The changing faces of Uttarakhand Tribals

105

Banraut or Raji could not take interest in education mainly due to poverty and their shy nature. In the Champawat and Pithoragarh Districts there are tribes who prefer to live in the forest. They are so shy that they run away when any one tries to reach near them. Those who are residing with the society try their level best to acquire the basic elemantry education. It is hoped that they will gradually realize the importance of education and become ardent students in future. â&#x20AC;&#x153;The tribe still has no confidence in the educational system, which was more or less catalyzed by the educational system itself. The present system has not been very rewarding for the tribe compounding to the non-willingness of the tribe to learn. In depth analysis of constraints and prospects of education, as a sector, would help in understanding the lacunae in development efforts. Education, to emphasize, is pivotal for development of this particular tribe.â&#x20AC;? 51 Tharu are progressing in education. Government has opened schools named Rajkiya Ashram Padyati Vidylaya only for tribals, in their districts. Tharu Inter College of Khatima provides the required education to Tharu children. Earlier Tharu were very backward in education. They could not persue education due their poor economical condition. Over the last one or two decades their children went out for education. They were selected in engineering and medical courses. Mr. Rakesh Rana resident of Pipalia Pistaur of Khatima is working as a CDO in Haryana state after qualifying the I.A.S. examination. Many male Tharus have qualified for the PCS cadre.

Modern Tharu Students

106

Tharu Development Building at Khatima

Education of Buxa Buxas are taking interest in getting education. Few of them are studying in the higher education. They prefer to study particularly the subjects of fine arts. Raja Babu „Jangali‟ is performing artist who is actively involved in protecting the environment. He mimics voices of wild animals to attract the viewer and listener to convey his message.

Education of Jaunsari It is a good sign among Jaunsaries that male and female child are considered equal for their education. They are getting the same education in the village school and a genuine help as provided to them by women and men both. At present there are 275 Primary Schools, more than 50 Junior High Schools, and 13 High School and Intermediate Colleges in Jaunsar Bawar. There are also some English medium schools. A Degree College has been established in Chakrata by the State Government after prolonged efforts made by the Hon‟ble Minister Shri Pritam Singh.” 52 Smt Devika Chauhan, born in the year 1933 known as „Didi‟ is the first graduate in science from Chakrauta among the Jaunsari women.

107

Later she did her MA in sociology and also Sidhant Ratn. She has many awards to her credit. Priti Rana memorial trust is dedicated for the promotion of brilliant Jaunsari students. The trust had grants Rs. 1, 32,500/- in collaboration with ONGC Dehradun to 56 brilliant Jaunsari students up to 2004. 53 According to their economy the tribes of Uttarakhand take interest to get their education. It seems Vanraut or Raji and Buxa would have been far behind in the race of education learning. Nevertheless, other tribes including Vanraut or Raji and Buxa have secured remarkable positions in the field after getting their desired education.

108

Chapter Four

Art and Craft of Uttarakhand Tribes

109

Tribal art and craft of Uttarakhand has its own place in the rich cultural heritage of State. It varies from tribe to tribe. It enriches the daily life of those who share it with distinct execution and presentations according to the nature and habitation of the tribe.

Art and Craft of Bhotia/ Shauka/ Ran/ Marchha/ Taulchha/ Jad Bhotias are basically known for their woollen art and craft. The main sources of wool production are sheep and goats. Shauka/ Ran/ Marchha/ Taulchha and Jad; all the Bhotias of Uttarakhand were essentially shepherds and owned a good number of goats and sheep. They get wool from these animals. A special kind of Pashmina goat was a pride possession. Horses, Jabbu, and Yak are also reared by them. The also raise pet dogs that protect them and their animals from wild animals.

Goats and sheep

Living in caves and forests they tamed these animals. They got wool as well as food from them. They used the wool for producing garment, cloth and tent cloth. These assets fulfilled their initial need of Roti, Kapada aur Makan (food, clothing and shelter). The basic colour of wool obtained from sheep and goats is white and black. They initially get wool in black and white colours which are later dyed in many colours. The colours used are mainly obtained from

110

Black and white seat made of goat/sheeps

vegetable origin. Boiling the Leaves of Shyama produced the brown red colour like Henna (Mehandi).These leaves were dried in sun before boiling. Shri Khushal Singh resident of Golpha P.O. Bona Munsyari is an expert in the art of dying the wool. In the modern times synthetic dyes are also in vogue. Besides synthetic wool is also slowly creeping into the Bhotia tradition. The earlier woollen clothes were woven for their use of sitting, sleeping and packaging only. They also made woollen ropes of different thickness and to carry bags with leather border for carrying the luggage on the back of goats and horses. They had to carry goods from one place to another bartering their produce for their needs. “The sheep carries a burden of five to eight seers, and the goat from six to twelve seers: all dry commodities, the weight of which can be equally apportioned on both sides, may be conveyed on these animals. Grains, borax, salt, gur (jaggery) and such articles, are sewn up in small saddle bags, called „Karbik‟ made of worsted, and cased with leather; these are across the back, and are secured merely by a crupper and a breast-band. Wool and other products of the same description, are

111

formed into similar packages, and loaded in the same mode, but with out bags. Laden sheep on short journeys, can accomplish seven or eight miles a day; but for a continuance, can not keep up a greater rate than five miles; they travel only for a short time in the morning and in the evening, during the heat of the day, they are unloaded and allowed to graze. Goats are chosen, for their superior boldness and activity, as leaders of the flock, and are furnished with bells.” 54 They use Barsati (Rain coat), called Khuri protecting the goods on the back of the goats from rain during the wet weather. In the past, Indo- Tibet trade by Bhotias and Huniyas played an important role in the religious ceremonies of the hill region. Idols of God (Dev Murtiyan) and other forms display artistic touch on these presentations. Idols and Religious Scriptures had an artistically pious role when they started business with Tibet. The system of business was known as - “Gamgya Vyapar Padyati”. Bhotias and Huniyas both touch A Dev Murti or Dharmik Pustak on their heads taking an oath for maintaing a true, transparent, and faithful business. It was based on the Kundakhar tradition. In some places, it was also refered as „DalimDathim‟. Binding artistically two wooden pieces with a thread they swear for their successful business with out any forgery. Tieing the two pieces, symbolises their binding for each other to make them one. It was called „Singhchyad‟. If they disagreed, the thread could be broken. Before executing this kind of artistic work of tieing threads they used to drink home made jan (wine), in a single bowl. It was a mixture of sar (gold) and silver in chhu (water). That was known as Sarchu-Malchu. Carpet weaving is their first and foremost traditional art and craft. In the earlier stage they made small size carpets. Subsequently they adapted the passionately ornate art and craft of carpet weaving in Uttarakhand. Shauka, Ran, Taulchha, Marchha and Nilang Jad are engaged in this work.

112

a Dug (dragon); b. birds and flowers on Carpet and Asan

In India particularly in Uttarakhand this art came from Tibet. The Bhotia carpet weaving is different from Kashmir carpets. Kashmir is known for the best carpets. This art and craft of weaving reached here basically from Iran. Carpet weavers came there from Samarkand and later in the period of Emperor Jahangir the art enriched. The Kashmiri carpets are generally silken and have intricate designs based on vines and flowers. Bhotia carpets on the other hand have certain Buddhist (Tibetan) motifs and designs. These are basically woollen carpets. Uttarakhand tribes used to weave various kinds of woollen blankets and garments by Pith Chan/loom method from the very begining. It presumes that this art and craft kept developing with the development of civilization. Carpets or mattress better known as „Dan‟ in local language is well known art of this tribe.Bhotia women are good weavers of carpet, blankets and woollen clothes etc. This art is handed over to the daughter by her mother and the tradition continues through the generations. Dragon figured carpets attract the viewers in the initial stage. The design was imported from Tibet. Mrs. Savitri Rawat and Mr. Narayan Singh Rawat residents of Malari and Joshimath, Chamoli produced a dan before the research scholar, which they claimed to be using from their marriage day as it was a gift from Savitri‟s home to them. Savitri says it was their humble settee of that time. It was decorated with Dragons. Dragon is refered as „Dug‟ in the Tribal dilect.

113

Mrs. & Mr. Singh displaying to carpet received by them earlier as a gift from the bridesâ&#x20AC;&#x;s home in their marriage

114

Designs for Carpets on Graph Paper

115

Women and their Craft (Carpets / Coushions)

116

Kumaun, Garhwal and Tibet influenced the designs of these carpets or mattresses or Dans in due course. Mrs. Bhubneshwari W/o Mr. Bagtawar Singh resident of village Pinaula Ghat, Chamoli showed a Dan with a Dragon pattern. The design of this dan was executed by Ms. Gaura Devi of Malari which she had brought from Munsyari-Dharchula, Kumaun. The design of Himalayan lions coming from both the two sides on Dan along with flowers with leaves in between is another popular pattern of Bhotia carpets. With Yellow coloured lions, green leaves and yellow flowers, the background of Dans can be Dark Red-Brown. They also have several designs on Dan according to their choice and demand of the costumer. The modern carpet weaver caters for the taste of his/her customer and does not shy away from new experiments. In Kumaun and Garhwal, the tribes of Dharchula, Munsyari, Niti and Mana including surrounding villagers weave stylized carpets. They weave natural, geomerical, religious, social, political and historical designs on Dan. Some modern designs also have abstract forms. However natural themes are always prefered. Map of India or other places are also woven by them mentioning names of the major places in it. Animals, insects, flora and fauna including geometrical patterns are the major themes for the depiction on Dans. Monal, Cher (Himalayan bird), Ghural (Barking deer), Herd of Sheep and Shepherd, Cluster of Shrubs or Ringal, and Glacier etc. are the common themes for the carpets design. Sairbha Murga is a popular design. Sairbha Murga is believed to have a long neck and eight feet. Kindma Deer is another popular pattern woven on the Bhotia carpets. The tree of Bomba Sing is known as the Himalayan Deodara (Cedar). Black and long fruits of this tree were used to prepare black ink in the past. The smell of this tree is spread like the Cedar. Blue, light white and light red flowers are bloosmed in the tree of Bil Sing, a tree looks like Ratapa or Buransh. Sya Sing or Hya Sing is the king tree of Bhoj Patra (the bark of the birch tree).

117

Dragon and Floral Design on Carpets

118

Flora and Fauna in Asan and Carpet Design

119

Abstract, Map, Natural and Geometrical Designs on Carpets

120

Natural & Geomerical Designs on Carpets

121

Following flora and fauna finds a prominent place in the Bhotia carpets.

Himalyan Flora and Fauna Aconitum (hookuri) – Flower (purple) Aster (diolostephioides) – Flower (white/ yellow) Begonia (picta) – Flower (pink) Birch or Bhoj – (leaves) Cephalanthera (longifolia) – Flower and floral pattern (Yellow) Digitalis (purpurea) Delphenium Super formation Flower (violet) Deodaras Echinopas (cornigerous) – Floral pattern Erythrina (arborescens) – Flower (Scarlet) Hedychium (spicatum) Kapur Kachari – Flower (white with red stick) Iris (kumaonensis) – Flower (violet) Martynia (annua) – Flower (violet) Meconopsis (grandis) – Flower Paeonia (emodi) – Flower (white) Primula (wollastonii) – Flower (white, pink, violet and purple) Red or white Rhododendron (lindleyi) – Burans Flower (scarlet, white) Salvia (lanata) – Flower (violet) Saussurea (obvallata) – Brahmkamal Flower (yellowish white) Thuners or Yew Waldheimia (tomentosa) – Flower (violet)

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Fauna/ Wild Animals Barking Deer (Muntiacus muntjak) Black Bear (Selenarcton thibetanus) Bharel (Wild sheep) Chakor Partridge (Alectoris Chukar) Common Leopard (Panthera pardus) Goral (Nemorhaedus goral) Himalayan Thar (Hemitrogus jemlahicus) Jackal (Canis aureus) Monal Pheasant (Lophophorus impejanus) Kasturi, Musk Deer (Moschiferus) Kakar, ferret, small, of an orange colour Snow Cock (Tetraogallus hi, alayensis) Snow Leopard (Panthera uncia) Snow Partridge (Lerwa Lerw)

Wild Birds and Bee Hiun Wal (Bird of snow) the Ptarmigan Mukao (Pigeon, mottled black and white) Bhaunar (Bee)

Himalayan useful roots and herbs Wild garlic, celery, rhubarb, frankincense (Mari or Balchar), Laljari, Chora, Bhotkes, Katki and Majith

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Shrubs and Flowers Parpinja (ground cypress), dog roses, red and white, and sweet briar; Plentiful flowers including Iris and Anemone. According to Dr. S. S. Pangatey55 the Johar wool carpet usually measures 3‟ X 6‟ and is used as a bed spread or sofa cover. The Bhadoi knotted method of preparing carpet is common but in design the Tibetan style is popular. Traditionally natural dyes were used which have now been replaced by chemical dyes. Since border trade with Tibet ceased, raw wool is no longer imported from Tibet. Carpet makers of the valley now depend on supplies of raw material from Bhadoi, Shahjahanpur and Panipat from where rupees 6 lakh worth of carpet yarn is imported each year. The Johar valley itself produces approximately rupees 15 lakh worth of carpets every year. Wool for the cashmere shawls obtained from pashmina goats‟ fine soft under wool was bought from traders doing business with Tibet, in the absence of this variety of wool (Pasham) in the local area. Efforts have been made by Indian Veterinary Research Institute at Mukteshwar (Nainital District) and Upsi in Ladakh to breed goats producing Pasham, but the result of IVRI Mukteshwar to breed pashamina goats‟ have not yielded positive results. At present about one hundred families in Jauhar valley are engaged in the cashmere shawls industry, the annual out put of which is about 400 pieces. This form of woollen industry is more profitable than others and therefore people are more inclined towards it. The designs emerge beautifully from its background. The back ground of carpets (Dan) is mostly in a single colour of red, blue, black, yellow ochre, brown. In some carpets it has two frames of back ground in red and black or blue. Earlier the Tribals used to work in a group called Chhituk. To make the carpet more attractive and to give a fine finish to it was the task of expert hands.

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An expert craftsman executes the final stages of a carpet to finish it to desired elegance and to finally raise its design. The scissors called Chhamba Kainchi are used for this cutting.

Scouring of Woollen Yarn Depending on its variety, raw wool contains 20 to 60% impurites in the form of salts, dirt, vegetable matter, wool grease and suint i.e. dried sweat of sheep. Generally machanically adhering substances like dirt, sand, vegetable matter etc., are removed during the mechanical processes like carding and combing whereas wool grease and suint are removed by chemical process i.e. scouring.

Spinning and Weaving Spinning and weaving depands on the quality of wool and the skill of craftsmen. Bhotia tribes are experts in the art of spinning. They spin their own wool obtained from their sheeps and goats. They also produced good quality yarn from wool which was easily available from Tibet. They once catered for all the woollen needs of the Uttarakhand region. Manufacture of woollen material was the main stay of the Bhotias in the past. They traded in wool and woollen products with neighbouring areas. They used clothe woven locally by their folks. They had caves for their shelters and used tentage and matting made of their own wool cloth for open places or inside use. Later they started buildings permanent houses. Wool is a different fiber product. Colour and design adds to the attraction of this product. Spinning of wool into yarn seems to be a never ending process. The amount of yarn produced depends on the availability of the raw material. It can be spun by the males and females both with the help of Taku/Takli and Charkha. Taku is small and handy, easily portable and moveable while charka is placed at home. Spinning

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by Taku is an easy and convenient medium to spin wool at any time and any where; while walking and gossiping in and out of the home. According to Dr. Ratan Singh Seepal, â&#x20AC;&#x153;No other people make Thulama or Chutka except Bhotias. It is a fact that now this industry of Bhotia is shrinking. After 1962, Bhotias could not get raw material (wool) from Tibet hence they started procuring a kind of Australian wool from the Gaddi tribes of Himachal. Gaddi tribes used to visit Darma, Vyas, Johar, Niti and Mana valleys in summer and finally stayed in at Tanakpur in winters after selling their wool. At present, Ran tribes get their raw material from Tibet only after Indo- China compromise but other tribes of the valley are deprived of this facility.â&#x20AC;?56 It is very difficult to find local wool in the villages these days. It is a matter of concern that only few families have sheep and goats in the villages now. The approximate number of sheep and goats in the valley in the years 1940-47 is given in the chart/table below:Number of sheep and goats in the valley in the years 1940-47

Pargana (Place Name) Johar Darma Niti Mana

Sheep 50000 80000 40000

Goats 30000 60000 30000

Ranch, Khaddi and Pithiyachan are used for weaving Kalin (carpet). The Tana, a sequence on Ranch from one side to other is the first step. Two or three Rils made of ningal/ringal that look like sword are fixed in the lower side of Tana. Thickly spun woollen thread is wrapped on Sari, a thin rod that has a cut in the middle. The thread wrapped on Sari is cut at the middle point by a blade or knife. The final cutting is executed by the scissors.

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Equipment used in Woollen Business Name Equipment

of Use

Made of

Dhulaie ka Bartan

Dhulaie/ Washing

Lakari ka Mugara Brush

Washing by beating the wool Cleaning of wool

Takali

Kataie/Spinning

Charkha

Kataie/Spinning

Brass Tub/Plastic Tub A wooden bat like tool Made of Tun wood and nails on pad Made of Thin wood Made of wood

Estimated Cost (Minimum in Rupees) 50/5/70/- to 100/5/250/- to 500/-

Expenditure and Profit made on Woollen Clothes of a Unit* Name

Weig -ht of wool in kg

Other expenc -es than wool

Expenditure on material -l

Workin g hours for Spining in days

Workin g hours for weaving In days

Remuneratio -n @ Rs. 40/- per day

Total cost of produ -ct in Rs.

Sellin -g cost in Rs.

Profi -t

100/-

600/-

765/-

525/-

765/-

50/-

150/-

350/-

1500/ 1400/ 700/-

135/-

25/

1365/ 1290/ 500/-

25/-

175/-

350/-

500/-

600/-

100/-

Cost of woo -l @ Rs. 50/each kg. 500/ 500/ 100/ 150/ 50/-

Kalin

Chutak -a Aasan

Pankhi

Baniya -n Topi

10/-

60/-

270/-

310/-

500/-

190/-

25/-

10/-

35/-

90/-

100/-

150/-

50/-

110/200/-

Source: *A survey by Dr. Ratan Singh Seepal (Amtikar, p.125)

According to Dr. Ratan Singh Seepal “the modern equipment are being used now a days. A Loom (Kargha) is being used in woollen industry. Bhotias still are not trained to use it. More cloth is prepared in Kargha with in a short period. The government should endeavour to provide Kargha training programme for them.” 57 “It is observed that most modern equipments are being used only by the tribes of Uttarkashi in the woollen industry of Uttarakhand today. Nevertheless the sale of produce of the Mana valley tribes in Chamoli ranks on top in the trade

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due to a heavy rush of pilgrims to Badrinath Dham. They make mostly Topi, Muffler, Shawl, Baniyan (vest), Pankhi (feather light blanket) etc. according to the needs of the pilgrims. ” 58 Carpet making is the traditional family craft among the Bhotia tribes. Though, they inherit this art from their parents, it is compulsory for the girls to learn it. Following are the different kinds of carpets (Dans) woven by the Bhotias. 1. 2. 3. 4. 5.

Big size (above to 4‟x 6‟ and 6‟x 9‟or on demand) Normal size (3 or 4‟x 6‟) Medium size (2‟.5” x 5‟and 2‟.5” x 2‟.5”) Sofa set size (2‟x 5‟) Small size (1‟.5” x 1‟.5” and 2‟x 2‟)

Big size Dans are made rarely or order. These are beautiful means to decorate the room or a big hall. It can be hung as a wall piece on a wall of the house. A big function can be arranged sitting or sleeping on it.

Dan

Normal size (3 or 4‟x6‟) Dans are usually woven. Because of its varied uses a dan is an important possession of a typical Uttarakhand household. It is used to seat guests, as a mattress for sleeping and as a decorative carpet for a small room. In the recent past due to increasing demand the small dans (asans) which were traditionally used in prayer

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rooms are now also being used as sofa covers, seat covers etc. The size of the dans varies with their usage. It serves to seat the guests. It can also be used like a mattress.

Aasan / Sofa cover

Late Udai Ram Purohit, resident of Sakand Chamoli has worked a lot for the promotion of the art and crafts of the tribes in the region. Photocopies of Certificates and News Paper cuttings provided by Ms. Kiran Purohit „Jaideep‟ daughter in law of Udai Ram and Secretary of Sri Nandadevi Mahila Lok Vikas Samiti Gopeshwar are a testimony of his efforts to the cause of Bhotia tribes and society. The Mahila Vikas Samiti is also dedicated for the promotion of women artisans especially, the tribal women. Dan/ Carpet in Ranch Shawl, Pankhi, Chutka, Thulma are made in Khaddi. The weavers start then work very early in the morning before sunrise around three or four o‟ clock. Weighting up to 10- 15 kg., a Chutaka could also be used as a quilt (Razai). Kamla Rana and Kamla Mahipal of Sirokhuma village showed the work executed by them. They use different baskets made of Ringal/ Nigal by Rudias (Kandi/ Tokari/ Solti) in small, medium and big shape and size for their domestic work.

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Certificates of the works rendered by Late Udai Ram Purohit

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Advocate and Educationist Shri P. D. Kandpal, retired Deputy Director, SSB who was posted in Pithoragarh District in the tribal areas from 1974 to 1980 and again from 1991 to 1993 told the research scholar about his observations on Bhotia tribes. These people never waste their time. Quoting an example of Mr. R. S. Tolia he told when he visited R. S. Tolia‟s residence to express his grief on his father‟s death he found him was sitting on Kriya and also spinning wool with a Taku. Kandpal said, this is their family occupation from the Vedic period and the age of Aryans. These people had come from Tibet. Their dancesong, culture etc. resemble with Tibat. Marcha, Tolcha, Bhotia and Jad all entered from Tibet. Earliar they were Khirgij (Gypsies), residing at one place for some days and shifted to another place. Their business relations extend up to Chandigarh, Delhi, Punjab, Bhawar.Shearing wool from sheep, sampling of wool, and weaving of carpets are their traditional (Paitrik) art and craft. Enchanted by these tribes, Rawats of Garhwal, Fonia, Pal, Dharmshaktu, Martolia, Napchiyal, Hyanki, and Pangti and others he began to search a book on Tibet but he cold not find it in heap of his bookself. He was nostalgic when he explained the meanings of a few words of the tribal languages; Cham - walking, Litang - finish, Gani - little, Jya - tea (Chai), Tung - to drink, Dumti vegetable, Chhaku - rice (cooked). He showed his collection of the elegant work executed in Sri Dang village near Pangu and Narayan Ashram and also at Jalat in Munsyari. He showed a fine delicate Pashmina shawl that can easily fit in the fist of one‟s hand. Now days a Bhotia Pashmina shawl could fetch around the Rupees eight thousand. Mrs Deepa Kandpal was happy to learn the art of making Thulma in Munsyari during her stay there. The craft of weaving Pashmina thrived in Uttarakhand on imports of Pashmina wool from Tibet. Pashmina, being the undercoat of goat- a variety of caprahircus-living at high altitudes, is one of the finest and softest animal fibers used by tribes. Once, Shri K. B. Das Chief Secretary visited the house of a Bhotia businessman Chandra Singh Khunnu in Shri Dang village. He and his team were surprised to see the artistic craft items in the residence of Mr. Khunnu. Das could not help saying, “You people live in heaven whereas

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we are in hell” said Kandpal narrating the reminiscences of his stay in the area. They use their traditional techniques for weaving. Mostly wooden equipments are used. Kargha (Loom) is the modern equipment. Ran tribes don‟t use this. They use the foremost tradition of Pithach weaving to make Chutaka and Thulma etc. This is also known as Pithiyachan. Local loom called Ranch is durable and used by tribes of Johar, Niti and Mana. In recent past the Bhotias have begun to work with modern loom. Following are the categaries of weaving. 1. Pithach or Pithiyachan: Saria, Ril, Thal, Chir, Ghisana and three Nyatams are the parts of it. Making woollen cloth and Chutaka etc. 2. Ranch: Small Ranch about 36” long; to execute Lava, Patti, Muffler; Large Ranch: about 7l” long; to execute Pankhi, Shawl, Chutka etc. 3. Khaddi Ranch: To execute Dan, Kalin, Aasan etc. 4. Kargha (Loom): Pawari, Kanghi, Hattha, Tane ka Belan, Da Belan, Saral Box, Bobbin, Frame, Nachane and Liprod etc. are the parts of Kargha which is used to execute all kind of weaving.

Prepration of Yarn from Wool In the first stage scouring is done to remove impurities from wool and it is washed throughly. It is then dipped in lukewarm water. Wet wool is beaten by wooden stick/bat again and again pouring water on it. It is called Dhulaie or washing. In the next stage the washed wool is spread on stone or wood and kept in the sun for drying. The dried wool is then unraveled/set right with the help of a wooden brush. It is called Fanaie. The Fanaie wool is spun by Takali or Charkha. Thin and thick spining can be done by Takli and Charkha both as described. Now days the wool is processed mechanically by a Carding Machine installed by Udyog Vibhag (Industry department) in case of a large amount of wool. This machine is used mostly for the fanaie of Australian and Tibetan wool. Local wool can not be processed by this

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d (a) to (e) Different stages of processing wool

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e (a) to (e) The Women Power- Bhotias on work of Knitting and spinning : Women at work

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Spinning wool by Taku (Takali) men and woman

Spinning wool by women and man on Charkha

Spinning wool by men and women by Taku and Charkhas

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Making ball of thread and Peeth Chan

Weaving carpet in Training centre at Bhimtalla

Weaving carpets in Training centre at Bhimtalla

Tools Panja and Kainchi; Coloured wool in basket

Professionals, Trainee and Trainers at work

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(a) to (f) Looms at Different stages of Weaving

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Wall Hangings

Carding machines and Carded wool

Mini Loom ; Sample Looms

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machine because it has short and thick fibers, though it can be processed easily by a brush and wrapped quickly around the stick of a Takli. Thin or thick yarn is made by spinning cleansed and carded wool with the help of Takli or Charkha. The woollen thread spun by Takli is stronger than the thread spun by Charkha. About one hundred gram wool can be spun by Takli in five hours, whereas two three hundred grams of wool can be spun in one or two hours by a Charkha which can spin the thickest yarn. Weaving process can be divided in two parts namely Tana and Bana. Before fixing to Tana the thread of Bana is dipped in steaming hot water for two to three hours. The yarn is strengthened this way. According to the length of cloth the Tana is fixed with the help of Tarugathon. The excess thread of Bana raised during weaving is cut by scissors and rubbed by a brush.

Bleaching of Woollen Yarn It is not necessary to bleach wool for dyeing purpose unless very light and bright shades are required or when pure white effect is to be produced. The main purpose of bleaching is to remove the yellow or cream colour of wool. Beaching of wool is done with hydrogen peroxide.

Art of Dyeing The Bhotias of Munsyari and Dharchula areas in Pithoragarh are well- known for their traditional expertise in making a range of woollen garments and materials, besides processing and coloring of wool (Atkinson 1882; Pant 1935; Bhandari 1981; Farooquee and Saxena 1996). Nehal A. Farooquee and his team did extensive surveys in 1999 and in the beginning of 2000 to identify and explore the indeginious methods of wool dyeing and colouring. The findings of the study of this art Indiginious Knowledge of Dye Making and Wool Colouring are as described by the writers 59 below:

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Plants are an important source of pigments and tanins. While tanins have been used extensively in preserving animal skins, plant pigments are used in dying textile, wool and fibers in different societies across the world (Harborne 1984). Useful plant pigments have been extracted from different plant families, and from different plant parts; bark leaves, seeds, fruits, stems, and roots-to yield a wide range of colours, from yellow to crimson and purple to black. For example, throughout Ghana, useful pigments have been isolated from more than 100 plant species (Cotton 1997). However in this region only a few select plant species were used to make dye for the woollen products. The indigenious method involves use of plant parts of different plant species ranging from herbs to large trees (Table entitled: Plants used in wool processing and for dyeing) to make base colours, viz., three different shades of yellow, akhroti-rong (light brown) and pink, apart from the natural black and white colour of the wool. A number of intermediate colours and their shades are produced by mixing these base colour dyes into different combinations. For example, the colour obtained from tatori, akhrot, and dolu plants are used together to produce a bright red pigment. In this way, a whole range of different colours are produced to suit the aesthetic requirements. The other commonly used plants for making of dye by this community are sayama and kilmora. Weaversâ&#x20AC;&#x; Trainning Centre (WTC), Chamoli and Gobind Ballabh Pant Himalayan Research Environment Institute (GBPHREI), Katarmal Kosi, Almora has listed a number of natural dyes. There are number of plants in the traditional tribal areas used by them for extracating dyes. Unfortunately we know few of them. There are number of plants which are sources of natural dyes. The womenfolk in the Munsyari region are the real custodians of knowledge regarding the making of natural dyes. The elderly women generally collect the plant material for the natural dyes, and either themselves prepare the dyes, or the younger women of the family prepare them under the advice and close guidance of the elder women. Similarly, the Bhotia women also hold the knowledge of making different shades. Right from the shearing of wool to the marketing of

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finished products, work is divided into different sequential stages based on the internal adjustment of the family (Table entitled: Sexwise work distribution in the making of woollen products). Before dyeing, the wool should be bleached properly. Dyeing of wool is done either before spinning it into threads or after wards. Usually woollen threads are preferred for dying rather than un-spun raw wool. Raw wool is normally black or white in colour, white wool is suitable for dying to give different shades of colours. Before dyeing, the woollen material is washed and dusted thoroughly.The indigenous method of washing the woollen threads by the fruits of reetha is used extensively. Collected and stored plant parts are processed to make a dye. The method of making a dye from various parts (roots / bark / fruit shell) of walnut is in different stages. Collected fresh material is first ground into a soft mass or paste, which is later heated until it rises to its boiling point. In the case of using root portion, for dyeing of 1 kg of wool, approximately 6 litres of water is boiled with approximately 50-60 gm of fresh root. The plant material quantity becomes half when the same part is used in dry form. When the solution rises to its boiling point, the woollen material to be dyed is slowly put into this solution, and is stirred thoroughly for a long time so that the solution is imbibed in the entire material. Stirring is usually done with the help of a wooden stick (stirrer) for about half an hour or until the desired colour is achieved. In case of difficulties in colour fixation due to the presence of impurities in the woollen materials, a little amount of common salt with asephotida or alum is added to the solution for fast colour and perfect finishing. Once the desired dyeing has been achieved the woollen material is removed from the boiling pot and is allowed to cool and dry in shade. Direct sunlight is avoided for drying to retain the brightness of colour. The method of making dye from other plants is not much different from that of walnut, except that the appropriate vegetative part and their quantity used differ from plant to plant.60 According to Dr. Ratan Singh Seepal â&#x20AC;&#x153; in dying of woollen clothes Ran tribes used the bark of tree of Ting-Mang Chhayyi. The bark of this tree was brought by them from the forest of Tanakpur and

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Banbasa. They coloured Chyungbala by boiling the bark. They then put the Chyungbala in it and kept it underground in the cow shed (Gaushala) wrapped in the flour of Madwa (Ragi) after cow dung was spread around it. An iron pot was used to seek dark black colour. The bark of a nut was used to obtain gray colour.” 61 Chutakas, Thulamas, Aasans, Blankets, etc. are also made by the Bhotias. Chutaka have remained mainly in the black colour while

Thulma, Chutka and Aasan (s)

Thulma is made in the white only. Beautiful handgloves, socks, cap, sweater etc. are also woven by them. Chutka is heavier than Thulma. Thulamas are not much in vogue. Beautiful designs of butterfly, cat, lion etc. are made on carpets. Chutaka being heavier then Thulma, preserves more heat. Thulma, weighs about 4-5 kg. and is used as a blanket up to the height of 4000-5000ft and Chutka, weighted about 8-10 kg. is used in heights up to 5000-15,000ft. Sofa Covers and car seat covers including other seat covers are in great demand. “The blanket industry consists of products such as blanket (locally known as Kambal), Chutka, and Thulma (uses imported and locally produced wool). The annual production of the blankets is worth Rupees Two lakhs. Because of the shortage of raw wool, about 200 families engaged in this industry work for the government department of industry and for state sponsored public agencies in Munsyari Tehsil.” 62 Certain organizations in Uttarakhand that promote the art and craft of woollen industry are:-

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- Martolia Hastkala Gramin Mahila Scheduled Caste and Scheduled Tribes Vikas Samiti, New Colony, Khatyari, Almora registered under U.P. Societies Registration Act 21-1860, Registration No 452-1999-2000. - Jai Nanda Welfare Society, Bhimtalla, Chamoli - Training and Exhibition by the Government of Uttarakhand, Yuva Kalyan avem Prantiya Raksha Dal, at Bhimtalla, Chamoli - Training by Udyog Vibhag, Bhimtalla, Chamoli - Training and Research Office of Hathkargha Vikas Ayukt, Chamoli - Vyas Janjati Mahila Utthan Samiti Nabiyal Khera Dharchula A woollen carpet making course of six month duration is conducted by Martolia Hastkala Gramin Mahila Scheduled Casts and Scheduled Tribes Vikas Samiti, New Colony, Khatyari, Almora. The syllabus is sub divided as under:First Two Month: Detailed information with due Practicals: Complete History of Carpet (Galicha); Kinds of Looms, Joining and Open of each kind of Looms, Storage of Looms; Equipments of Carpet (Galicha) Weaving and their Uses; Raw Material (Kachcha Mal)- Sampling of wool, Washing (Dhulaie), Carding and Spinning (Ammar Charkha and Wooden Charkha); Identification of colours, mixing of colours, Uses of Opposite Colours, Dying of Threads with Natural and Artificial Colour; Types of Design, Preparing design on Graph paper.

Third and Fourth Months: Detailed information with due Practical work Size of Carpet 3â&#x20AC;&#x;x6â&#x20AC;&#x; ; 300 x 315 ; 8.2 x8.2 square inches; Use of thin and thick threads up to 2- 4 ply coloured thread finally depends on the thread of Tan; Carpet Making/ Weaving is a source of Art depending on the knowledge of Colours including its peculiarities; Three Peculirities of Colour-Form, Proportion of Light and Darkness, Speed; Primary Colours, Impression of Colours and Feelings of Colours, Impact of Colours, Selection of Colours, Matching of Colours, Decoration with Opposite Colours, Matching of Favourable Colours.

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Fifth and Sixth Months: Tie up, method of pruning with Chhote (Small) Chakul (Knife); Modern Wooden Loom and use of equipments.

Hari Exhibition Hari Exhibition has an important role in promotion of the arts and crafts of the tribes. â&#x20AC;&#x153;Shri Har Singh Jangpangi and Shri Nar singh Jangpangi of Johar worked towards the cause of promoting the art and traditional designs of Shauka Tribe. They were the founder of Hari Exhibition. It is arranged yearly in Munsyari on 20 Gate of Kartik (late September- October)â&#x20AC;? 63 There is a Training and Research Centre of the Development Commissioner for Handlooms (Hathkargha Vikas Ayukt), Ministry of Textile (Vastra Mantralaya), and Government of India (Bharat Sarkar) at Upper Chamoli. The centre has three sections namely Design Section, Weaving Section and Dying Section. The centre provides short time training in dying, weaving and designing. In a personal meeting with Mr. Virendra Kumar Singh Rawat, Pattern Maker- cum- Designer and Cluster Development Executive, Chhinka Cluster it was revealed that Munsyari, Dharchula, Chhinka, Dunda, Kalsi and Manglor areas have been selected for training under the cluster approach. In this scheme the centre will provide all the facilities to weavers at one place. They have started it with Chhinka village. Mr. Randhir Singh, incharge of Dying section showed us how the centre is developing and helping others in this field. Though, at present chemical dyes are being used. Japan and Germany have banned the chemical dyes. The centre prepares both the dyes. He advocated use Eco Friendly Colours. Alps India Factory, Sahibabad produces and supplies vegetable colours marketed through National Handloom Development Corporation (NHDC) Lucknow. Mr Avtar Singh Rana working in this centre as assistant to Mr Singh in Dyeing section belongs to a Scheduled Tribe family from Malari village, 62 km from Joshimath. He intimated that they use natural/ vegetable colours in dyeing for making carpets. Some of them are:-

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Natural / Vegetable Colours Used in dyeing Name Hindi

in Name English

in Botanical Name

Part Used

Colours obtained

Kaiphal

Bayberry

Myrica Negi Bark

Green Brown

Dar Hald

Indian Barberry Indian Madder Indian Rhubarba

Aristata

Root

Rubia Cordifolia Rheum Emodi

Root

Piyaz

Onion

Alluim Cepa Peel

Anar

Pomegranate Punica Granatum Rathan Joth Onosma Echioides Walnut Juglans Regia

fruit Cover

Yellow, Pink Pink, Red, Brown Yellow Ochare, Brown Yellow, Yellow Ochare, Brown Yellow Ochare Light Brown

Walnut

Fruit cover

Light yellow, Brown Fruit cover

Flower

Yellow

Root

Light Yellow Ochare Yellow Golden Yellow

Majith Doly

Laljari Akhrot

Akhrot/

Fruit cover Safflower Kusum Silpari

Kilmora Harsingar

Tesu

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Sweetsmelling flower plant Butea Frondosa

Juglans Regia Carthamus Tinctouius Bergneia Ligulata

Root

Bark Bark

Lemon Yellow,

Brown Kikar ki Chhal (Desi Babul) Lal Chandan Powder Patang Wood Alizarin from Oak Wood Katha

Acacia

Brown

Red Sandal Powder

Red Red

Oak

Bright Red

Catechu

Brown

During a conversation, the researchar asked Mr. Rana, if he passed on his experiences knowledge of dyeing to his villagers. He answered in affirmative mentioning about the knowledge of Bachan Singh Pal, resident of Bampa village who had a similar knowledge about vegetable dyeing as their centre had. It is evident these tribes have a good knowledge of vegetable dyeing. In wet processing of woollen yarn, the material to liquor ratio of 1:30 is commonly used i.e. for 1kg of wool; a bath containing 30 liters of water is required.

Dyeing Wool exhibits remarkable affinity for direct, acid, metal complex, Chrome, basic and reactive dyes. Modified reactive dyes, suitable for wools are also introduced by the centre. The general procedure for dyeing woollen yarn with these classes of dyes is given below.

Acid Dyes These are the most widely used class of dyes on wool. They are classified into two groups. Depending upon condition of the dye bath

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used in their application viz. (i) moderate acid (method no. 1) (ii) weakly acid dyes (method no. 2).

Dyeing Method no. 1 This group of dyes can be applied at pH 2.5-3 with the help of sulphuric acid or formic acid. They give more level dyeing when formic acid is used. These dyes exhibit outstanding migration power and have very good levelling properties. Except few dyes these have high fastness to light and also have moderate wet fastness properties. The dye bath is set with the previously dissolved dyes, 2-4% sulphuric acid (1680Tw) and 10-15% Glauberâ&#x20AC;&#x;s salt depending on the weight of material. The material is dipped at 500C, the temperature is then slowly raised to boil in 15-30 minutes. The dyeing process is then continued at boiling point for 30-45 minutes. Levelling agent can be used if needed. The material is then raised well, squeezed and dried. Generally dyes of this group are marketed under the trade names of Sandolan-E (Clarient), Ranocid (IDI), Lanaset, Erio, Eriosin, Kiton (Ciba) Acid (Atul, Amrit Lal) etc. Dyeing Method no. 2 These dyes are generally fast to milling and are known as â&#x20AC;&#x153;Acid Milling dyesâ&#x20AC;?. These are applied from neutral to weak acidic bath. These are mainly applied for producing brilliant shades and as brightening elements for 1:2 metal complex dyes. Generally dyes of this group are marketed under the trade names of Sandolan- N (Clarient), Supranol (Dystar), Navimill (IDI) Polar (Ciba) etc. The dye bath is set with the previously dissolved dyes and 2 to 5% ammonium acetate or ammonium sulphate. The yarn is entered at 50-600C and worked for 10-15 minutes. The temperature is then slowly raised to boil and the dyeing continued for 45 minutes. If the dyebath is not fully exhausted, 1 to 2% Acetic acid is added to exhaust the dyebath. The material is then washed, squeezed and dried.

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Metal Complex Dyes Manufacturers now supply certain dyes which already contain the metal (chromium or cobalt) in their structure. These are called metal complex dyes and are chemically related to chrome dyes. The dyer need not use any metal salt during their application. These dyes are not bright like acid dyes, but their fastness properties are much superior. There are two types of metal complex dyes:(i) (ii)

1:1 metal complex dyes or acid dyeing metal complex dyes. 1:2 metal complex dyes or neutral dyeing metal complex dyes.

Dyeing Method no. 3 The dye bath is set with the previously dissolved dye and 2-4% ammonium acetate or ammonium sulphate at 50 0 C, maintaining the pH between 5-7. Material is then entered and worked in this bath for 15 minutes. The temperature is slowly raised to boil and the dyeing continued to boil for 45 minutes to 1 hour. If necessary, at the end the dye bath may be exhausted by adding further 1-2% acetic acid. Finally the yarn is squeezed and dried. Generally dyes of this group are marketed under the trade names of Lanasyn & Lanasyan S (Clariant), Acidol FB-M (Dystar), Navilan (IDI) Metalan (Atul Ltd.) etc.

Chrome Dyes Chrome dyes are closely related to acid dyes but during their application chromium salts are used as moderants. Hence the acid moderants dyes are generally known as chrome dyes. These dyes possess good light and washing fastness. They also have good fastness to chemical washing and hence are largely used in woollen carpet industry. They are not so bright as the other classes of dyes like acid or metal complex.

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Generally dyes of this group are marketed under the trade names of Omega Chrome (Clariant), Amochrome (Amrit Lal Chemaux), and Tulachrome (Atul Ltd.) Esgychrome (IDI) etc.

Dyeing Method no. 4 It is executed after chrome method. The material is entered in the dye bath set with the previously dissolved dye, 3-5% Acetic acid and 510% Glauber‟s salt (calcined) at 500 C. The temperature is slowly raised to boil and dying continued at boil for half an hour. If necessary, 1% formic acid or 1% sulphuric acid (1680 Tw) is added to exhaust the bath. The bath is then allowed to cool to 600 C. Then in the same bath 1-3% sodium or potassium dichromate is added, the bath is brought to boil and the dyeing continued for 30-40 minutes at boil. The yarn is then washed, squeezed and dried.

Moth- Proofing Wool and certain other fibers are attacked by moths. The fibre material is used by moths as food. In order to prevent the material being attacked by moths, moth- proofing treatment is given. The procedure as advised in the Wool Shade Card of Weavers‟ Service Centre. is as under Wool is generally treated with 0.2- 0.5% Eulan WA New (Bayer) Parigen-10 (France) at room temperature for 10 – 15 minutes. Moth proofing can also be done as a part of the dyeing process. The required quality of moth proofing agent is first diluated 5-10 times with cold water. The solution of moth-proofing agent is then added to the usual dye-bath at 35-40oC and stirred well. Wool yarn is then entered in the dye-bath and dyeing/moth-proofing process is carried out as usual. Care must be taken that the moth proofing agent is added to the dye-bath before the addition of an acid.

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Oriental Rug Wash

To give silky appearance to woollen carpets they are given some mechanical and chemical treatments. The chemical washing of carpet with caustic soda, soap and chlorine is generally known as â&#x20AC;&#x153;Oriental rug washâ&#x20AC;?. This treatment depends upon the quality of carpet and the effect required. Coarse wool can better withstand the severe treatment then the fine quality wool. The carpet to be washed is first spread out flat on the ground and brushed for 30-45 minutes with dilute caustic soda solution (3 to 5 c.c. per litre caustic soda 660 Tw.) rinsed with plain water and squeezed. Then brushed for 30-45 minutes with sodium hypochlorite solution (612 gms. per litre available chlorine) and washed well with water. Depending upon the effect required the above treatment is repeated. In the end a final wash is given with 2-5 c.c. per litre acetic acid at room temperature for 10-15 minutes, washed and dried. In dying woolen (Nambu) clothes shellac is also used. They make small toys of shellac for their children after dying.64 Bhotias / Shauka / Ran / Marchha / Taulchha / Jad of Uttarakhand have a noteworthy tradition of wool scouring, dyeing, spinning and weaving. They have developed their own tradition in the field.

Art of Rock Caves, House Construction and Wood Craft Natural rock caves are the best shelter for the man and animals. Earlier tribes used these. In the mountains and hills where tribes reside these shelters can be found in the staying areas of camping sites during trekking. Natural artistic forms drawn in these rocky caves are common. These rocky caves are also called Udyar.

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According to Dr. Pangtey “There is Jhinia Udyar some six km west of Nachani in the Ramganga valley. At about 15 km from the same place towards the west and near Dhami Gaon there is another cave called Ranigarh udyar. The visitor finds interesting figures in limestone on the sides and ceiling of these caves formed in the natural process over several years.One also finds objects looking like the Shivling in Amarnath in these caves. Local people relate these objects to the mythological figures of Shiva and Parvati, Lord Vishnu sitting on his Shesh-Shaiya (serpent throne), Child Krishna vanquishing Kalia Nag, churning of the ocean by Gods and demons in search of nectar etc. The opening of these caves is so low that the visitor has to crawl to get inside. One has to reach these spots on foot. These could be of immense tourist interest if jeepable roads connect these spots with Nachani. We know that such an approach has been one of the main reasons for Patal Bhuvaneshwar‟s prominance.” 65

Maiser Kund Maisar Kund (a pond) near Sarmoli village is situated barely a kilometer away from the Sarmoli bend on the Thal- Munsyari motor road. An ancient love story is woven around this pond. A folk song about Bhina (brother in law) Maiser and Sali (sister in law) Balpuria is popular. Falling in love with each other and with out the consent of their parents finally they got married at Maisar Kund (Pond). According to Dr. S. S. Pangtey in a clear and quite moonlit night of autumn, the sound of a flute coming from Khalia Dhura, piercing buffets of wind reverberate in Munsyari. It is the flute played by a Bhina to attract his Sali, in response to it from the throat of a young lady (sali) comes a voice “Come and have a look at the sole of my feet, O‟ Bhina Mainser, you please come to me and have a look at each of my limbs, lest you should find fault with my physical stature and beauty. But I won‟t let you have a look at me free of cost.” 66 The houses built of stones are generally doubled storeyed, a few having three to five stories. Often 1.8 mtrs high usually very low rooms are on the ground floor. The houses have plastering and white washing

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by local white clay. Women bring the white clay from the querry. Some time children also bring the clay in rare necessity. A door is a link connecting the inside with the outside and darkness with light. It can also be passage from one place to another as well as from reality to paradise. It is said in Buddhism that doors symbolize the passage toward enlightenment, which is why intricate patterns were carved on doors to rflect an ardent desire of the residents for enlightenment. It seems the same feeling was expressed by tribals well in advance who built these beautifully decorated doors for their houses. The doors and windows of the houses are carved beautifully generally with geometrical patterns based on the flora and fauna designs. Figure of a deity also adorns the top of the door.

Art in Ek Hathia Temple There is a temple about 3 meters in height in the area of 13 square meters on the way to Munsyari area at Thal, about one and half kilometer from Thal â&#x20AC;&#x201C; Didihat bridle road. According to the folklore as also mentioned by S. S. Pangtey, this temple was carved out of a single stone in a single night. Beautiful natural and geometrical designs are carved in it. There is a pond in front of the temple, water for which had been brought from the nearby nallah by cutting rocks. The temple is similar to temples built by Chand Kings in Kumaon.

Mythical Statue of Jasuli Buri A statue of Jasuli Buri reveals the story of kind hearted woman and recent development made in the field of sculpture after knowning about that. Jasuli Dataal known as Jasuli Buri (Jasuli, the old woman) was rich and generous woman of Daantu village in the Darama valley of Kumaon. She lived around 175 years ago.

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Statue of Jasuli Buri before and after colouring

All kind of legends are common about her wealth and generosity. She had no children and this made her life very depressing and cheerless. The most popular version of her story tells us that during the last days of her life she became so desperate with her ample wealth that she decided to drown all that she had, in the river Dhauli. As she was about to commit the deed, a British official happened to pass by. He asked her what she was doing. On coming to know of her plight and desperation, the British official requested her to put her wealth for better use for the benefit of her own people. “It is narrated that several ponies and goats carrying Jasuli Buri‟s riches followed the British officials, who with that money built „dharamshalas‟ (places of rest) for the Shauka traders and pilgrims at several places in Uttaranchal/Uttarakhand and even Nepal. Remnants of these dharamshalas are still found.”67 The statue Jasuli Buri was built by a sculptor, Seepal who originally belong to this land of tribe.

Sculptral Art of Seepal Sri D. R. Singh Seepal became a renouned sculptor establishing him self in the field. Born on 04 May, 1958 in a tribal family, Shri D. R.

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Singh Seepal S/o Shri Dalip Singh Seepal hails from the last village namely „Seepu‟ situated on the Indo-Tibet border in Darma Valley of Tehsil Dharchula in Pithoragarh District. “His presence is being felt in the idols and statues of varios great personalities that have been carved by him and installed in different important premises of Uttarakhand and Uttar Pradesh. In recognition of his contribution and achievements in the field of art and sculpture the Government of Uttarpradesh nominated Sri Seepal as a member of the State Lalit Kala Academy in the year 199192. Also, the department of Culture, Government of Uttar Pradesh had nominated him in the state panel of „Expert Sculptors‟ in the year 2002. After formation of Uttaranchal Sri Seepal‟s horizon of creativity spread all over the newly-carved state. As a result he was facilited by the veteran leader and the Chief Minister of Uttaranchal Hon‟ble Sri Narayan Datt Tiwari in 2002 on the occasion of unveiling ceremony of 9 feet long bronze statue of late Indramani Badoni (the pioneer of Uttaranchal State Movement) created by Sri Seepal. Being born and brought up in a tribal family in the lap of pristine beauty of nature at Seepu village, Seepal had a dream to become an artist. He, on his own, started making small idols depicting tribal art and culture using husk of musterd as raw material which was easily available around him. Passing out Intermediate from his home town he finally passed M. F. A. from Ruhelkhand University in first division with a IInd position in the University. During his study he completed research project on “Folk Art of Kumaun (Shauka Tribe).” In 1981, he organized a Solo-Exhibition of his Sculptures. This was appreciated by viewers including very renowned sculptor late Avatar Singh Panwar. Sri Seepal is a painter by training but the limitations of this medium, particularly in respect of having a feel of touch, ultimately urged him to be a sculptor where he could have a feel of his creativity by touching what ever he created. This transition from painting to sculpture brought a remarkable transformation in Sri Seepal and thus he was able to combine the delicacy of painting with solidity of sculpture. As a result, Sri Seepal is now peerless in the art of manifestation of portraits with his creativity and imaginative skill. The statues and idols with cement-concrete, bronze and marble carved by Sri Seepal are so vivid that they always give lively effect to the spectators.” 68 Rung

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Kalyan Sansthan had honoured the Artist and Sculptor Sri Seepal on 22 February 2005for his remarkable work in the field.

Statues executed in Uttarakhand by Seepal D. R. Singh 1. Statue of Maharana Pratap (12ft. Height) at Dehradun. 2. Statue of late Indramani Badoni (9ft. Height) at Dehradun. 3. Cement statue of Thakur Dev Singh Bisht (9ft. Height) in Kumaun. University, D.S.B. Campus Nainital. 4. Cement Statue of Jesus Christ (9ft. Height) at Pithoragarh. 5. Bronze statue of Swami Ramteerth (9ft. Height) at Tehri Grahwal. 6. Bronze statue of Soban Singh Jeena (9ft. Height) at Kumaon University, S.S.J. Campus Almora. 7. Statue of Rabindra Nath Tagore (7ft. Height) at Government Degree College Pithoragarh. 8. Bronze statue of Victor Mohan Joshi (7ft. Height) at Almora. 9. Bronze statue of late Baldev Singh Arya (3ft. Height) at Dugadda, Pauri Garhwal. 10. Statue at Government Inter College, Dharchula, Pithoragarh. 11. Statues at Nainital Club Nainital. 12. Mascot for all India Winter Sports Meet at Auli, Joshimath, Chamoli.

Statues executed in Uttar Pradesh by Seepal D. R. Singh 1. Replica and tableau (60ft. X 7ft.) of freedom struggle in Sahara Garden at Lucknow. 2. Statue of Gautam Budha (18ft. Height) at Ambedkar Sodh Sansthan, Lucknow. 3. Bronze Statue (12ft. Height) of Maharana Pratap at Lucknow. 4. Statue of Dr. Ram Manohar Lohia (9ft. Height) bronze at Lohia Trust Lucknow. 5. Bronze Statue of Dr. Ram Manohar (Lohia 9ft). Height at Awadh University, Faizabad. 6. Bronze Statue of Chaudhary Charan Singh (9ft. Height) at, Meerut.

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7. Cement Statue of Chaudhary Charan Singh (9ft. Height) at Saharanpur. 8. Bronze Statue of Chaudhary Charan Singh (9ft. Height) at Sardhana, Meerut. 9. 9ft. Height Statue of late Brahma Dutta at Farukhabad 10. Bronze statue of Lal Bahadur Shastri (7ft. Height) at Annexy, Lucknow 11. Statue of Mahatma Gandhi (7ft. Height) at Shahjahnpur. 12. Marble Statue of Sahuji Maharaj (7ft. Height), Ambedkar Shodh Sansthan, Lucknow 13. Marble Statue of Jyotiba Phule (7ft. Height), Ambedkar Shodh Sansthan, Lucknow 14. Marble Statue of Narayan Guru (7ft. Height), Ambedkar Shodh Sansthan, Lucknow 15. Marble Statue of Kabirdas (7ft. Height) at Ambedkar Shodh Sansthan, Lucknow 16. Statue of Sant Ravidas (5ft. Height) at Shahjahanpur. 17. Statue of Pt. Jawahar Lal Nehru (3ft. Height) at Nehru Yuva Kendra. 18. Statue of Sardar Ballabh Bhai Patel (3ft. Height) at Shahjahanpur. 19. Statue of Dr. Bhim Rao Ambedkar (3ft. Height) at Shahjahanpur. 20. Statue of martyr Shesnath Singh at Ghazipur. 21. Statue of martyr Ishtiyar Khan, Ghazipur. 22. Statue of Maharana Pratap (2ft. Height) at Civil Lines, Allahabad. 23. Statue of Dr. Bhim Rao Ambedkar, Ambedkar Shodh Sansthan, Lucknow. 24. Sand Stone Statue of Gautam Budha at Kushinagar.

Wood Craft The wood craft of the tribes of Uttarakhand is especially found in the building and temple architecture. Beautiful natural and geometrical designs are carved on wood in the residence of Bhotia/ Shauka/ Ran. These exhibit the skill of the tribes in wood carving. Dr. Dinesh Vyas

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told about his father‟s art. “My father, Shri Jasraj Singh Vyas is the master in this artistic craft” He showed the researcher a picture. He has written following words about his father and his work. “Yah Nakkasi Shri Daulat Singh Bohra (Vyas) avem unake putra Shri Jasraj Singh Byas dwara ki gaie hai. Nakkasi ke karya main dono ko maharat hasil hai. Aaj pichahatar varsh ki umar main bhi Shri Jasraj Singh Vayas ji ies kam main lage hain avem lupt hoti ies kala ke sanrakashn main apana yogdan de rahe hain.” Signature by Dr. Dinesh Vyas, Nideshak ATHED, Dharchula on 30/07/07 This woodcraft is made by Shri Daulat Singh Bohara (Byas) and his son Shri Jasraj Singh Byas. Both are skilled in the work of this craft. Even today Jasraj Singh Vyas at the age of 75 is engaged in this work and extending his patronage to this dying art and craft. Signed by Dr. Dinesh Vyas, Director, Athed, Dharchula on 30/07/07 Different types of wood are used for this work. We have a Chyukch box that is used to put the lamp for kindleing it on auspicious occasions. However it was used at the time of last sacrament. We would like to train people to make Chyukch Box. It is true that the craftsmen of Rajasthan used to come and exchange the technique of wood craft told Dr. Dinesh Vyas. He made many souvenirs representing the arts and crafts of his tribal land. He arranged vocational training in his centre.

Other forms of crafts Dunmon: A wooden pot that is used by Shauka Tribes to prepare tea and butter milk (Mattah) Mattresses (Mosta) Hilljatra mukhota (masks) – Different colourful masks are made of wood/papier mache work during dance performances and rituals. Khumla is an example of Installation. Khumla is the storage of grass installed on trees. This stored grass is fed to their cattles during winters when green grass is not available.

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Dying Wood Craft- the Art of Tribes (Courtesy: Dr. Dinesh Vyas)

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a a-

Dambu made of Local Bamboo and China made of Plastic b- Doormat made of Bhimal Fiber

Craftsman and Woodcraft

Tribal Baskets

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Specimen of Useful and Decorative Items Made of Bamboo

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Wooden Artifacts, Idols, Pots and Temple

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Basketry Craftsmen and Bhotia Basketry

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Bamboo craft Baskets and other equipments used by tribes are made by craftsmen belonging to tribal areas. Chamoli and Pithoragarh are important districts where the work of bamboo is noteworthy. “Bhotia tribals of Uttarakhand make antique carrying bamboo baskets. The other items made by them include racket shaped trays, jwellery boxes, cake boxes, lamp shades, pen stands, glass stand, baskets and brooms made of bamboo. Some of the items like baskets, trays, boxes and holders are embellished with bead and thread work. They are expert in making decorative items, animal figures, letter holders, pen holders, and jewellery boxes with the combination of wood, brass and semi- precious stones. They make stone work products and also make carved wooden temple figures of the Badrinath Temple.” 69 Jandesh Sangrahalaya Salna Urgam has a noteworthy collection of masks. The vivid expressions of these masks reflect in the exhibited collection of Jandesh Sangrahalaya as published in the book entitled “Kalp Kshetra ki Sanskritik avem Sahsik Yatra” 70 written by Laxamn Singh Negi published by Jai Nanda Devi Swarojgar Shikshan Sansthan (Jandesh) in the year 2003.

Leather, Bone and Horn Craft Leather craft of Jauhar valley, Nachani, and Milam are noteworthy. The craftsmen of leather are called Badaie or Sharki in local language. In the Himalayan areas including Uttarakhand there was a tradition of bone-carving for ritual purposes. Bone and Horn carving has been prevalent in India for many centuries. Many of the tribal people carved intricate patterns on bones. Combs, leather Fukani, shoes, purse, steps/ lagam kathi (Saddles and reigns) of horse, etc. in the collection of Tribal Museum, Munsyari reflects the craftsmen‟s skill. Now most tribes use these leather items, long decorative combs, hair pins, buttons etc. which are made and imported from out side.

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Shilpakars or artisans called Lohar, Bhul, Bajela, Dholi and Oudh according to the craft practiced were residing in each village. These castes are not recognized as Scheduled Castes. The name and family trees of the Shilpkars have been mentioned by Dr. S. S. Pangtey. All these are known as Shilpkar. Following names are the main title of the family providing help to them as mentioned by Pangtey. Shilpkar Rawat, Shilpkar Rawat Oudh, Shilpkar Bajela (Rawat, Dhamsaktu, Pangtey)/ (Bhul-Rawat), Shilpkar- (Dhamsaktu), Shilpkar(Pangtey, Dholi), Shilpkar (Pangty), Shilpkar- (Brijwal), Shilpkar (Jangpangi- Dohli), Shilpkar- (Jangpangi Lohar), Shilpkar-(Tolia, Lohar), Shilpkar-(Rilkolia-Lohar), Shilpkar- (Lohar-Laspal,Dhapwal), Shilpkar- (Martolia, Dholi) etc. Lohar or metal smith makes impliments like Darati, Kudal etc. Bhul works in Kolhu (oil mills). They also make comb (Kayun). Bajela or Rudia work with Bamboo and nigal. There is a big area of Bamboo (Nigal) forest at Radi called Bogdyar on the way of Munsyari-Milam. Bajela are named after Bogdyar. Mirasis live in the area of Bhotia for their livelihood. They act as acrobats during the marriage, journey and religious occasions of Bhotias.

Lohar ( metal smith)

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Art of Worship Tribes practice a simple art of worshiping. They believe in soul and nature, which they worship. Tree, mountain, earth, fire, water, moon, sun, stone, weather are worshipped by them. They light lamps under a tree or bush. They worship „Se -Rong‟(a God Mountain reserved for the aged). Mountains Hardyal and Hansling are worshipped by them. Mu-se is the Kul Devata (family deity) of Shauka. Nyundang is another deity of Shaukas. She is fond of pure vegetarian clean and healthy food. Baing Raingchim and Gabala are others Gods of Bhotias. Few tribes in Uttarkashi, like Jad have adopted Buddhism. They perform all the rituals of worship according to Buddhist traditions. „Hya Dantou Gabla‟is Aradhya Dev (residing deity) of Shauka. They believe that Gabla will protect them from any kind of hardship and fear. He bestows health, wealth and prosperity upon his worshippers. The impact of China and Tibet is clearly felt in the figure of Gabla. „Gabla‟ is the Ganaroop (lieutenant) of Lord Shiva. Thyal Bhumiyal and Hinwal are worshiped by the tribes of Milam. Kshetrapal or Bhumia are homely Gods. They have built small temples to worship these Gods and Goddesses. There are various other deities worshiped by them especially in Pithoragarh district. Temples of these deities are Balchan, Naula, Kalsaie, Chhurmal, Hari, Huskar or Humaie. Jauhar valley is rich in temples. Chhurmal temples are in the villages of Jauhar valley. God named Hari is worshiped particularly in Munsyari in the Jauhar valley. Kalsaie temple is situated in Madkot also in Jauhar valley. In Jauhar, there is a temple of Balchan in Dorgaon village. According to Dungar Singh the following Mantra is chanted by Shaukas during their prayers. “Chyopi Sain Lan Sain Danglo Sumsa Man Lan Man Sanglo” 71 Meaning- Oh! Fourteen Gods, Please accept with pleasure our prayer, and Thirty Goddesses, Please bestow with pleasure your Blessings.

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Worship places of Bhotias (Jad) in Uttarkashi after Hindu and Bauddhist influnce

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Huskar or Humaie is worshipped in Dharchula and Askot. Khabis and Masan are also worshipped by these tribes. Khabis and Masan are evils spirits. It is believed that Chiri Thakpa is the name of a most pious and strong rope that is made of the holy Chavar Cow (Yak of Tibet)

Importance of Three Shauka, believe in the presence of the artistic existence of any three. The importance of three figures or words or objects plays an important role in their work. The artistic sign depicted by 3 (Three) is believed to be very auspicious. It represents a good combination of birth, life and death; Husband, Wife and children; Past, Present, and Future; Earth, Sea, and Sky; Sun, Moon, and Stars; and Somras, Ghara, and Lauta. Three eyes of Lord Shiva and Three leaves of Belpatra represent the same feeling. Importance of three among Shaukas can be easily traced out of their beliefs when they reach to pray a large rock looking like Shanku (cone) at Hokara. Traingular (cone) shape has its three straight lines. Hence three is powerful expression among the Shaukas. According to Dhakariyal there are three most learned persons in the Himalayan region namely Sajir, Mujil and Muktanjir where these tribes belong. If any one is delinked from the group of this three remaning two have no exsitence.

Raang Bag Kuri It is a place/ house/ platform of each village where people assemble. Youth (male and female) meet here in the evening for their recreation. They dance solo and in groups. They talk to each other and try to find a desired life partner for themselves. They finally get married on meeting at Raang Bang Kuri after judging the likings of each other. Raang Bag Kuri is also used as a guest house of the villagers. Guests are allowed to stay here. Ramachim Custom was famous among Ranâ&#x20AC;&#x;s youth where they learn basic teachings of etiquette, civic sense and

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moral values including music and dance in their leisure hours. 72 Now day‟s almostly the Ramachim - custom seems to have disappeared. Ran tribes used to take medicine of Vaidya Malvo of Tanakpur. They believed in the Tantra –Mantra and hocus –pocus of Karki Syn Lma of Darma. 73

Art of Dancing Music and dance fill thrill among its performers including its audience. The main dances and music of the Tribes are Thimon, Dhusks, Dhurang, Chamfuli, Dandala, Pandava etc.

Art of Chhola- Thimon (Chholia- Dance) Chhola- Thimon dance is a wonderful play performed on folk music during religious, mythological, and social functions. This is a war dance. In Kumaon it is called Chhalia Dance. The meaning of Chhalia is to defeat the enemy in war or by cunning. It gradually enthralls the viewers. Chhola is corrupt from of Chholaina. The meaning of Chholaina is to remove or cut the part from the main body like head or to chop off a tree etc. Two people with shield and sword perform the Chholla-Thimon dance. It begins with the blowing of the turturi- a trumpet sort of musical instrument. The performers wear special garments and quite interestingly no women participate in it. It is performed in two stages- in the first, the performers slowly exhibit different skills of wielding a sword with various facial expressions and gestures and it is only in the second step that the music and their movements both reach a crescendo as they attack one another.

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Other Dances of Bhotias Tribes of Johar enjoy Dhuska dance. This dance is performed by women. Bhotia / Pauna Dances are famous among tribes and are performed during different ceremonies and festivals. Villagers of Chinka, Koria, Mana, Raini, Lata, Bargaon, Pinola etc. in Chamoli district dance mostly Pauna Dance. Jhumela dance and song performed by nearby tribes of Joshimath area on the days of Nanda Ashtami (Bhadomas) Bikhoti festival (Baisakhi). Similarly, Jhumela Dance, Chaufala are performed by Bhotias. Performers of Chaufala dance clap together while dancing. This dance form is on the verge of extinction now. Tribes of Chhinka, Mana and Gopeshwar still perform this kind of dance. Songs on sad themes sung by hilly tribal women are called Khuder Songs. Tribal women of Lata, Mana, and Joshimath etc. sing Khuder songs. Khuder songs are sung during the special festival of Basant in remembrance of their lovers who are away. Pandav Dance is performed in the month of Mangsir/ Magh or Margshirsh (December - January) every year. Tribes of Malari, Mana, Urgam valley etc. perform this dance. This dance is also very popular among most of the villages in Garhwal namely Palla, Thaing, Lanji, Pokhani, Jakhola, Langsi, Dwing, Salurd Ransi, and Gonar. Bagdwal Dance of Malari in Chamoli is also popular. This dance is performed in the month of Bhadon (August). The villagers of Kausa Niti, Urgam Valley, Raini, Dronagiri, Parsari and Ravigram etc. also keenly performe this dance in the month of Ashad (June). Langur Dance is performed in the area of Urgam, Palla, Kimana Joshimath at the time of Devara. Tribes also join this dance for their mythological amusment. A man acting as a Langur (Ape) performs this dance. Mukhota Dance is performed by them using masks of different shapes and expressions over their faces with music. This is a unique style of dance performed in the near by areas of Joshimath namely Sunki, Bargaon, Urgam, Lata, Chani, Bharki etc.

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Hanging a handkerchief during the dance in Marriage is called Paunna dance. Thadiya, Gangana, Chanchari and Jhanjhouri are performed by them. Yak, Jhumela, and Chaufulla Dance are also popular. Timli songs sung by them are based on social and natural themes. The Tribes of Kishan Mahipal and Darban Naithwal are currently engaged in the field of music organizing their artistic performances and launching audio cassettes. Some of the Bhotias dance to commemorate the soul of their dead during the death ceremony. They believe that the soul of dead person resides in the body of a goat or sheep and can be liberated by dancing. A typical song called raso sung with dance pacifies the soul of dead. Besides these, other occupational dances namely Thali, Saron, Kulachar, Nat-Nati, Lang, Sanp etc. are performed by Mirasi, Baddi, Ozi etc. who also help the tribes by playing musical instrument during the various celebrations and dance.

Musical instruments Musical instruments help in raising desired sound to create a rhythm during the performance of dance or music. Nagara is a large and deep/bowl percussion instrument with skin covered top tied with leather straps with the help of a loop and holes. Slung from the neck and played with two sticks the Nagara is used in processions and religious ceremonies. Hurka is the main instrument of Bhotias. There was a separate caste/team of Hurkiyas who performed their music and played it during different occasions like Basant Panchami, Chait-Ritu etc. Women play Harmonium, Dholak and Tabla while singing and dancing.

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Marriage They still believe in eloping or kidnapping for marriage (Apharan Vivah). So, a symbolic fight between the families of Bride and Bridegroom takes place where the family of bride always remains looser during the marriage little ahead of the departure of Barat from the residence of bride. The father of bride reaches the bridegroomâ&#x20AC;&#x;s residence with his family and the relatives to perform the remaining rituals of marriage. Child marriage and the remarriage of widows are not allowed among Bhotias. Jija and Sali play with Haldi powder and Aata which they apply on the faces they apply reciprocally to each other among all the brothers and sisters of Jija and Sali. Finally they give money as a token of love to their/ his Sali(s) according to their demand. Jitendra Rana, Ashok and Kishor, residents of Chhinka who met the researcher on his way to their village told the researcher the secret of yellow colour on their faces and clothes, that we they were just returning from a marriage ceremony and had played Sagun with their Salis.

Death After cremation of the dead, the Bhotias go near a spring or pond and pour water to a plant continuously for ten days. Due to extreme cold conditions in their habitat, the Bhotias could not cremate their dead. The dead body was temporarily buried and exhumed for cremation in the favourable weather/ season. According to M.P. Joshi, â&#x20AC;&#x153;The Bhotias universally burn their dead; in Darma this ceremony is performed in the month of Kartik only; the bodies of those who die intermediately, are committed temporarily to the earth, and at the appointed season, the remains are taken up and burnt.â&#x20AC;? 74 Bhotia / Shauka / Ran / Marchha / Taulchha / Jad tribes of Uttarakhand have unique tradition of their art and craft had been progressing day by day with in the span of time with due deterioration and in the race of development as shown in their artistic and cultural milieu. These tribes are rich in the art and craft of spinning, weaving, and dyeing to make carpets, thulmas, asana(s) and cushions.

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souvenir prepared by Dr Vayas

Drawings and Paintings by Kundan Kumar Brijwal „Man spinning wool‟; „Jya, Johari Woman preparing Salty Tea‟; „A Johari Woman Spining Wool‟ Courtesy: Johar ke Swar by S.S.Pangtey, Lok Kala Kendra Darkot, Munsyari, Pithoragarh, 1986

Souvenir, Drawings

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Flags of Bhotia Tribes

Specimen of Some items Knitted by Bhotia Tribes

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Shawls

Experiments in Cross Stitch Embroidery-Bhotia

Angora Rabbits

Shawls, Experiments, and Angora

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Ruined building & Modern Construction of Tribals in Pithoragarh

A comperative view of the combination of old and new steps and Houses side by side at Pithoragarh reflect the tribesâ&#x20AC;&#x; attraction towards modernity

Influence of Kumauni Aipan in a Bhotia House

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Apiculture in a Tribal House

Ms Bimla Rana, Project Fellow with Jad Ladies

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Tribal Heritage Museum built by Dr. S. S. Pangtey at Munsyari, Pithoragarh

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Art and Craft of Van Rawat / Banraut / Raji Banraut or Raji are known for their craft work. They carve beautiful wooden utensils. They are the indigenous people living in the High Mountains in villages of Rachi, Juma, Kanar etc. According to Samal et al, â&#x20AC;&#x153;the tribe was reputed for its wooden crafts and had the distinction of being recognized as the traders of night. They used to make admiring wooden implements and utensils and bartered it with the neighbouring non tribal Kumaonis through the unique practice of invisible trading. During nights they kept the crafts, implements and utensils at the gate/door of the house of the neighbouring people who collected them and replaced them with food grains, salt, sugar and other essential material. The Raji collected these items the next night. This trade was based on total trust and confidence. It has almost disappeared under interventions; particularly the right to forests has since been denied.â&#x20AC;? 75 The Rawats, Raji and Kirats are quite innocent, shy, simple people. They are very few in number now. Cultivation and cattlerearing are the main occupations. Many people have joined services or are soldiers. They also rear goats. They also trade in wool, salt and borax (Suhaga). Good grass mats are prepared here. The Rawats make beautiful utensils of wood.76 According to noted scholar Padmshri Dr. Yashodhar Mathpal, Rajis or Vanrawats of Pithoragarh are experts in making Theki (a wooden pot). 77 Brownish red coloured wood of Gethi can be easily carved due to its smooth grains. The pots made of this wood are the best for the storage of milk. However Pine and Deodara wood are also used. Following are some examples of wooden pots made by Rajis:1. 2. 3. 4. 5. 6. 7.

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Pali-Wooden utensil also known as kathpai usefor measurement. Teka/Theki-A cylindrical pot for storing/setting curds/ghee. Nali- A measuring pot. Harpia- Similar to theki. Daunko- A large tekhi type pot, used to churn milk. Bausa- A digging impliment. Binda- A pitcher like wooden pot for storing ghee, milk or cream.

Pali (1,4); Tekhi(2, 9); Harpiya (3,8); Daunko (5,6); Binda (7,10) Counting of Numbers from Top left to right

Drawings of Wooden Pots of Banraut or Raji

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12 Firka (11) and Binda (12)

Drawings of utensils of Banraut or Raji

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Childern of Raji Tribes at the door of a house and in the forest

* Raji woman with her child at her residence

Raji children, women and their equipments [Courtest (except*): Dr. Geeta Mehara; Dr Prasanna K. Samal, Yesh Pal, S. Topal and Pushpa Pant]

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Raji Women in the Jauljibi Mela

Vanraut/Raji Women

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8. Firka-A decorative pot 9. Bhadele-A heavy bottomed wock used for heating milk. Worship: All religious, ceremonial and rituals among this tribe especially connect to women. They worship mainly the female ancestor spirits. The power of sickness, death and protection of household or forest are associated with the bodiless Goddess called Mallikarjan. They also worship Jangal Devata, Bagnath, Uskarnath, Gangnath, Chhurmul, Khudai etc.

Art and Craft of Tharu Tharus and Buxas of Tarai are experts in making wooden utensils including Theki and Kolhu. They are skilled carpenters and are known for their quality wood work. They are also skilled in grass basketry. Beautiful and intricate baskets of varied shapes and sizes are woven by these tribals. The Tharus and Buxas also make fine ropes/ yarn out of certain grass. The paddy remains (Paral) is also used to make mats. They are excellent cot weavers; and weave cots in varied aesthetic patterns and designs. These tribals have also mastered the art of mat making. Of late the influence of migrant Bengalis is felt in their crafts/ art work. Tharu and Buxa tribals make extensive use of pond clay mixed with rice husk to make a variety of house hold utility items like Chulha, Barosi/Pandu, Aari, Nayya etc. The varied art and craft of these tribes can be classifed as under:1. Dalia - big basket 2. Dalawa - small basket 3. Chatai/Mundra - mat

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4. Rassi - rope 5. Jharu - broom 6. Charpai - cot 7. Jhal/Jal - a basket made of cane to store husk/goods 8. Pitara - box made of grass ropes 9. Patia/ Okhali - wooden block to thresh paddy 10. Khuncha - basket to store vegetables 11. Kuthia - small granary 12. Chulha / Barosi / Dandu - hearth or clay stove 13. Bakhari - storage for hard variety vegetables like potato, turmeric, artichokes etc. 14. Khulli - A clay trough to feed cattle 15. Nayya - clay stove to store ashes and to heat milk 16. Aari - a clay stand to keep a wock 17. Lahanga - skirt 18. Angiya - blouse 19. Phutuie - a sleeveless jacket (vaskat) 20. Pitaria - a basket to store Chapatis/Roti 21. Oradani/Odhani - a cloth to cover the head (women wear) 22. Bailgari - bullock cart 23. Kanputiya - ear ring 24. Jhipjhipi - ear tops that hang from the ear lobe 25. Nathani - nose ring 26. Hansuli - a solid heavy silver/copper neckwear 27. Sankar - a necklace 28. Katula - a necklace of coins 29. Bankh - armlet 30. Khaduwa - a heavy solid silver bangle 31. Kaindhani - a silver cummerband 32. Bankara - foot embellishment 33. Bichhuwa - a ring worn on feet fingers 34. Ghunghat - veil 35. Nach - nose ring 36. Swang - mimicry 37. Jhinji - a play 38. Hanna - a play 39. Jinda Holi - a festival

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40. Mari Holi - a festival 41. Diwari - Diwali 42. Lil Gudana - tatooing 43. Dimari - a box shaped fishing basket (now rarely used) 44. Pakhaieya - a fishing net 45. Chhaparia - a basket to catch fish 46. Gadari - a pitcher like pot made of grass or dry gourd to keep/carry the catch (fish) Tools and equipments used by Tharu:1. 2. 3. 4. 5. 6. 7. 8.

Darati –Sickle for harvesting Hasiya –Sickle to cut vegetables Patal –a sickle to cut wood Suja –a poker like basketry tool Kulhari –Axe Sidwai –ladders Thukana –a wooden pole to thresh paddy in a Patia Dhanch –an equipment for making mat

Material used by Tharus for basketry, mat making, ropes and utility items: 1. Uraie Grass 2. Web Grass 3. Goundi Grass 4. San Grass 5. Sirki Grass 6. Mirchia Grass 7. Sahtut (mulberry) 8. Baint (cane) 9. Seenk Grass 10. Talab ki Mitti (Clay of Pond) 11. Bhusa - Husk (rice or wheat husk) 12. Cow Dung 13. Different types of wood 14. Sindur (Vermillion) 15. Turmeric Powder 16. Wheat flour

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17. Rice Powder 18. Polythene A variety of Baskets are made by the Tharu and Buxa tribals. Basketry is a traditional art and craft of women. The value of arts and crafts of these tribes was not known in the past. Increasing awareness of these arts and crafts over the last few years has brought these to fore. These arts are now commercialized and earn good revenue to the tribals and have given a boost to the tribal economy. The baskets, wood and grass craft products of these tribals are very popular in the markets. Many NGOs like the Mahila Swayam Sidha Pariyojana have helped, patronized and encouraged the tribal women to develop their craft. Marketing strategies have been worked out and they are encouraged to participate in various trade fairs and expositions all over the state and country. Recently they had exhibited their basketry projects in Delhi and Jaipur. Their wares were sold like hot cakes and earned them up to Rupees 8000/- per day. Dalia is a small round basket. A big basket is called Dalawa. Different food items like fruits, vegetables, chapati, are stored in these baskets. New baskets are used for the auspicious occassions. Grass for making baskets is brought from the river banks specially Devha River. Urai grass is good for making baskets. The baskets made by Urai grass are more beautiful. They bring grass from the river bank and put it in the sun up to dry it for a day or two. They then remove the hard core of the grass. The soft fiberous material thus obtained is used for various basketry, rope, and mat making purposes. The grass is generally cut from the river banks and kept in site for a week prior to Janmastami in the month of Bhadrapad (August). The grass thereafter starts flowering and can not be removed easily. The processed grass brought from the river is dried for many days before it can be used. Of late polythene material is also being used to make baskets. The younger generation does not like to go to the river side to cut and process Urai grass. Polythene therefore is the prefered material. The women folk of Kutara village are indulged in making polythene baskets.

186

A Tribal Carpainters and Crafts Woman busy in their work

187

The Gram Pradhan (Head woman) of this village Smt Mulia Devi and her daughter in law have mastered the art of Polythene basketry. Polythene baskets are beautiful but are highly inflammable. Great care needs to be taken to preserve these from a potential fire hazard. Polythene is also prone to vagaries of weather and tends to break in extreme temperature. The material is also used to create colourful hand hesld fans. Tharus make beautiful Grass Carpets/mats (Chatayain/ Chatatie). They make these carpets in different sizes according to their use. Small, medium and big rolls of carpets easily cover the space for sitting. Gondi grass is better for making grass mats (Chatayain/ Chatatie). Gondi grows in the banks of ponds and rivers. This grass grows in abundance in the Tarai belt. The Gondi grass of Banbasa is best for making the grass mats. The tribals have now started growing this grass near the ponds in their locality and do not have to go to river bank to bring the grass very often. Baskets made of Urai grass have a fine finish. Whereas those made of Kans grass are rough and light weight. Smt Lajwanti of Khatima is an expert Basketry artist and has created fine baskets from Urai grass. Tharus make ropes of different thickness. Veb and San (Jute) Grasses are also used for making the ropes. These ropes are used for making Grass mats (Chatayain/ Chatatie) and to weave charpoys. These ropes are also are used to tie up the domestic animals and cattle. Veb grass is a hard grass. It is dipped in water till it putrifies. The well putrified Veb grass is beaten to obtain a soft textured fibre. It is very good to make ropes. San or Jute fibre is also obtained by similar process San beating. In this case the fibre comes out easily after soaking in water and putrification for a long time. Basketery Projects take time for execution. It takes around two to three days to make a single normal basket. In comparision to basket the Grass mats take less time to make. A normal mat can be made in a short period of 5 to 6 hours.

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Tharu Woman Making Baskets and Basketry Designs

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A Tharu Artisan and her Creations

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Craftswoman, Basketry Items Made of Natural and Coloured Kans (Saccharum) Grass

191

Various Basketry Designs Woven by Tharu women

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Durries, Apparel Designs, and a Storage Bundle of Cslothes being displayed by noted Tharu Artisan Ms. Chhado Devi

193

Tharu Jewellery

Old and young Tharu women

Lahanga, Tharu women Holding Lahanga

Apparel and Jewellery

194

Durries Woven in different Patterns

Hand Embroidered Table Cloth and Wall hanging

195

Cotton carpet (dari) is a currently developed craft of Tharu women. These carpets are made by them using the strips of old, waste clothes like saries, suits, and dupattas and thread. Different shapes and designs attract buyers and users. Ms. Chhiddo Devi, treasurer of Mahila Sayam Siddha Samuh belongs to Sara Saria Machhli Jhala, near Nanak Matta supervises cotton carpet projects. Balkhera villagers of this area make beautiful cotton carpets. These carpets are made in bulk after the month of October when they get a lot of free time from their agricultural work and others routine chores.

House The houses of Tharus and Buxas in the Tarai Bhavar are arranged haphazardly in clusters at ground level at places where water springs are accessible or near the banks of the river in the valleys. These houses are completely made of wood, clay, and grass. Main components of a typical Tharu house are Table - Components of Tharu Houses Sl no 1

Tharu

Description

Bharahe

The thatched roof

2 3

Kharia Kuraya

Balli

Canvas /hessian cover to check rain water The vertical members of wood placed over Balli over which the Kharia and Bharahe rest. A wooden plank placed horizontally to rest kurayas in the roof.

5 6 7 8 9 10

Thunia/Khunta Fatak/Motha Motha/Darvaja Dehari Angan Chauntara

196

Pillars Gate Door Threshold Courtyard A raised boundary wall around a house

Grass covered on the top at the roof of the house is called Bharahe. Balli is the supporting thick log to hold the roof on the Kuraya. In between the Bharahe and Kuraya a layer of Kharia is fixed to protect the house from the rainy water. Thunia or Khunta are the pillars to hold the house boldly. Motha or Fatak (Darwaja) made of wood is fixed. Boundary wall of a house is called Chauntara. Dhehari, Angan/Courtyard and walls of the house are parapetted and plastered with clay and cowdung. Chhainka patterns are also drawn or relief sculpted on the walls and floor. â&#x20AC;&#x153;Chhainka Karh Diyeâ&#x20AC;? means we have drawn/painted on the wall. They execute beautiful patterns of flowers, peacock, bird, horse, and elephant on the wall. Now a day Chhainka is not very common.

Tharu women applying mixed dung and clay on the floor

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Worship Each Tharu family has its own God of the house. Bare Babu, Nagaryaie, Hanuman, Parvati etc. are the names of the God and Goddesses. Each household has a distinct place for its Gods in the courtyard (Aangan).

Worship places

Agricultural Tools Tharus use a Har (Plough) for ploughing their fields. It has the following essential parts crafted painstakingly by the tribals. 1. 2. 3. 4. 5. 6. 7.

Jua - Yoke Nari - Rope used to join the Har and Jua Harsh - Rope Used to join Jua and Nari Pain - The iron blade of the plough Panhari - Base of Wood in which the Pain is fixed Kilwaie - Complete set of Panhari and Pain Khunta - Handle to steer the plough

The elite Tharus now plough their fields with Tractors. Tractors are available on rent and are more efficient than the traditional Har (plough).

Art of Cot Weaving Badam Singh and Jitendra Singh were skilled craftsmen in the art of cot weaving. Following designs / patterns are woven by Tharus in their cots.

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1. Laharia - A design is that creates a rhythmic impression like waves. 2. Phuldar - is woven to create floral patterns. 3. Sankaridar - is a kind of thick weaving design. 4. Pakhuri - is a flower petal like pattern. 5. Dedhaba - a pattern that looks like the mathematical sign of greater than (>). 6. Charkhana - is a design that reflects four sectors or squares.

The Art of Bharare In Tharus, Bharare and Bhanniya perform the arts of Bharaie that are used to treat ill people. These are essentially the systems of quack medicine with little or no scientific approach. Bharare is an artistic act to treat the ill. In Bharare, the male performer performs hocus-pocus with the leaves of margosa (neem), sickle or knife. He feels the patientâ&#x20AC;&#x;s pulse to diagnose the disease. He also uses a basin (a large flat metallic plate slightly edged up called parat) to detect the cause of illness. A Bhanniya depicts herself as an incarnation of Goddess. She uses magic water for treatment. She gives magical water to her patient to drink. She also sprinkles it on him/her. The changing facial expressions and the body language of Bharare and Bhanniya reflect a unique and thrilling experience. Following Tribal leaders and eminent personalities are pursuing the cause of their community of Uttarakhand: 1 Shri Gopal Singh Rana, Advocate and MLA Khatima 2 Shri Dan Singh Rana President of Tharu Vikas Parisad Khatima 3 Shrimati Shasi Bala Rana, President of Self Help Fedration Khatima 4 Smt. Chhiddo Devi Treasurer of PSF, Sara Saria, Machhali Jhala, Nankmatta

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Grewia optiva Fiber Bags, Mat and Wall Hanging made by Tharu Women

200

Tharu Woman with her Craft; Wall Hangings and Covers

201

Decorative Artifacts, Fans made by Tharu Women

202

Dresses sewn by Tharu Woman Displayed on a Typical Tharu Cot

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Cot Weaving Patterns of Tharus

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Cot Weaving Patterns of Tharus

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Kuthals: Stroage Containers for grains

206

Mats, and Raw Material; Seenk and Paral Grass

207

Darati, Hasia, Patal, Suja and Kulhari (Sickles and Axe)

Sup (Winnow)

Chhalani (Sieve)

Batta & Okhali (Mortar)

Basket

Dandu (Hearth)

Dimari (Fishing Basket)

Khulli (Trough)

Aari (Base)

Equipments and Clay Pots

208

An Installation: Heap of Wood by Tharu

Badani made of Urai Ghass

Grass used for making basket

Wood and Grass used by Tharus

209

Routine Objects of Tharu (Top to right) Inside the Kitchen; Hearth; (IInd row) Chulha (Earthen stove); (IIIrd row) Dandu; Naiyya; Hand Grinder; and (Bottom row) Fishing Baskets made of Bamboo

210

Drawings of Utensils, Artifacts

211

Drawings of Utensils, Artifacts.

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Art and Craft of Buxas Buxas have similar art and craft forms like that of Tharus with minor deviation. Beside the relief work they also decorate their houses depicting Chinhas (symbols). Swastik, Ashatdal Kamal, Kumbh, Chakra and Mangal â&#x20AC;&#x201C; Chinh etc. are the signs depicted. These signs are made with simple geometrical shapes such as straight lines, Angular lines, Rythmic lines, Khajare, Triangles, Squares, rectangles, Circle, Half Circle etc. These lines represent nature, Nav grah, Nakshtra, Kot (Forts), Ghar - Agan (Home and Courtyard) etc. They draw/sculpt these signs and perform rituals during marriages and other auspicious occasions. A festoon made of mango leaves is hung on the doors. Door decoration is also known as Bangdari, a Vedic tradition called Bandanbar. A havan ceremony is performed after executing the Chinh in the house. Mango wood is used for havan. Women sing Buxari songs. On the day of Ratjaga they sing song and dance the whole night on the sixth day of Bandhanwar. Like Tharus Buxas too believe in Jadu-Tona (ocult) arts. Kala Jadu (black magic) and Safed Jadu (white magic) are popular. Kala Jadu is used for revenge while Safed Jadu is for destruction of enemy and for overall welfare of family members. They use quack medicines like tantra mantra, jhar-phuk, tabij, and Vibhuti (application of holy ashes) to treat the ill and any kind of fear. The masters of this art are called Bharara who are experts in these techniques. Buxa have mastery in depicting relief sculpture which is well established and noteworthy.

Relief Work in Clay Relief art work of Buxas of Tarai is very rich. This work of art is visible in the houses of Buxas which are mostly made of clay and dry grass. Most houses bear a relief work on front wall of the house both outside and inside, where a pot divides the room in two parts for storing

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the food grains. This pot is called „Kuthla‟. Elegant relief work with full decoration is executed on Kuthla. This decoration art is called „Chinha‟. These Chinha are executed either just after or before the onset of monsoons. Tribal women of different villages namely Pipalsana, Charanpur, Nandpur, Barhani and Khambori have a rich artistic talent in this field. Premwati, Anto Devi, Manna Devi, Lila Devi, Guddi, Bhano Devi and others from these villages execute the relief work in different themes. The men, however, rarely create the Chinha and relief work. Anand Singh, resident of village Majhara is an accomplished artist who takes interest in the relief work. Clay of ponds or river beds, dung of animals and dry grass from the forest are mixed with water in a specific proportion to create the relief art work on the walls of house/huts. A layer of soft clay is applied on the work to create a rich fine finish on the art work on the wall. Then Chinhas are also executed on the surface of Kuthla (the pot for storing grains). In the relief work they execute the themes with their different sub themes and variety. God and Goddess, Trees and flowers, a group of Musicians, Birds and animals are the favourite subjects of women creators. Buxas, unlike Tharus decorate their work with an excellent and intelligent use of colours. The sense of colour in the tribe is well developed.

Table 18 Relief Works Executed by Buxa Women Sl No. 1. 2. 3. 4. 5.

Slab No. 37 38 39 41 44

6. 7.

45 48

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Theme/Title

Name of Artist Varun Devata Anto Devi Trees and flowers Manna Devi Trees in between Arches Lila Devi Lotus flower Premwati Flower of Bassia Surajo Devi catifolia Sunflower Kishori Devi A group of musicians Bhano Devi

Village of Artist Pipal Sana Nandpur Kulha Charanpur Charanpur Haripura Haripura

8. 9. 10.

61 62 63

A Horse A Cat A Peacock

11.

12. 13. 14*

78 82 7*

Snake caught Peacock Lord Vishnu Shri Hanuman Shrikrishana

15* 16*

8* 9*

Shri Vishnu Bhagwan Shri Vishnu

17* 18*

19* 23*

Shri Hanumanji Kautha-Kuthala

19*

24*

Chauphal Kuthia

20*

25*

21* 22* 23* 24* 25* 26* 27* 28* 29* 30*

26* 28* 84* 85* 86* 87* 88* 89* 90* 91*

Guddi Devi Guddi Devi Chhotia Devi a Nakko Devi Vidya Devi Fulo Devi Mantho Devi Mukko Devi Parvato Devi Punia Devi Kalawati

Mathurau Devi Chauphal Kuthia Shyamo Devi Chauphal Kuthia Hanso Devi Kuthia- Almari Kamlawati Varun Devata Guddi Devi Figure of Monkey Surajo Devi Figure of Elephant Guddi Devi Barahsingha (Deer) Guddi Devi Horse figure Guddi Devi Figure of Cock Guddi Devi Figure of Cat Guddi Devi Bichhu (scorpion) and Guddi Devi Maidhak (frog)

Barhani Barhani Khambauri Kulha Kaupa Buksour Dhuria Dhuria Bairiya Daulat Bairiya Daulat Majhara Aansingh Dhuria Bairiya Daulat Khambari Bhajpuri Barhani Khambari Barhani Barhani Barhani Barhani Barhani Barhani

Sources: Dr Vinita Bhatt, HNB Garhwal University Shrinagar, (D.Phil Thesis, Unpublished), 2005 and *Gita Adhikari, Buxari Janjati Kala-(Eak Adhyan), HNB Garhwal University Shrinagar, (D.Phil Thesis, Unpublished), 1996

The classification of subjects emphasizes the following subject patterns by Dr. Vinita Bhatt in IJVASC 78:1. Natural Subjects

215

2. 3. 4. 5.

Social Subjects Geometric Figures Subjects related to Life Religious Subjects

The subjects chosen by Buxas for the relief work can also be classified in two broad categories- Living and Non Living objects. Living category depicts human beings and birds whereas as in non living category the viwer can find mountains, rivers, trees, plants, leaves, flowers and geometrical patterns. As this tribe inhabits in jungles, the people of this tribe are very close to various shades of nature. This is the most important region where the subject of fine relief work is executed with substantial depction of nature in their art work. The creatures that find a place in the relief work of this tribe are lion, tiger, deer, monkey, elephant, horse, cow, dog, goat, fish, snake, scorpion, crocodiles. Birds like peacock, hen and peahen, parrot, pigeon and ducks also figure vividly in the Buxa relief work. Social activities are also depicted widely in the art work. Men and women indulged in various social activities are also shown in various reliefs. Geometric representations figure prominently in specific relief works. The relief work with straight and cross lines, circles, semicircles, triangles, rectangles, and their reprresentations project a wide range of imagination and expression of these people to make their work more artistic and aesthetic. The relief work does not have only the artistic beauty but also has a utility value. Rack, almirah and places to keep kerosene lamps etc are very aesthetically and intelligently created by the Buxa artists. As the Buxa tribe is religious in nature, Gods and Goddesses of Hindu mythology find a prominent place in their relief work. Beautiful figure of Lord Shiva, Lord Krishna and their own deites (Kul- Devatas) are common creations. These God and Goddesses vary in their forms from place to place. Religious symbols like Swastika, Ashtdalalkamal (Eight petals lotus), Om, etc. are a common feature. For decoration on these items, small pieces of mirrors, glass balls etc. are also used. Of late colorful calenders and posters are also being used prominently for

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decoration purposes. Thus the traditional style has/is slightly subdued in the background. It is thus evident that the Buxa tribes understood the importance of their environment and social surroundings which is being depicted by them in their art work. They have explored their imagination fully and exhibited a fine creative expression with abundant positive energy. Associating themselves with spirituality they have tried to reach nearer to the God depicting religious forms. The rich relief work of Buxas art represents a true combination of their artistic skill and tradition on their Houses and Kuthla. Rang De is a tradition of colouring domestic animals among Buxas during Deepawali. They put coloured impressions on the backs of their cattle. They also rub oil and Geru (terracota) on the horns of these animals to beautify them. They are very fond of their cattle that are their pride possession and worldly riches.

Neat and clean Buxa Houses in the Tarai

Equipments of Buxas (Courtesy; Dr. Gita)

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Almirah, Kuthala, lader , chulha, Chinha (Alpanas) and flower decoration at Buxa house on floor and wall

Buxaâ&#x20AC;&#x;s art and craft for Home Decoration

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Chinha and Worship place of Buxas (Courtesy: Dr. Geeta Adhikari)

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Relief work on wall and Kuthala (Courtesy last two and top on the right by Dr. Gita Adhikari)

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Relief work on Kuthala and wall by Buxa (Courtesy: Dr. Vinita Bhatt)

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Two Kuthalas; Open Kuthala and Two Khulli

Dung; Wooden Guard in Three Visuals

Firewood; Chairs made of Wwoven Rope by Buxa Women

Buxa man holding a Plough; A Buxa Woman

Specimens of Buxa Craft

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A Basketry Tool, Preparing Grass for making baskets

Coloured and Decorated Bsaskets made by Buxa Women

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Specimen of Matting (on Top) and Cot weaving patterns (Buxa Tribes)

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Wooden Artifacts made by Buxas

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Buxas also share the crafts of Tharus in addition to their own crafts. Dalhiyan, a kind of basket made by seenk used in every house to store eatables, Mana made of the same sticks (seenk) is another kind of utility pot. Seenk is the dry stump of wheat or a kind of grass named Banni / Ful Jharu (broom). Seenks are tied together with the fiber of soft grass Kaser. A variety of items are made using seenk, other grasses and leaves. Pitari, a pitcher like container having a long neck is used for storing garments and ornaments. It is made of Seenk and date-palm leaves (leaves of Khajoor). Katani, another box used for storing garments and ornaments is also made of seenk. Beautiful fans of seenk called „Vijana‟ are also popular. Men execute knitting and wood work. They knit mattings, fishing nets, weave cots, and make ropes. Mundra/Chataie are the popular Buxa mats made by seenk and other grasses. Buxa and Tharu tribals of Uttarakhand have a rich tradition of grass basketry. The material used in the Tribal art and craft is ecofriendly as it is picked by them from the nature and is biodegradable. The grass (Ghas) is the main raw material for these baskets. A wide variety of baskets are used by the Buxas. According to Dhamija, “Weaving of basket is an art as ancient as the making of pottery. Even the nomadic food gathering cultures wove reeds together to prepare baskets. Later, different materials and cultures developed a variety of basketry for domestic use, as well as for ritual purposes. They developed special patterns based on local traditions and technique.” 79 Buxas have developed and refined their own art of basketry. Typical Buxa baskets and their uses are given belows. 1. Daliya-A small open basket used as a food container. 2. Pitari-A pitcher like basket used to store clothes, dress and ornaments. 3. Katani-A box shaped basket used to keep clothes and ornaments. 4. Mana-A small basket used to keep roti/chapattis and other food items.

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Like Tharus, Buxas too are accomplished fishermen. They make strong and durable fishing nets. Vijana (Sanskrit: Vyajana) is a hand held fan. It is used in summer season. They make very beautiful intricately decorated fans. Buxas gift tbeautifully crafted fans (Vijanas) in wedding to bride. Different types of Brooms are made by the Buxas. Each broom has a different name and purpose. These are made by wicker of wheat, leaves of date-palm, Phul-Jharu ki Seek (Banni) wrapped with a kind of soft but sturdy/durable grass named Kaser. Material used by Buxa Tribes to build their house and artifacts: 1. Banni Grass 2. Mooj Grass 3. Bharah Grass 4. Pater Grass 5. Amal Tas Wood (wood of casia fistula tree) 6. Khair Wood 7. Haldoo Wood 8. Koraieya Wood 9. Kokat Wood 10. Sainta Tat

Houses The houses of Buxas like Tharus of the Tarai and Bhavar cults are arranged haphazardly in clusters on ground at places where water springs are accessible or on the banks of a river in the valley. These houses are completely made of wood, clay, and grass. A typical Buxa house has similar components like those of Tharu. Components of Buxa/Tharu Houses Sl no 1

Buxa

Tharu

Bharahe Bharahe

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Discription The thatched roof

Tat

Kharia

Kuraya

Balli

5 6 7 8 9 10

Thun Mohara Kivad Sapil Dwara Dindi

Thunia/Khunta Fatak/Motha Motha/Darvaja Dehari Angan Chauntara

Canvas /hessian cover to check rain water The vertical members of wood placed opon Balli over which the Kharia and Bharahe rest. A wooden plank placed horizontally to rest kurayas in the roof. Pillars Gate Door Threshold Courtyard A raised boundary wall around a house

The wooden doors in the houses of Shri Roshan Singh, a resident of village Dhuria are over 400 years old. The door is decorated with squares and intricately carved cris-cross strips of wood. The casing on the doors of Shri Bhure Singh of Udhamsingh Nagar is also very attractive. Such designs are a common sight in the older Buxa houses. This signifies the glorious past of Buxa wood carving.

Buxaâ&#x20AC;&#x;s House alonwith a beautiful door

The charpoy patterns created by Shri Manak Chandji of village Bhajpuri are unique and represent the zenith of creativity and design. The method of Manak Chandjiâ&#x20AC;&#x;s Chakarwali weaving is complex and very difficult to copy, learn and master.

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Bala Ram Taur of the same village is skilled in weaving cot designs of Pan and Phul wali. The Gram Pradhan of village Bhaj Puri Mr. Kishan Singh described Panch Phula and Jhula designs and showed a few cots across the village to the research scholar. The villagers of Majira Mr. Dhani Singh and Bhup Singh Kula also used to weave beautiful cot patterns in the area. Buxas were skilled in following cot designs:1. Chakar Wali or Manak Chand ji Wali (Concentric Circular designs) 2. Panch Phula Binai (Five flowers patterns) 3. Pan Wali Binai (Betal leaf patterns) 4. Phul Wali Binai (Floral patterns) 5. Jhula Wala (Wave patterns) The rope for the weaving cots is prepared by Moonj grass. The grass is easily available in the nearby forests. Different thickness and types of rope made of Moonj Grass are used for the following purposes:1. 2. 3. 4. 5. 6.

Rope for tieing animals Rope for Bullock Carts Rope for Homes Rope for Laidu, a Bullock driven passenger cart. Rope for Palaki (Palanquins) Rope for Marriage Rituals

In Nayagaon village, Laldhang, District Haridwar, today it is common practice that the contractors distribute the raw material to the Buxa villagers, who convert the raw fiber into rope and sell it back to the contractors for a going rate of upto Rs. 50 per dhari (approx. 5 kgs). In Laldhang, District Haridwar, the Buxas were provided with rope making machines a few years back at the intervention of CAPART. These machines are able to reduce the drudgery involved in conversion of the raw material to the rope according to Subhash Chandra Verma, Senior Lecturer, Department of Sociology, and Government Post Graduate College Rudrapur.

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The Tharus and Buxas of Tarai are skilled in making wooden utensils including Theki and Kolhu.80 Following types of wood are used in building architecture and making utensils by the Tribes of Uttarakhand as also described by Dr.Yashodhar Mathpal in his book â&#x20AC;&#x153;Uttarakhand ka Shilpâ&#x20AC;?. 1. Akharot/ Walnut (Juglans regia, Linn) 2. Amaltas (Cassia fistula, Linn) 3. Amrud/Guava (Paidium guyava, Raddi) 4. Aam/ Mango (Mangifera indica, Linn) 5. Imali/Tamarind (Tamarindus indiac, Linn) 6. Uttis (Alnus nepalensis, Don) 7. Kakkar (Pistacia integerrima, Stew) 8. Kirmola (Acer oblongum, Linn) 9. Kukurkat (Hymenodictyon excelsum, Wall) 10. Kumbhi (Careya arborea, Roxb) 11. Kura (Holarrhena antidy senterica, Wall) 12. Khadik (Celtis australis, Linn) 13. Kharsu (Quercus semecarpifolia, Smith) 14. Khair (Acacia catechu, Willed) 15. Gamhar (Gmelina arborea, Linn) 16. Gular (Eicus glomerata, Roxb) 17. Gethi (Boehmeria rugulosa, Wedd) 18. Devdaru (Cedrus deodara, Loud) 19. Tun (Toona cedrela Roxb) 20. Chirh (Pinus longifolia, Roxb) 21. Taindu (Diospyros tomentosa, Roxb) 22. Banj/ Oak (Quercus incana, Roxb) 23. Shisham (Dilbergia Sissoo, Roxb) 24. Sal (Shorea robusta Goertn) 25. Haldu (Adina cordifolia, Hook. f) 26. Nigal (Arundinaria falcate, Michx) 27. Bans/ Bamboo (Dendrocalamus strictus) Shisham, Sal and Deodara are expensive wood. Shisham is an excellent wood used for every kind of woodcraft including building construction. Sal is costly and immortal wood also used for building construction. Devdaru (deodara) is the best for building architecture

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especially for the temple construction. Kharsu is durable and also used to build homes. Taindu and Haldu are also used for house construction. Taindu is good for engraving designs. Poor tribes use Aam/mango wood to make doors and windows. Devdaru wood has a long life and a yellowish brown colour. This is a waterproof wood. Devdar is termite-resistant and has a pleasing fragrance. Gular wood is not affected by water. Khumbi is used for making bullock-carts, boats and instruments. Boats are also made by Gamhar wood. This is best used for wood craft and to make pillars (Khambe) and drums (Dhol). The colour of this wood is yellowish. The Gamhar wood is best suited for wood craft. The walnut (Akhrot) wood is also suitable for carving. Amaltas is used for pillars and agricultural equipments. The handles of instruments are made of guava wood. Guava wood is also suitable for carving.

Bullock-cart

Different pots are made of Khair, Gethi, and Imli wood. Various types of wood are used for making agricultural impliments. Khair, Kirmola, Banj, Kharsu, and Haldu are used for this purpose. Haldu has yellowish colour. The Khair wood is termiteresistant. The wood of Imli (Tamrind) is very hard. It is used to make Koulhu and wheels of bullock cart. Koulhu, Plough, Theki, and handles of the sword are made from khair wood. Log (dande), Churner (Mathani) and Chabuk etc. are made by Khadik wood. Kukurkat wood is very soft and light weight. Palanquins, toys, sheath etc. are made by this wood. The wood of Kura is good for engraving, making utensils, equipments and Manke (beads). The Kakkar

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wood is good for decoration. Uttis wood is used to make cots, stick, and wands. Bans (Bamboo) and Nigal are used to make domestic items. Basket, Pitari, winnow (Sup), and the swings (Palne) for the children are made of Bans. Nigal is used to make mats (Chatai), basket (Tokari) etc. Chirh (Pine) is used by poor tribes to make boxes and furniture. Khadik is used for dande, mathani, and chabuk etc. Banj (Oak) wood is mainly used as fuel. The wood is very strong and is used in making agricultural equipments and building. The rosy colour, Tun is the best for woodcraft. Most old buildings of Uttarakhand use the carvings on this wood. This wood is also termite-resistant. Following equipments are used by Buxas for woodcraft. 1. Basula (Cutting flat axe) 2. Randha (Planner) 3. Khanch and Jori wale Randhe (Types of Planners) 4. Barma (Drill) 5. Chheni or Nichhanan (Chiesel) 6. Saka (Flat- ended Chiesel) 7. Naha (Narrow Chiesel) 8. Pateshi (Big Chiesel) 9. Raphi (Small Cheisel) 10. Do Futa (Two feet long measuring ruler) 11. Reti (File) 12. Jammure (Pincer) 13. Palas (Plier) 14. Penchkas (Screw Driver) 15. Sikand (Brace clamp) 16. San (A White stone of fine Compact Texture used for Sharpening Tools) 17. Sutur (Coloured- cotton Thread)

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Marriage Buxa perform following ceremonies as part of their marriage rituals. 1. Ratjaga (Mahila Sangit- Ladies music programme that goes on through out the night) 2. Chhei (Flag of Simal Tree) 3. Haldi (Application of turmeric paste) 4. Barat (Marriage procession)

Worship Each household has a site dedicated to its God in Dawara (Angan) in the courtyard. Buxas are the worshippers of Shiva. Each house has a small temple of Shiva. Shivling and trishul are fixed at the place of worship. Buxas are cultivators and own farmland. Parts from traditional plough (Har), Tractors are being extensively used by them in their farms.

Dance and Music Mridang is played by Buxas for their recreation. Various dances generally called â&#x20AC;&#x17E;Naachâ&#x20AC;&#x; are common. These are performed during various occasions, festivals and rituals.

Buxa: Following are working for the cause of Buxa. Organization of Hira Pangty, Kulhar, Udham Singh Nagar.

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Art and Craft of Jaunsari Tribes The Jaunsar Bawar region where the Jaunsari tribes reside has a glorious heritage and rich traditions. Nationally protected art and architectural monuments of Dehradun District are the pride of this land. The edict of Kalsi inscribed upon a huge boulder measuring, 3.05 mtr in height, and 3.35 mtr in width and 2.13 mtr at the base is a well known historical monument. The south-eastern face has been smoothened and it bears the inscription while a portion of the edict is inscribed on the left side of the rock. An elephant figure has been chieseled on the back of the rock surface, with the word â&#x20AC;&#x17E;Gajatameâ&#x20AC;&#x; inscribed between its legs. According to Archaeological Survey of India this rock-edict is inscribed in Prakrit language and Brahmi script of Buddhism, and is worthy of notice. The inscriptions explain the leading principles of Buddhism. It is worthy to notice that there is no particular mention of the Buddha or of his teachings in this edict.

Lakhamandal Lakhamandal in the Jaunsar region is important from the artistic point of view.There are beautiful caves and a temple of Shiva including beautiful works of religious sculpture.

Project fellow in the Cave and Ttemple both of at Lakhamandal

Shiv Temple of Lakhamandal The Nagara style temple of Lord Shiva was built in circa 12th-13th century A.D. A number of sculpture and architectural members spread

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in the vicinity suggest the remains of glorious shrines of same cult in the past. Presently only this temple has survived. The earliest evidence of structural activity at Lakhamandal goes back to cira 5th-8th century A.D.

Temple of Lakhamandal and Shivling

The statues of Hargaura in Kailash, Parvati, Saptmatrika, Kuber, Ganesh, Uma Mahesh, Laxminarayan, Durga, Mahishasur Mardini, and Shiva killing the demon Tripura etc. adorn the Shiva Temple of Lakhamandal. Statues of Kurma Vahini Yamuna and Makara Vahini Ganga also adorn the main gate of the temple. These are examples of fine sculpture of the ancient Jaunsaris. James Baille was first to notice the temples some time in 18141815. He recorded his observations in his book The Himalayan Mountains (pp-399-400) â&#x20AC;&#x153;There is a neat temple of Seewa, and of the five brothers, called the Pundos, viz. Joodisthul, Bheem Singh, Arjun, Saha Deo, Nircolo; one of Bhysram and to Purseram; an old ruined place of worship to Mahadeo, under the name of Kedar; and some curiously carved stones, representing the Hindoo deities. Two figures in stone, representing Arjun and Bheem Singh are remarkably well executed; but their faces have been mutilated, it is said, by the Rohillas, in an old incursion. There is also a curious stone, representing a number of the Hindoo divinities; Gonesh, Doorgah, Bhowanee, & etc. which are

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very readily distinguishable.” 81 According to the Archaeological Survey of India, Dehradun the earliest evidences of the structural activity were noticed from the brick structure about 65cm below the bottom most course. The stone built pyramidal structure of the Bhava(siva) was probably built by the princess Ishwara in the 6th cent.A.D. A stone Inscription from the site records the construction of a siva temple at Lakhamandal by the princess Ishwara, who belongs to the royal race of Singhpura for the spiritual welfare of her late husband Chandragupt, the son of king Jalandhara. Sculptures of Shiva, Parvati, Ganesh, Kartik, Nandi, Banasur, Mahisasur Mardini, Sheshnag, Vishnu with Sheshnag, Samudra Manthan etc. found in and out side the temple. Figures of Shiv, Parvati, Ganesh, Kartik, and Nandi are carved in a single stone; which is a magnificent example of monolithic stone art. A huge Shiva-ling, engraved here in a near by the temple is an attraction to viewers. Photograph of above said Shiv-ling adorns the cover of the book entitled „Lakhamandal‟ written by Rajendra Singh Rana „Nayan‟ published by Munal Prakashan Murari, Naugaon in 2005. This temple is constructed on the pattern Raghunath Mandir of Gopeshwar, Kedarnath and Devprayag in Katyuri Style according to Dr. Hari Mohan.82 “This temple built of coarse-grained brown stone, stands on an open courtyard beside the extent pyramidal sub structure of the ruined Shiva Temple. The courtyard has been paved with the flagstones in the recent past, which has concealed the original flooring. This temple was designated as „Lakheshwara Temple‟ by Vats after the name of the village and probably for the region that a lingam is installed in the middle of the cellar. The people of village, however, regard it as the Bhagwati Temple. That may recall the ancient Yogini cult. It evidently may be a non-Shaiva temple which fact is proved by the couchant Nandi bull placed in front of the temple on the side in an unorthodox manner with its back towards the temple.” 83 The images of Lord Vishnu, Jaya and Vijaya (the two dwarpals of Vishnu) indicate towards the Vishnu Temple in the area. Both the attendants are armed. One of them carries a shoulder- high shaft, clubbed at the base; in his left hand.His other hand

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rests on his hip. The other attendant, with his right arm missing and mutilated, has his right hand resting on the hip. He also possibly carried an identical shaft. The base of the missing shaft is intact. Both the attendants are standing in Katyavalambita mudra, a relaxing posture.The faces of both the attendants are badly mutilated, with their nose severed off.

Temple of Mahasu Devata Most tribes of Jaunsar Bawar or Bhabar believe in the local God known as Mahasu Devata. Mahasu, an incarnation of Lord Shiva are four brothers as worshiped here. They are - Botha Mahasu, Basik Maharaj, Pawasi Maharaj and Chyalda (Chalda) Maharaj. The cultic domain of Mahasu is not only confined to Jaunsar Bawar, but extends far beyond to the adjoining areas of Himachal Pradesh. A temple of Basik Maharaj has been constructed at Mahendra Rath. Villagers of Kuna, Bagi, Kamera and Kansar etc. ardently worship Basik Maharaj. Chyalda Maharaj is known as mobile God. He visits Jaunsar Bawar and Himanchal alternately for twelve years. Presently the God Chyalda is believed to residing in Badral. Pavasi Maharaj is worshipped extensively by the tribes of Jaunsar Bawar and Uttarakashi. According to Dr. Hari Mohan, “Pavasi is worshiped in the villages namely Chinva, Makuri, Arakot, Bhutunu, Vamsu, Devatietc.” 84 Currently lots of devotees are associated with Pavasi Maharaj. Botha Mahasu (the eldest brother of Mahasu) is the most scared God in Jaunsar Bawar region at Hanol. There are statues of all the four Mahasu brothers. This temple is constructed on a Tri-chariot pattern. “All the renowned temples of Uttarakhand situated in Dwarahat, Jageshwar, Katarmal, Baijnath, Adibadri, Gopeshwar, Lakhamandal are constructed in the tri-chariot having vortex line” 85 It stands on a slightly raised plateform having curvilinear Sikhara of Nagara style, while the Mandapa and Mukhmandapa were added later on the same axis. The

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temple is uniquely distinct from other temples of the Uttarakhand due to its ornamented canopies made of silver; metal and wood. Stylistically it can be placed in circa 9th-10th century A.D. Depiction of Ramayan, Mahabharata, Krishna Lila, Shiv-Parvati, Navgraha related themes are shown here. A panel in series of Sitting Buddha is also visible. The whole temple is decorated with artistic designs. Animals, birds, snakes, fishes including hunting /war scenes are carved on the panels of wood. The main gate of the temple is decorated with the themes of Ramlila. The interior gate is decorated with relief work on silver plate including coins and small pots. Two heavy weight balls made of lead kept out in the premises of the temple attract the weight lifters and general public.

The Art of Mimicry The art of mimicry in Jaunsari tribes is very popular among women. They try to represent their inner imaginations through mimicry. Dressed as men they mimic their menfolk. They convey the message of health and education through mimicry. They also entertained their society with the art and act of mimicry in the past when there was no other means of communication. Deer and Elephant dances of Jaunsar Bhawar are very interesting. These are held during the last two days of Deewaie festival. This festival is celebrated one month after the rest of the country.

Houses The Jaunsaris houses are built of stone and are generally double storeyed, a few houses having three to five storyes are also seen. The ground floor has a very low ceiling (usually 1.8 mtrs). Jaunsaris never lock their houses. Suresh Joshi, a villager of Purodi showed his house. He told that this house was generally made of Deodara wood. Ground floor called Dobari was earlier used for storage of grains. The Ist and IInd floors had

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rooms which were called Obara place for grains and other items and serve as storages now a days. The third floor is used for living.

Wood and other Craft Beautiful natural and geometrical designs are carved on wood in the temples and residences of Jaunsaris. It is extensively executed in the temples rather than the houses of Jaunsar. Wood Craft is called „Khurudi‟ in the local language around Chakrata. Villages around Lakhamandal namely Nara, Lavari, Myura, and Jalmu etc. are known for wood craft work. Bhanu, Balbir, Ranvir and others from these villages are highly skilled craftsmen. Currently A Wood Craft Industry is running at Lakhamandal funded by Khadi Gramodyog. A Jan Shikshan Sansathan at Dehradun sponsored by Government of India is also active for the cause of Jaunsaris. “ Jaunsaris, (son of) Pandovaputra do maximum wood engraving for their building. Almost all the brave tribes of northeastern India lavishly use wood. Their home and cultural centre becomes the museum of craft art.”86 Jatia, an old villager of Kalsi is a skilled craftsman.

Baskets made by an old Craftsman Jatia. The beginning of a basketry project

He makes strong and beautiful baskets (Kandia and Dalia). However he is fedup with his profession as he does not find any takers for his wares among the modern Jaunsaris. Sundar Lal of the same village is engaged in working with the woollen items. Ashram School is providing the facilities of learning in the area. These schools are also

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promoting the tribal community around Kalsi. A tailoring centre is also being run by them. Most weavers belong to Silwara village near Tyuni. Bamboo basketry of Thana village in Chakrata is well known in the region. Shantiram, a craftman is known for his skillful work in the field. Udva is local name for the basket made in Tipari.

Lady with Basket (Udva) and a ruined jaunsari house

Shanti Ram „Karigar‟, a craftsman of Chakrata is well known for his craftsmanship in the region. In Tyuni, Charans make baskets and cater for the needs of the entire area. He too seems dissatisfied as he is facing many difficulties in procuring the ringal well in time for this work. “Each village of Jaunsar has a blacksmith tribal family” Ratan Singh Dhiman who belongs to village Thana and works as a blacksmith told the researcher. The following utensils tools and implements are used in their day to day life:1. Pachara- Chopper used to cut leaves from trees. 2. Dangara- Aweapon used to execute offenders. 3. Daranth-An impliment to cut wood and leaves. 4. Daranti- Sickle 5. Kulhari- Axe 6. Gourani- A hoeing tool. 7. Kasi- Pick axe 8. Kathia- A wooden pot to churn milk. 9. Fasni- Churning stick 10. Charie- A pot to store water

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11. Kandi/ Tokari- Basket to measure items 12. Dhawana and Gilta- A basket used to carry cow dung 13. Supa- Winnow 14. Chotaka- Used to gather grains at a place. 15. Hal- Plough 16. Nasi- Used to deweed the fields. 17. Fala- The plough blade. 18. Samaie- Yoke 19. Jyora or Pagoie- Ropes used for different purposes. Pachara is used to chop the leaves of tree. Dangara was used in the past for assassination. Dry wood, leaves and branches of the tree are cut by Daranth. Daranti is used to cut grass and harvest. Gourani is used for hoeing. A Kasi is a small pick axe used to till the land. Kathia is a unique pot used to make cold beverage from the churned curd or milk. Like the mathani, Fasni is a churning stick that is used to curn curd or milk. A pot named Charie is used for the storage of cold water. Different utensils made of bamboo, ringal and bainth (cane) are used by the Jaunsaris. They use baskets named Kandi/Tokari for carrying the goods. Dhawana and Gilta baskets are used to carry cowdung. They were also used to carry water in the past. Gilta is used to carry the dung in the Lakhamandal area. A winnowing basket or Supa or Soup is used to separate the grain from the chaff. Chotaka is used to collect the grain at one place. Hal, Nasi, Fala, and Samaie are the impliments used to plough the field. Jyora or Pagoie is a kind of rope of different thickness. It is made by the branches of Bhimal (Vimal) tree. These ropes are up to (Nine Ply) thick. From the month of Chaitra to Jyeshtha these branches are diped in the water. The fiber is removed from the wet branch and used for making ropes. These ropes are also used to tie animals, heap of wood etc. Waste pine wood which is called Byatha, is used as a fuel to initiate fire. Byatha is highly inflamable and easily catches fire. It is called Chhilka in Kumauni language. The fiber of Vimal wood is used for making Kharcha a kind of net. Ringal work was done in the village Thada in the past. â&#x20AC;&#x153;Shri Fakira Ji was engaged in this work but now it

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has almost vanished. After his demise” Kripa Ram Joshi and other villagers of Mangati Pokhari, Thana, Purodi, Tungara and Lagapokhari told the research scholar. Khalta: A kind of storage bag for the grains. It is made by the hide of a goat. This kind of bag is very durable and is very useful for long term storage. Kharcha: Kharcha is a kind of carpet made of goat wool. It is used to seat the guests as a seating carpet. It is also called „Chhori‟. Askari: Askari, is a a small dish made of clay along with same size top cover which is put on fire to cook „Aska‟, a traditional dish. Aska is prepared by the liquid of grounded rice putting in Askari and cooked on fire.

Tnantra Mantra Pandit Harish Chandra Bijlwan of Chilhad village is well versed in the art of Tantra. “We can serve the people of our society and others by Tantra at nominal charge. No material is required to prepare the Tantra, Mantra and Yantra. However a lot of time is consumed in drawing the desired form of Tantra as shown in the horoscopes pictures drawn by him. He had prepared many Kundalies (horoscopes) manually. In the recent past printed Kundalis are available and are in vogue. In the night, Bajagi (Drum player) announcs Naamit that people would sleep now. Announcement of Naamit helps the villagers who have the fear of ghost and evil spirits which these tribes believe in. The meaning of Naamit means “Everything is alright here. There is no fear of any ghosts.” It was a traditional tradition among the Jaunsaris. The Naamit also announced by Bajagi in the early morning around 4-5 o clock. He says, “the ghost has been chased out now and there is no fear from them and you may start your daily routine.” Hearing this announcement they wake up and begin their work for the day without any fear.

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Art of Tantra executed by Jaunsari Pandits

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Art of Tantra executed by Jaunsari Pandits

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Art of Tantra executed by Jaunsari Pandits

Jaunsari Songs and Dances

The jaunsari songs and dances are unique. The names Harul, Chhore, Bharat, Haielaar, Mangar, Lika etc. also reflect in their performing arts and in the social life. Harul are heroic songs. Chhore are the meaningful couplets that deliver the message in the society for its upliftment. Bharat is the mythological conversation during the break during the dances inside the home in the month of Magh. Mangad are the ritual songs sung in the marriage. Lika songs are famous for teasing and poking fun at the marriage party during the feast of Baratis. Myuri is the song of a love story. Jongu-Baju conveys the message of lovers. A rhythmic weeping on death by old women is called Haielaar.

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They sing songs of „Tanda‟ and „Ande-Pande‟ making a half semicircle by male and females both while they sing a song facing each other. Singing songs in the early morning during Depawali and Jagare are called „Reni Rat Geet‟. Also Bhirudi songs of Deepawali are sang on this festival at the time of Akharot-Chiware (walnut and beaten rice) exchange. Gorahwan songs in group are are also sung during the agricultural work such as hoeing, Nelaie- rupaie (transplanting and deweeding). There are some another dances namely Jangbaj, Nrainta, Raso, Mandwana, Parat, Maroj etc. are performed by them from time to time. Dhol and Damau are the musical instruments played on different occasions.

Musical Instruments of Jaunsaris Dhol, Damau, Shahnaie, Been, Turahi, Murali, Mradang, Nagara, Shankh, Thali, Hurka or Hurki, Ransingha, are played by the Jaunsaris Tribes of Uttarakhand. Some of these are described below:Turahi: There are two types of Turahis (trumpets). In the first type there are three separate tubular parts of brass inserted into each other. The mouthpiece is at extreme narrow end. The Turahi is held in both and blowing in traditional dances and rituals. Second kind of Turahi is a long trumpet made in two parts and with a funnel shaped opening. An elongated mouthpiece is also used in processions and religious functions etc. Wind Instruments - Shahnai, Shankh Been, and Turai, Two types of Turai or Ransingh are major instruments of Jaunsaris. Percussion Instruments - Dhol, Damau, Mridang, Nagara, Thali, and Hurka/Hurki are major Percussion instruments. These are made by normaly thin skin of animals on a hollow base bowl/cylindrical shape.

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Interestingly no string instruments have been noticed amongst Uttarakhand Tribes. As a result of an in depth study of the tribes of Uttarakhand, the arts and crafts panorama, based on their thematic value can be classified as follows:-

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Human Forms in Tribal Art Animals and Insects in Tribal Art Flora in Tribal Art Nature and Environment Design and Motifs Symbolic Depictions Abstract Forms Apparel and Jewellery Design Masks Crafts Geometrical Patterns in Tribal Arts Spiritual, Ritual and Mythological Depictions

Religious depictions

Jaunsari Women in their traditional dress

Comparative trend of wearing the dress among old and modern Jaunsari Women

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Temple of Hanol and its art and craft and a project fellow enquiring about it

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Decoration at Hanol Temple

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Art and Craft of Hanol Temple

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Wood craft of Jaunsari

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Wood Craft of Jaunsar Bhawar at Hanol Temple

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Use of wood in the house in Jaunsar*

Plate Wooden architecture and woodcraft of Jaunsar Bhawar* (*Courtesy- Dr. Kiran Purohit)

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(Top to right) Jaunsari house and heap of seats; (Ist row) Inside view of the house and research scholar getting down (Bottom row). The house owner and his mother

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Force and Power of Jaunsari Drawing and stone installations

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Mridang, Narsingh and Damau and Dhol at Uttarkasi

Dhol and Damau played at Hanol Temple Musical Instruments of Tribes Major Art and Craft Traditions of Uttarakhand Tribes Bhotia/Shauka/ran/Taulcha Marchha/Jad

Tharu

Buxa

Jaunsari

Basketry;

Art of Relief Work;

Art of Tantra and Mantra;

Weaving Carpets, Dan, Asan;

Matting;

Basketry,

Temple Art;

Wool Dyeing

Nets (Fishing),

Matting,

Wood Craft;

Cot Weaving,

Nets (Fishing),

Basketry;

Clay Pots (Kuthal)

Cot Weaving,

Woollen Craft

Wood craft

Clay Pots (Kuthal) Wood craft

Art and Craft of woollen,

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Van Rawat or Raji Craft of Wooden Utensils

Chapter Five

Position of Women in the Society

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No society can flourish without the support of women. Women are the most pampered lot among the tribes of Uttarakhand. The tribal women have a great importance in the society particularly in their families. They perform certain specific tasks set aside for them in the family and also play a great role in continuing the family art and craft tradition passed on to them by their predecessors (mothers) / elders. Bhotia/Sauka/ Ran/ Taulchha and Marchha women are physically fit and sturdy. Bhotia women are good weavers of carpet, blankets and woollen clothes etc. Purdah was common among Bhotia women. However they do not observe Purdah at present and mix up freely. The Ranpa women of Nitimana practice Purdah. House wives in tribes not only work hard at home through out the day but also work in the fields and looms. They are experts in arts and crafts and contribute towards the family economy through their creations; carpets, woollen clothes and other utility items. They do not have sufficent time even to take care of their children due to heavy domestic task.They also lookafter the domestic animals. Women of lower strata undertake all types of household duties such as fetching water, cleaning utensils, washing clothes, tending to animals, cooking, collecting firewood, and so on. Their children assist them in some of these activities. A folk song entitled “Holo Ri Bolo Holo Ri” 87 A Lori Geet (a lullaby) of Munsyari village Visha depicts the true picture of a women in the society.

O Meri Sas Jyu, Bolo Dekhi Diya, Holo Ri Bolo Holo Ri…2 Mi Jyunli Goru Charunon Juli Holo Ri Bolo Holo Ri…2 Sanjh Paran Myaro Chh Unn, Holo Ri Bolo Holo Ri…2 O Meri Byari, Yo Buria Kala

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Holo Ri Bolo Holo Ri…2 Nai Tari Taran, Nai Gali Bhag, Holo Ri Bolo Holo Ri…2 Tyari Balo Ki Bat Nai Jananyu Holo Ri Bolo Holo Ri…2 Meaning: A lady has to go to feed her cattle in the forest after finishing all the routine house hold work of home. She requests her mother in law to look after her child at home in her absence. Due to her old age the mother in law refuses to look after the child as she does not have strong arms and legs and sweet voice to be able to do so. The child begins to sleep as she pats him/her with the sweet sound of the lullaby. (Holo Ri Bolo Holo Ri). Finally he/she puts the child in Doka (a basket carried on the back). Having been denied any help by her mother-inlaw, she requests her husbands elder brother.

Holo Ri Bolo Holo Ri…2 Mi Junlo Ghasahun, Bolo Dekhi Diya Holo Ri Bolo Holo Ri…2 Nai Myaron balo Ki Dudh-Jyola Ho, Holo Ri Bolo Holo Ri…2 Mil Jann Chh Saab Kachari, Holo Ri Bolo Holo Ri…2 Main Tero Balo Ki Bat Nai Jananyu Holo Ri Bolo Holo Ri…2 Meaning: The tribal lady requests her husband‟s elder brother informing him that she has to go to forest to bring grass. There is nothing to eat at home, no milk and food (Dudh-jyola) for the child. She

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requests to him to look aftar the child in her absence. The man replies that he does not have time to look after the baby because he has to go to court to meet someone and he can not look after her child. Then she approaches his wife (her elder sister-inlaw) for this task in the following words.

Kafuwa ki Syari Dhan Goran, Holo Ri Bolo Holo Ri…2 Mi Junlo Jethani, Dhan Goran, Holo Ri Bolo Holo Ri…2 O Meri Jethani, Balo Dekhi Diya Holo Ri Bolo Holo Ri…2 Mi Junli Aatun K Khel Hon juli, Holo Ri Bolo Holo Ri…2 Main Tyaro Balo Ki Bat Nai Jananyu, Holo Ri Bolo Holo Ri…2 Meaning: The lady requests to her Jethani (wife of her husband‟s elder brother) to look after her child because she has to go for hoeing in a paddy-field (Kafua ki Sari). Jethani also refuses to look after her child. She approachs her Devar (younger brother of her husband) and requests him in following words……

O Myara Devara Balo Dekhi Diya Holo Ri Bolo Holo Ri…2 Mi Junlo Devara Ghat Pisanna, Holo Ri Bolo Holo Ri…2

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Chaugarh, Par Ghat Mi Junlo, Holo Ri Bolo Holo Ri…2 Nai Myaro Balo Ki Kyala Kosi ho, Holo Ri Bolo Holo Ri…2 Mi Junlo Bhoji Pashala Junlo, Holo Ri Bolo Holo Ri…2 Main Tyaro Balo Ki Bat Ne Jananyu, Holo Ri Bolo Holo Ri…2 Meaning: Having received negative replies from her mother in law, jaith and jithani she asks the younger brother of her husband (Devar) to look after her child because she has to go to wharf (ghat pisanai) at Chaugana Par across the river because there is nothing to eat not even a single fruit like banana. The Devar replies that he can not watch to the child because he has to go to school. She approaches the next family member….. ..

O Myari Nand Balo Dekhi Diya, Holo Ri Bolo Holo Ri…2 Main Janchhun Nanad Ghas Katan, Holo Ri Bolo Holo Ri…2 Nai Myaro Balo ki Larve Pinalu, Holo Ri Bolo Holo Ri…2 Mi Junlo Bhoji Ho, Put ki Khel, Holo Ri Bolo Holo Ri…2 Main Tyaro Balo Ki Bat Nai Jananyu,

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Holo Ri Bolo Holo Ri…2 Meaning: She asks her Nanad (sister of her husbsnd) to look after the child. There is nothing to eat even a Pinalu (a kind of vegetable eaten after boiling) and I have to go to forest to cut the grass. Please play with my child and look after him. Nand replies that she has to go to play “Put Ki Khel” with her friends so she would be unable to look after him. Finally she approaches her Deorani (husband‟s youngr brother‟s wife)……

O Myari Dyorani, Balo Dekhi Diya, Holo Ri Bolo Holo Ri…2 Mi Janchhun Dhan Katan Janchhun, Holo Ri Bolo Holo Ri…2 O Myari Jethani Balo Dekhi Dyunlo, Holo Ri Bolo Holo Ri…2 Tyaro Balon Kain Main Dyakhi Dyunlo, Holo Ri Bolo Holo Ri…2 O Myari Dyorani, Jiy Jagi Raye, Holo Ri Bolo Holo Ri…2 Fali Jayai, Fuli Jaye, Jiy Jagi Raye, Holo Ri Bolo Holo Ri…2 Meaning: The tribal woman is disappointed. She apporaches to her Deorani (Devar‟s wife) telling her problems and complaining about the un-supporting attitude of all the family members to whom she contacted earlier, to look after her child in her absence and to finish the domestic tasks. Deorani happily accepts to look after her child. Hearing

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a positive reply from Deorani she became very happy and showers her with blessings for her happiness, prosperity and long life. The above song depicts the true picture of a hilly tribal woman. It is not very surprising that only a woman like her in the family can understand her problems. “There was a honourable position of women in Ran society. However they were not allowed to perform religious rituals at the places of worship due to maintenance of the piousness of the place which could be destroyed by their mences. However they were allowed to worship at home to Annpurna Nyungthn Devi.” 88 They were not dependent on men. They independently performed spinning, weaving, dying etc. Now a day the position of women has been changing day by day as they are educated and employed in private and government jobs, even away from their native places. They have given their agricultural land to others who continue to stay in their villages. Women have carved a niche in the society by creditable work in diverse fields. They are working in the Police, Paramilitary forces and even Army. They take part in adventure activities like mountaineering. Ms. Bachandri Pal and Ms. Suman Dattal climbed the Mount Everest. Bachendri Pal, being the first Tribal woman and first Indian woman who climb the Everest. She belongs to Uttarkashi. Ms. Suman Dattal belongs to village Tantu and is the wife of Mr. Nar Singh Dattal, Senior Trade Officer. Padma Shri and Arjun Awardee Chandra Prabha Aitwal and other women have made a great contribution with their outstanding life time achievements in the field of mountaineering. “Savitri Dugtal D/o Upar Singh Dugtal lecturer in Science at Lohaghat Champawat won the first prize in Singapore in the modern computer software technique.” 89 Gaura Devi played a vital role in Chipko Movement (Andolan) that started from the village Lata. She led the movement initially from her village Raini in Chamoli, and subsequently became its inspiring leader. This movement brought the importance of our ecological balance among the people to maintain the close relationship with trees.

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The ceremonial, cultural, religious and ritual duties of all the tribal women are tremendous. They have an active role in these activities. The lady of the house handles most of these rituals and has an upper hand over menfolk. In Vanraut/ Raji mainly the female ancestor spirit are worshipped that indicates the prestigious position and importance of a woman as in their society. Vanraut/Raji Banrut or Raji women follow a very simple but harsh life in the society. In marriage, it is necessary for the bride‟s father to take bride price. They have a right to remarry. Women have important role in the Jaunsari family yet she does not hold a position to give any final decision or finalize any family matter. She can not take part in any public meeting with in and out of the village and region. Women do all the household work besides working in fields. Agriculture is the main vocation of Jaunsaris. The agricultural produce is sold to earn mony for other day to day requirement. The Jaunsaris women therefore have to solely depend on their male counterparts to procure/ attend to their day to day needs. As the Jaunsari tribe is matriarchal and polygynous society, the children belong to the mother‟s lineage. Proposals for the marriage must come from the women. The Jaunsaris regard themselves the descendants of a common ancestress; descent and inheritance are reckoned through the mother. Property once owned by „mother‟ can never pass out of it. The women, among the Jaunsaris, are the only vehicle by which the property is passed from one generation to another. Widows are not permitted to remarry for long period, in order to keep the property with in the family till the attainment of maturity of children. Though this could be construed as oppression of women, its main reason is their legal superiority and eligibility.

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Participation of Bhoyia Women in Lata village during Chipko Movement and the release of a News Paper by A Social Activists (Courtesy: Jaydeep Samiti, Gopeshwar Chamoli)

Tharu Women are treated very well and sometimes get more importance than men. According to Bhatt, “Tharu women, in claiming that they descend from Rajput Ranis of Chittor, enjoy a high position in their society, as they tend to play a dominant role in the family affairs.”90 Tharus have a „Biradari Panchayat‟ as their political organization. Like men, their women are also experts in fishing. They go separately for fishing. It is said that they prefer to eat the fish caught themselves. This reflects their sense of self confidence and independence.They usually did not eat the fish if touched by their menfolk. Tharu women are generally busy in house hold activities. They were very fond of fishing earlier. Now they are engaged in self-help groups and contribute to the family earning. They now prefer to buy fish from the market after earning the money as per Mrs. Chhiddo Devi who is the Treasurer of Mahila Samuh at Nanak Matta. She is a well aware woman herself and has been active in spreading awareness about family planning. She has two daughters. Praising them she says that they are like her two sons. She has even given male names to her daughters; elder one Soni Singh Rana and younger one Lalita Singh Rana. Their father is a railway driver. Lalita Singh Rana has proved herself to be a bold person. She can ride any kind of vehicle like motor cycle and car. She even drives a tractor to work in her family fields. More and more Tharu women are now part of self help groups and are associated with NGOs. Besides basket making as they are also

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engaged in mushroom farming, Candle making, Agarbatti (Incense stick) making, and Washing Powder making. Tharu women of village Majhola are actively engaged in this work and they have started training others. Tribal women of Dyuri village have launched their own brand of detergent powder named Horse. Women around Sitarganj are accomplished Apiculturists. Women of Bimkhera and Barbhilaya are engaged in making Agarbattis. Tribal women have recently developed and mastered the art of making waste cotton carpets. These alongwith their traditional crafts are their main source of income. Buxa women get an especial attention in the society. Women are often having an upper hand on men. They take final decisions in the family. Buxas believe that women should be perfect in household duties. If a girl is expert in making Dalaya and Chulhe it means she is a perfect Buxa woman fit to be taken as a daughter- in- law, as per Mrs. Rewati Devi of Kulhar village of Udham Singh Nagar. Buxas women do not observe Purdah. There is no dowery system in the Buxa marriage. Woman and men both dance separately in their small groups in various occasions. According to Dr. Vinita â&#x20AC;&#x153;Buxa women especially young girls feel it below their dignity to making relief work with clay and cowdungâ&#x20AC;? 91 It is however felt that due awakening needs to be spread and the importance of this important art tradition emphasized among the young Buxa generation. Towards this end due patronage is urgently required to be given by the Government and NGOs to revive the otherwise dwindling status of this art form. Of late due to awareness about the girl child, and various government schemes for their welfare, womenâ&#x20AC;&#x;s place in the society has strengthened further. Women enjoy full respect in the society. Male and Female children are being considered the same. Education and aid are provided to the tribes by various agencies. Though women still do domestic work, they also help in the agricultural task and contribute to family economy by their crafts.

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â&#x20AC;&#x17E;Yatra Nariyastu Pujyante Ramante tatr Devataâ&#x20AC;&#x; is an ageold Sanskrit proverb. The underlying meaning of this is that wherever women are respected, God lives in that place. Women deserve and must be respected in a society. They are mothers, sisters and companions (wives) who have an important role to play in every stage of a manâ&#x20AC;&#x;s life. A woman (mother) is the first teacher and provider. She undergoes many a hardships, so that her children and family do not suffer. She therefore definitely deserves respect at par with worship.

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Chapter Six

Causes of Deterioration and Possible Measures for Upliftment of Art, Craft and Culture of Uttarakhand Tribes

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Deterioration is a natural and biological phenomenon. The gradual decline in quality of an object or culture or damage ocurring over a period of time due to lack of maintenance are the other causes of deterioration in general. Art and craft is a universal language and a means of expression that attracts the viewer and is subject to deterioration. Natural and biological deterioration is one of the causes of deterioration. However it was and is also a main preventable form of damage. Various natural, chemical and physical agents trigger deterioration of material. Due precaution and preventive measures can be adopted to prevent the material damage. An analytical approach to the tribal arts and crafts of Uttrakhand reveals the following points. 1. Traditional arts and crafts are more prone to deterioration due to development, education and lack of awareness among the younger generations about the value of these traditions. Therefore the main cause of deterioration / extinction of these arts and crafts is the „human race‟ it self which is so indulged in more worldly material persuits that the rich and glorious heritage is often ignored and neglected. 2. The first and foremost threat to the dwindling tradition of art and craft forms is absolute lack of awareness about these in the masses especially the youth. The ignorance and unawareness about the value of the rich traditions and heritage leads to neglect of the traditional art forms.

Economic Strata of Artisans It is seen that most of the folk / tribal artists suffer the vagaries of poverty. Their wares are less in demand and are costly. The artists / artisans therefore look for better prospects and leave their traditional vocation. Today the market is swarmed with mechanically produced cheap replicas of traditional ware. The „Chinese goods‟ and alternatives market poses a great threat to our cottage industry in general and folk/ tribal arts and crafts in particular.

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Lack of access - to modern Technology Traditional artists and craftsmen are used to working in traditional method using traditional tools. Their socio-economic status and lack of access to modern technology- probably due to unawareness and lack of technical education and facilities is another reason for pushing these art forms to the verge of extinction. To an extent the Resistance to „change‟ and adapting to modern means could also be a reason-though it may not be always true due to the reasons listed above.

Lack of Patronage to folk/Tribal Arts and Crafts History reveals that all art forms thrieved on the patronage of elite classes and rulers. The satisfied artists refined their art and craft as there were many takers for the same. In modern times, however due patronage and material support to the artisans is far from satisfactory. Consquently, there is little or no motivation among artists to pursue their creative instincts.

Lack of Entrepreneurship Most tribes barring a section of Bhotia‟s lack business acumen and entrepreneurship. Government and NGO assistance in chalking out a suitable business strategy is minimal. There is a need to develop and popularize art forms by new experiments in tribal arts and crafts like making low cost miniature (decorative) wares. The adaption and production of cotton mats by Tharu/ Buxas is a welcome move and a novel experiment.

Lack of raw material Wood, natural wool and certain species of flora have been declared „reserved‟ and there is a ban on their procurement/exploitation due to ecological reasons. The artisans need to explore the possibility of using other alternatives raw materials. The successful experimentation

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of Tharu and Buxas with polythene yarn in basketry is an excellent example of adapting to alternative raw material. Suggested Remedial Measures Having analysed the major causes of deterioration of tribal arts and crafts, certain possible counter measures are suggested in the succeeding paragraphs.

Awareness Campaign An honest approach towards revival, refinement and upliftment of tribal arts is a necessity. An awareness campaign needs to be initiated to educate the masses about the value and importance of tribal arts and crafts. Towards this end some other measures that could be adopted are:a. Inclusion of the subject in school curriculum especially in the tribal areas. b. Organising folk/tribal art fairs and expositions. c. Recognition to eminent folk/tribal artists. d. Organising workshops on tribal arts and crafts in which eminent folk/tribal artists would be invited as faculty.

Patronage by the Government and NGOs, Industrial and Business Houses Government needs to patronize folk and tribal artists and craftsmen. The current efforts of Govt and NGOs needs to be given greater impetus and showrooms for such arts and crafts be established in all major metro cities (Delhi, Mumbai, Banglore, Chennai etc.) of the country. Tribal art Melas (Fairs) and Expositions be organized in different locations in India and abroad on regular basis where the artisans could physically exhibit their art. Industry and business houses in the state and the country should be encouraged to sponsor programs related to folk and tribal arts.

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Establishment of a College / Academy of Folk / Tribal arts and Crafts An academy of tribal and folk arts be established in the state. Certificate, diploma and degree courses on tribal arts and crafts be run in the academy. Continuous research and experimentation on new materials, development and use of mechanical aids towards ease of creation of tribal arts be carried out and propagated by this academy. Eminent tribal artists and craftsmen be invited as visiting faculty and honoured by the Academy. Cottage industrial training centers which are already in existence be allocated more resources and targets given out for training annually. Constant experimentation to marry the modern technology and traditional arts and crafts would generate interest in these as also enable in cutting the production costs of the artifacts. The Cottage Industry Training Centre in Gangtok (SIKKIM) is a fine example of such and organization.

Economic Policies Government is expected to promote the sale of folk/tribal ware. NGOs be tasked to prepare business strategies for the folk/tribal ware. Import and sale of cheap imitations and alternatives from China be discouraged. Some individuals and certain NGOs are involved in reviving the art and craft of tribes of Uttarakhand. Tribal Heritage Museum of Pithoragarh and an Associations of Ran, Bhotia, Jaunsari, Buxa and Tharu are working in this direction. Their contribution to the cause of tribal art and crafts has already been discussed in previous chapters. The Centre and State Governments have initiated many projects to revive the heritage and recognition to the Tribal art and craft by providing them sufficient facilities and infrastructure. According to a study 92, Status Study of Tribal Handicraft- an Option for livelihood of Tribal community in the state of Rajasthan, Uttaranchal (now Uttarakhand), Chhatisgarh and Arunachal Pradesh that was conducted by Socio - Economic and Educationl Development

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Society New Delhi under the sponsorship of Planning Commission, Government of India, and New Delhi, following facts were revealed. A total sample size of artisans covered during the above study was 249 in the four states. Focused group discussion was also organised in all the districts with the local artisans as well as other stake holders. In Uttarakhand they picked up total 453 interviews of Artisans; 251 from Pithoragarh, 101 each from Uttarkashi and Chamoli Districts. In regard to Uttarakhand they recommended following:Uttaranchal besides spiritual and cultural heredity is traditionally well known for its artistic tribal crafts. The age old woollen carpets, woollen items due to climatic need continue to be dominant in all the districts of Uttaranchal but predominantly in the districts of Pithrogarh, Chamoli, Uttarkashi. This is inhabited by five categories of tribes but the maximum number of tribal community belongs to â&#x20AC;&#x153;Bhotiasâ&#x20AC;? living in highly hilly regions of these districts. The hand knitted carpets of various sizes and shawls are being prepared by ten thousand artisans in these areas. They roughly produce woollens worth Rs five crores annually. Copper ware items like tumblers, vases, statues/masks are made in the districts of Almora, Bageshwar and Chamoli by two thousand artisans called Tamtas. Papri wood craft decorative items like statues, replicas, models, temples. Animals and birds, decorative items are made in the districts of Pauri, Theri, Chamoli and Uttarkashi districts from forest wood supplied by the state government. The state government has set up training cum production centres to encourage crafts among tribal and others. Some NGOs in the districts of Bageshwar, Almora, Dehradun, and Chamoli have initiated steps to impart training to budding artisans. Most of the Bhotias in the eastern Himalayas are Buddhists and follow the Lamasitic form of Buddhism, while the Bhotias in the central Himalayas are not Buddhists in any sense of the term, although the possibility of their having been so once, with the rest of the region,

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cann‟t be ignored. Of course, this does not hold good for the Jads of Uttarkashi district who are said to be the Buddhists. In Uttarakhand about 15 thousand craftpersons are engaged having an annual production worth Rs. 4.54 crores. The share of direct export of handicrafts from Uttarakhand is not very significant. There are several handicraft industries in Uttarakhand which have been languishing, for instance carpet weaving, wood carving, brassware and copper based industries. For revival of these industries Government is playing the role of a facilitator in ensuring adequate backward and forward linkages. Training by Master Craftsmen is being organised in situ and these locations would be developed as "Shilp Grams". State Government is providing facilities in training programme through Master Crafts Persons. To facilitate the artisans of the State a Cell named as “Udyog Mitra” is being set-up in every District Industries Centre. State Government has proposed to open three Urban Haats at Hardwar, Dehradun, Nainital/ Haldwani. The Prime Minster‟s Employment Guarantee Scheme for artisans where-an individual artisan can be financed upto Rs. 1, 00,000 and the groups of artisans‟ upto Rs. 10, 00,000. A rebate of 15 percent is also permissible to beneficiaries. The state Government has instituted State Award recognizing the contribution of artisans towards their service for preserving handicrafts wherein the recipient will get Rs. 5000 (Five thousand) as first prize, Rs. 3000 as second prize and Rs. 2000 as third prize, besides Angvastram and Certificates. Smt. Ganga Khampa resident of Kasardevi, Almora had been awarded for third position and cash prize of Rs. 7,000 under a project by State Handloom and Handicrafts Award Schemes for her craft in 2007. Tribal Craftsmen of the state have a wish from the Tribal Welfare and Bhed avem Un Vikas Parisad that they would make useful projects for them. Social Welfare Directrate of these should work out properly in this direction for the welfare of Tribal craftsmen and women. Recently the central government tieing with state has started Ekikrat Hathkargha Vikas Yojana that will produce export quality products after training in clusters. The centres of the clusters are placed

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at Manglore (Roorkee), Dunda (Uttarakashi), Chhinka (Chamoli), Munsyari, and Dharchula (bith in Pithoragarh), and Vikasnagar (Dehradun). Craft-persons of the Uttaranchal had mastered the art of wood carving. Abundant in Wood and wood product, the artisans of the region have designed simple and beautiful designs on carvings on Doors, windows and ceilings in the houses of the region. These beautifully ornamented doors and windows still attract art lovers. The motifs, ordinarily of the Gods or Goddesses, add to the richness of the carvings. The crafts persons also used to do specific lattice work to fill in the open space of the windows in order to give a screen like effect. Durries are the traditional Indian floor-coverings. They have been used in India since time immemorial. They are not only cheap but also elegant and come in various colours and attractive designs. Durries add an ethnic look to the ambiance of a home. The low cost of durries have lead to them being immensely popular. Durries do not require good maintenance as is needed in the case of costly carpets and can be used in all seasons, throughout the year. They are lighter than traditional carpets and hence they can easily be moved around. These factors have made durries immensely popular amongst the people of our country. Durries or flat woven rugs are common in India and serve a variety of needs. Not only do they cater to the needs of small families, they are used to seat large congregations of people assembled for religious or political gathering. Further the report explains the services rendered by TRIFED (Tribal Fedration) in following words. For the socio and economic welfare of tribal population Government of India established an independent corporation called TRIFED. Till recently TRIFED activities were confined to purchase of forest products and sale at their retail counters. Since 1999 TRIFED expanded their activities by encouraging tribal artisans in the production of arts and crafts which they have inherited from their forefathers. TRIBES shop are set up to show case tribal arts and crafts by procuring

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the crafts from tribal artisans at remunerative prices and sell the same at these shop and organizing periodic exhibitions at different places all over India and abroad. The ultimate objective of TRIFED is socio-economic development of tribal people in the country by way of marketing development of the tribal products on which the lives of tribals depends heavily as they spend most of their time and derive major portion of their income from collection/ cultivation of Non timber Forest Produce (NTFP). Art and craft items would also be covered by them. Artisans and craftsmen of Uttarakhand should register themselves in these bodies organizing self/ body, association through cooperative. Then they can easily avail the facilities provided by TRIFED. Tribes of Uttarakhand might not be aware of this facility. They must be informed by government and NGOs facilitating in this direction. There is a need to conduct seminars on the topic telling them about the service opportunities provided. As a cooperative, TRIFED‟s primary objective is to serve the interest of its members In order to serve their interest in the field of marketing and development of tribal products, some of the services which TRIFED offers are: To facilitate, coordinate and promote the marketing of the tribal products by its members;  To undertake/promote on behalf of its members/institutions or the Govt. or Govt. organisations, inter-State, intra-State and international marketing of tribal products;  To act as an agency for canalisation of export and import and facilitate, wherever necessary inter-State trade of tribal products under any Scheme formulated by Govt. of India or any other State agencies.  To develop market intelligence related to supply, demand, price trends, supply/market chain, value addition and processing facilities, product quality specifications, product applications, market trends, buyers for the tribal products and disseminate the

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information to the members as well as planners, researchers and associate organizations and business circles etc.;  To assist in capability & capacity building of the members relating to the marketing development of the tribal products;  To provide consultancy and advisory services to the members relating to the activities in furtherance of their objectives;  To act as advisors, consultants and project managers to Govt. projects relating to marketing development of Tribal products in the form of capacity building, infrastructure development, special programmes;  To expand and extend the markets for Tribal Products through marketing development and promotion programmes;  To assist in the development of new products through product development, product innovation, product designs, new product applications and special R & D drives for tribal products;  To collaborate, network, associate with similar and allied international bodies in Fair Trade, Tribal product marketing development, Tribal Research, Tribal Funding Agencies to further the interests of Tribal Product marketing;  To collaborate, network, associate with similar and allied international bodies/agencies, societies (NGOs, Co-operatives, Foundations, and Trusts, organisations (Private and Government), institutions to further the development of Tribal Products marketing. From a show room at New Delhi TRIFED has established a chain of 31 outlets in 22 cities across in India. These include 11 outlets of their own and 20 outlets are on consignments basis with state level Organisations. To promote tribal artisans and their crafts theme exhibitions are being held in the shop premises wherein tribal artisan are invited to participate for better exposure and interaction with customers. TRIFED organized the first National Tribal Craft EXPO in 2006 at Dilli Hatt from Jan, 1 to Jan, 15 2006 wherein 56 artisans and state level organizations participated and displayed their craftsmanship. To give further fillip to the promotion of tribal crafts TRIFED invited artisans to exhibit their crafts at Udaipur, Bhopal and Kinnaur for identifying

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items which can be purchased for sale at metro cities or at exhibitions TRIFED also participated in International exhibitions at Delhi Pragati Maidan regularly and abroad in Paris. A new innovation is being made by TRIFED by organizing SHGs among tribal artisans who would obtain training in design development as part of marketing drive. According to the report of UNI - Sunday, February 21, 1999, a massive effort is being made by the Rural Entrepreneurship for Art and Cultural Heritage (REACH) to protect and preserve the ancient monuments of the Garhwal Himalayan region to keep alive the cultural heritage of these hills. According to Mr R. K. Singh, general secretary of REACH and former national chairperson of the SPIC Macay, a ``Himalayan Heritage Centre'' would soon be set up to provide the pre-requisites for the conservation of the traditions that have sustained the communities in this region. Eminent personalities like Sunderlal Bahuguna, Chandi Prasad Bhatt, Vandana Shiva, Ruskin Bond, Allan Sealy, Dr Kapila Vatsyayan and Dr Komal Kothari have consented to be associated with the `mammoth' effort of setting up the heritage centre, said Mr Singh. REACH will take all possible measures to protect the tribal culture found in some parts of Garhwal as well as the temple architecture of remote Himalayan areas of the Uttarakhand region, he said. It was a good sign as thought by REACH towards preservation of the tribal art and crafts of Uttarakhand. Mr. Pitambar Singh Maulfa, Gram Pradhan of village Maulfa in an interview by ETv news expressed grief on the rapid use of artificial resources in Uttarakhand. He also advised to protect compulsorily the art of the tribes especially the Dan and Kalin craft. â&#x20AC;&#x153;It is true that Tribes are leaving their profession and joining the jobs after seeking the reservation. It would be better if they are provided better technical knowledge to facilitate them towards Home industry. Government is investing lakhs in the projects of Jawahar Rojgar and I.I.D. for SC and ST for their development but 25 percent of this

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population is not availing the benefits of these grants. The reason behind this is the unawareness of public and pevailing corruption in administration.” 93 Following measures have been undertaken for upliftment of the art and craft of Uttarakhand Tribes in general. The Development Commissioner (Handicrafts) Ministry of Textiles, Governments of India New Delhi has launched Artisan Credit Card Scheme. The objective of the Artisan Credit Card (ACC) scheme is to provide adequate and timely assistance to meet their credit requirements of both investment needs as well as working capital, in a flexible and cost effective manner. The scheme would be implemented both in rural and urban areas. The criteria as required by them are: All artisans involved in production/ manufacturing process (and otherwise eligible for credit facilities, for carrying out the proposed activities under any of the existing bank Scheme) are eligible  Thrust in financing Clusters of artisans and Self Help Groups (SHGs)  No Collateral security  Beneficiaries will be issued with a photo card indicating sanctioned limit and validity period of credit facility  Credit limit would be fixed based on assessment of working capital requirements  A maximum credit limit of Rs. two lakhs is admissible  The limit could normally be valid for a period of three years subject to annual review by the bank.  Beneficiaries registered with Development Commissiner (Handicrafts) would be eligible for coverage under group insurance scheme  Beneficiaries of other Government sponsored loan scheme will not be eligible for coverage under ACC scheme. It would be a major problem for the artisans to understand the schemes of these organizations because of a communication gap due to

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limited or no knowledge and understanding of computer and internet facilities. Working organizations in this direction should also provide such easy, comprehensive and readable literature to communicate with the artisans. Tribes of Uttarakhand themselves should be aware to show the glory of their arts and crafts and project their art and craft keeping it alive and active for future generations. State government should provide proper linkage with tourism industry which should thoughtfully plan the tourist routes in their major areas to attract tourist attention to this art and craft form. Government and local organizations should come forward to showcase the tribal art and craft in their valued collection by establishing suitable museums. Government and local organizations should launch appropriate art and craft marts arranging exhibition cum sale of the tribal artifacts in major towns and cities. The villages of Bhotia/ Shauka/ Ran, Jaunsari, Tharu and Buxa should be adopted as Model villages of Art and Craft by the state government of Uttarakhand and the Government of India. Village/ Cultural tourism be encouraged. Facts on the tribal art and craft of Uttarakhand including the same from the remaining parts of the country should be included in the syllabus of school, college and university curriculum in the state and if possible, across the country. Like other states, Uttarakhand should be included in the list of states where the central government has planned to establish a national university (IGNTU) for the tribes. The university, which will be broadly on the pattern of existing Central universities, will cater particularly to the tribal people in Madhya Pradesh, Orissa, Chhattisgarh, Jharkhand, Andhra Pradesh, Maharashtra, Rajasthan and Gujarat. Besides headquarters at Amarkantak, the university will have regional centres and campuses in other tribal concentrated areas.

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Aimed at promoting higher education among the Scheduled Tribes University started functioning in Amarkantak in Madhya Pradesh IGNTU, the first of its kind dedicated for education and research on tribals, and conducts Bachelor Degree programmes in anthropology, tourism, political science, geography, history and commerce. The courses on anthropology and tourism touch upon the tribalsâ&#x20AC;&#x; tradition and culture including the research on tribal art, culture, tradition, language, customs, medicine system, forest-based economic activities including special studies in flora and fauna and advancement in technologies relating to natural resources of tribal areas. The education of the tribal people has been a matter of concern in view of low gross enrolment ratio (GER), the percentage of people of the relevant age group in the realm of higher education. While the national GER is 11.6 percent, the GER of the tribals is a meagre 6.6 percent. Amarkantak has been selected as the site for the university because it is a central point in the tribal areas stretching between Madhya Pradesh Chhattishgarh, Jharkhand and Maharashtra. The Manipur Information Centre announced on 11November 2008 that the PM agrees with the reservation policy for recruitment of scheduled tribes in Manipur University and opening of a regional centre of the Indira Gandhi National Tribal University in Manipur. It would be better if IGNTU and IGNOU both implement the art stream courses like Painting, Sculpture, Applied art etc. in their educational institutions. The IGNTU has adopted the syllabus of Banaras Hindu University (BHU) for the courses run by them. Fortunately BHU has the syllabus of Fine/Visual Arts in Painting, Sculpture, Textile and Applied arts etc. being taught by them. It would better if the IGNTU also adopts these courses for their tribal students. The same requirement as sought by other states should be demanded by/ provided Uttarakhand our state for the benefit of tribal education. IGNOU should adopt the same courses in general for the remaining students worldwide.

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Learning with Practice Teaching and Training Centers on Tribal Art and Craft of Uttarakhand should be opened by the Government and other organizations to promote it. The requirement should also be projected to the central Government. A residential Tribal college of art and craft should be established in the state. Free food, clothing, boarding and education with hi-tech facility including studios for training of tribal art and craft be made available. Gradually the Tribal college of Art and Craft of Uttarakhand can be converted to kind of the first unique Tribal University in India in the field of Fine arts/folk/tribal. Fortunately, Indiaâ&#x20AC;&#x;s first tribal university IGNTU at Amarkantak in district Annupur of Madhya Pradesh is already established after a dream nurtured by philanthropist Achyutananda Samantha and it was released in Bhubneshwar by the Kalinga Institute of Social Sciences (KISS) and a sister concern of Kalinga Institute of Industrial Technology (KIIT). Tribal Artists and Craftsmen of Uttarakhand should be suitably awarded. Those who are working in the field to conserve and promote the tribal arts and crafts should also be considered for such awards. Beside, a curriculum based on tribal art and craft up to higher education from the primary level must be included in the syllabus.Inclusion of tribal arts and crafts as an optional paper in the subject of Drawing and Painting for the UG and PG classes is strongly recommended. The art and craft work must be collected to establish a museum of Uttarakhand Tribal Art and Craft. Proper cataloguing along with due information about the creator of artifacts- tribe of origin, date of creation, age and price should be available for each items. A due care and preservation of the artifects be carried at by experts from time to time. Documentary films, interviews of craftsmen and talk of art critics on TV and media can be useful to spread the desired awareness.

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Government and NGOs including locals should strive to rock caves and Udiyars of Ranigrah, Jhinia and Lakhamandal including Maiser Kund and Sali Balpuria as artistic and cultural spots of tribes. Proper maintainance of these sites be undertaken by Archeological survey of India. It is a matter of serious concern that no coordination between research, planning and development activities of tribal arts and crafts exists. There is also a lack of strategy to improve the handicrafts and make it economically more viable. A compilation of research work done by researchers from time to time suggesting their valued points be made. Government should sincerely try to implement the recommendations of the scholars. There must be an overall screening agency of the Government that should monitor all the preservation activities, revival efforts and implementation of valid recommendations from research scholars.

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Chapter Seven

Summary and Conclusion

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Art is an exchange of feelings, signs, and thoughts. It can be displayed by visual and performing depictions for its recipients. Art and craft are like the two surfaces of a coin. They are complimentary and intermingled. An artist or craftsman skillfully expresses himself in executing his creation. Tribes of Uttarakhand have a variety of artifacts and art traditions. Considering the objectives and hypothesis of research on the topic â&#x20AC;&#x153;A critical study of art and craft traditions of the tribes of Uttarakhandâ&#x20AC;? a major research project was applied for by the author as part of his D. Litt studies from the Kumaun University. The research grant was approved by the University Grants Commission, New Delhi. Remoteness of their habitat, lack of finances etc. little or no award, modernization, lack of interest in traditional arts and crafts, pursuation of better job prospects and easy life style have already affected the overall development and patronage of art and crafts of Uttarakhand tribes, which fact forms the gist of hypothesis for this research. The main objectives behind the research are to contribute, explore, promote and disseminate the rich and varied characteristics of the tribal arts and crafts of Uttarakhand among art fraternity all over the globe. The research work was finished in the year 2009 after a period of five years of detailed field study, desk research and putting the observations on paper. The study was carried out on a two-pronged basis i. e. Desk Research and Primary Data Colloction. Primary data was collected from predominantly tribal districts namely, Chamoli, Pithorgarh, UdhamSingh Nagar, Almora, Dehradun, Haridwar, and Uttarkashi. The process was interesting and full of adventure as the research scholar had to visit some of the places on foot, walking up to 25 km of rugged mountainous terrain over two days at times. The scholar was richly enlightened by his interaction with the simple but knowledgeable tribal people. The opportunity provided by this research was quite satisfying. The Desk Research involved collection of secondary data and other related information. In this task the field work and documentation recorded on the role-played by tribes in the past, their current work and trends in their art and craft traditions were studied. The information and

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data as collected was sifted painstakingly and carefully before it assumed the present shape. An unfortunate event occurred when to his surprise, the research scholar found that the PC, on which he had been working with his project, was missing from his office in 09September 2008. The event shooks him off. However, by the grace of God, blessings and motivation of his father, wife and friends, he once again started his work with new energy and zeal. The inspiring words of Swami Vivekanand, “Arise awake and stop not till the goal is achieved” also helped him to come out of the shock. The goal has now been achieved. However, it is for the experts to decide how the Research Scholar fared in his efforts. „Karmanye Va- dhikar-as-te Ma Faleshu Kadachana‟ Action is thy duty, Reward is not thy concern, says Shrimad Bhagwadgita. “God helps those who help themselves” was the spirit behind the author‟s successful efforts. The eminent experts in the field are gratefully welcome for their scholarly opinion which would be a source of his inspiration and a reward for completing the work. The thesis comprises of seven chapters in which the critical study of art and craft traditions of the Tribes of Uttarakhand has been dealt with. The first chapter entitled „Uttarakhand: an Introduction‟ deals with Uttarakhand, its art and craft in brief with reference to Indian art and craft in general along with few maps, drawings/sketches and visuals. India has a rich artistic heritage. The cave art of Ajanta, Ellora, Elephanta and different schools of art Pal, Jain, Rajasthan, Pahari, and Mughal and its architecture speak volumes about it. Another form of artistic expression shows in the Indian handicrafts. Thus the arts and crafts of India both reflect varied amazing aspects of creativity of its people.

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Madhubani, Tanjore, Kalamkari, Pithoro including other traditional and folk arts forms are the popular painting work of India. Another hallmark of Indian art and craft reflects in Indian temple architecture especially in the sculptures made of granite and terracotta. Buddhists rock cut art of sculpting is the best example of this that was developed later under the patronage of Hindu rulers. Carpets, marble table tops, hand made leather items, hand block printed items, blue pottery, semi-precious stones and Kundan jewellery, basketry, carpet weaving, wood and stone carving, pottery etc. are the popular handicrafts of India. Uttarakhand, with a population of over 8.48 million can boast of its rich cultural heritage. The state has an excellent potential for creating different human arts in hills and valleys. The inhabitants of Uttarakhand are bestowed with several distinguishing features- ethnic, cultural, socioeconomic and political. Over the years, countless immigration has taken place, from adjoining Nepal, Tibet, and far West from Rajasthan, the coastal region of Maharastra and even from south. Consequently the present day Uttarakhand community became a fine amalgamation of various ethnic groups and tribes with varied arts and crafts. Uttarakhand has two distinct regions, Garhwal in the west and Kumaon in the east. The state capital of Uttarakhand is Dehradun, located near the western border. The majestic landscape of Uttarakhand has a variety of physical features; snow capped mountains and hills, fertile river valleys, and dense forests. A wide variety of flora and fauna is also found in the state. The research discusses about Tribes of Uttarakhand in the second chapter. The second chapter discusses the habitat, culture and traditions of the Uttarakhand tribes; Bhotia, Raji, Buxa, Tharu and Jaunsaris. Most of these tribes have a rural background barring Bhotias, 25.8 percent of whom live in town and cities.

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The STs in Uttarakhand are predominantly Hindus constituting 99.1 per cent of the tribal population. Besides, a total of 1,344 persons have been returned as Budhists. The tribes Shauka, Ran, Taulchha, Marchha and Jad are called Bhotia. Shauka are residing in the Jauhar valley of Pithoragarh while Ran resides in the Darma, Byans, and Chaundas valleys of Pithoragarh. Residents of Mana and Niti valleys of Chamoli are called Marchha and Taulcha respectively while the tribes of the Nilang and Judang valleys of Uttarkashi are known as Jad. The third chapter entitled â&#x20AC;&#x17E;Cultural Panorama of the tribesâ&#x20AC;&#x; elaborates the vivid cultural aspects of the Uttarakhand tribes. Culture reflects the mode and manner of eating-drinking, living and other fractions of day life. Dress and ornament, fairs and festivals including education and sports etc. are other main contents of this chapter that help in understanding the cultural aspects of these tribes. Fairs and festivals present a vivid detail of a society. The environment is filled with the warm presence of different ethnic groups and a variety of traditions. The participation of people in fairs expresses their intense belief in prayer and rituals. Fairs and festivals have a recreational function as well and they help break the monotony of life. Reasons for shrinking of cultures have also been described in this chapter. Each tribe of Uttarakhand has its own identity. It has been described with a comparative account of their culture and traditions. These features are also reflected in their arts and crafts. Art and craft of the tribes of Uttarakhand has been described thoroughly in the fourth chapter. It is the nucleus of this research work. It consists of the subject matter or the themes and media adopted by the tribes for their art and craft. The major art and craft work of Bhotia tribes is based on woollen products. Weaving, Knitting, and Dyeing are its different aspects. Bhotia, Jaunsari, Buxa, Tharu and Raji share a common skill in wood craft. Tharu and Buxa are far ahead in basketry tradition. Besides bamboo, their basketry skills are expressed through a variety of grasses

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available in the forests, river banks and ponds. Both the Tharu and Buxa tribes are experts in this craft besides carpentry. Buxas have an interesting tradition of clay relief and drawing of coloured patterns on their walls. Major Art and Craft Traditions of Uttarakhand Tribes Bhotia/Shauka/ran/Taulcha Marchha/Jad

Tharu

Buxa

Jaunsari

Basketry;

Art of Relief Work;

Art of Tantra and Mantra;

Weaving Carpets, Dan, Asan;

Matting;

Basketry,

Temple Art;

Wool Dyeing

Nets (Fishing),

Matting,

Wood Craft;

Cot Weaving,

Nets (Fishing),

Basketry;

Clay Pots (Kuthal)

Cot Weaving,

Woollen Craft

Wood craft

Clay Pots (Kuthal) Wood craft

Art and Craft of woollen,

Van Rawat or Raji Craft of Wooden Utensils

The art and craft of Tharu and Buxa are totally based on natural resources. They have also experimented with new synthetic (polythene) and waste cotton material in the recent past. Their material used in the Tribal art and craft is ecofriendly as it is picked by them from the nature and is biodegradable. They understood the changing face of nature and by involving themselves according to its mood. They depicted the creatures of the nature. Proper consideration has been made by them while expressing

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these motifs along with some story. In this birds and animals are shown in harmony with mankind. The Fifth Chapter, „Position of Women in the Society‟ reflects the position of tribal women in Uttarakhand. Women are the main source of strength and binding among all the Tribes of Uttarakhand. They have an honorable position in their society. This chapter discusses the status of social position of all the tribal women of Bhotia, Tharu and Raji and the effect of changing socio-economic status of the tribes on women. Tribal women have also earned name and fame in the society due to their creditable work in the fields of adventure, education and social work. The Sixth chapter, „Causes of deterioration and possible measures of upliftment of art and craft of Uttarakhand tribes‟ tries to focus on the possible points that come to fore after a deep analysis of tribal arts and crafts and the causes of the deterioration of tribal arts and crafts. Individuals and NGOs including central and state Governments are actively involved in reviving the arts and crafts of tribes of Uttarakhand. Some steps that could be taken to revive and popularize the art and craft of Uttarakhand have also been suggested. The final Chapter „Summary and Conclusion‟ is a gist of the whole research work. This research has tried to bring to light rich and varied characteristics of the art and craft traditions of Uttarakhand Tribes in a single volume. The research also aims to promote the awareness of the richness and variety of tribal art and craft of Uttarakhand and the understanding efforts of individuals, NGOs and Government towards the cause. It also tries to propagate the cause and suggests certain remedial actions to revive the dwindling arts and crafts of tribal Uttarakhand. The hypothesis about the middle class population that shows less interest to appreciate their art and craft seems to be true. The reason

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behind is the changing socio-economic panorama of STs due to steps taken by the Government for upliftment of the tribes. A careful documentation of art and craft traditions of the tribes of Uttarakhand has been done braving the adverse terrain and the remoteness that ever serves as a barrier for any efforts in this direction. The author is fortunate enough to be successful in collecting it with the help of his research fellows due to their close affinity to the land. The hypothesis that the Uttarakhand state, ever since its inception is without any institution and official funding and that provides full support to the arts and crafts of the tribes of Uttarakhand is also established. The wish of the Government and NGOs to promote art and craft with least financial support, training programmes and other efforts have also been highlighted. Finally the whole research work proves the hypothesis and also fulfills its objectives under the methodology adopted. It can be established that Uttarakhand is the home of a remarkable artistic variety of traditional arts and crafts. Numerous choices of materials and designs are available in each category of products. The diversity in the range of artistic products is overwhelming. Craft of Uttarakhand Tribes have been perfected over the years. It would have been more traditionally stylized if the tribes and government both realized the valued importance of their art and craft. During the course of his interaction with many Tribals especially the young generations, the research scholar felt that there is a distinct lack of awareness about their art and craft. This is a disturbing trend and needs to be addressed on a war footing. The author is sure and believes that his/this research work presents adequate data, visuals, facts and figures and directions that would benefit the scholars and provide a suitable base for future research and overall promotion of tribal arts and crafts in the society. Research is a valuable and never ending task that supports each branch of education and society besides its own field. Like variety of creatures in the sea, stars in the sky and flowers on the earth these vivid

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gems of Tribal arts and crafts of Uttarakhand in the form of a thesis/book are being presented. The assistance and support rendered by a strata of individuals whose contribution to the cause of preserving the otherwise dying arts and crafts traditions across Uttarakhand is highly appreciated. This thesis/book is an endeavor to showcase the jewels of tribal arts and crafts of Uttarakhand before the learned scholars and educational society and in turn present them to the society on the whole.

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References / Bibliography 1. Devi Prasad, Art: The basis of Education, National Book Trust of India, New Delhi 1998, p-25 2. Bhatt and Bhargava, Land and People of Indian States and Union Territories, in 36 Volumes Uttaranchal Volume -27, Kalpaz Publications, Delhi, 2005, p. 281 3. Uma Prasad Thapliyal, Uttaranchal Etihasik Avem Sanskritk Aayam, B. R. Publishing Corporation Ltd., Delhi, 2005, pp- 9 & 156. 4. Dr. O.P. Agrawal & Dr. J. S. Kharkwal, Central Himalayas, Aryan Books International, New Delhi, 1998, pp- 95-96) 5. Dr. O.P. Agrawal & Dr. J. S. Kharkwal, Central Himalayas, Aryan Books International, New Delhi, 1998, pp- 97-98 6. Dr. Purnima Pande, Art Heritage of Garhwal and Kumaon Himalayas, Director Tourism (Hills), Dehradun, Year –Not Published, pp-8 & 9 7. Dr. Purnima Pande, Art Heritage of Garhwal and Kumaun Himalayas, Director Tourism (Hills) Dehradun p-4 8. Dr. Purnima Pande, Art Heritage of Garhwal and Kumaun Himalayas, Director Tourism (Hills) Dehradun p-15 9. Dr. Purnima Pande, Art Heritage of Garhwal and Kumaun Himalayas, Director Tourism (Hills) Dehradun p-18 10. Source –Office of the Registrar General, India, pp.1-4, 11. Source –Office of the Registrar General, India, pp.1-4, http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf. 12. Source- Office of the Registrar General, India, pp.1-4 13. Source- Office of the Registrar General, India, pp.1-4 14. Source- Office of the Registrar General, India, pp.1-4, http/www.censusindia.gov.in/Tables_Published/SC ST/dh_st_Uttaranchal.pdf. 15. (Samal et al. 1998) 16. Dr S. S. Bisht, Kumaon Himalaya Samaj Avem Sanskriti, Ankit Prakashan, Haldwani, Nainital, 2006, p-29 17. B. D. Pande, History of Kumaon, p-486-7 18. Samal et al 19. Dr. O.P. Agrawal & Dr. J. S. Kharkwal, Central Himalayas, Aryan Books International, New Delhi, 1998, p- 145

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Dr. Krishna Bairathi, Dr Satyendra Kush, Kumaun ki Lok kala Sanskriti avem paramparyen Shri Almora Book Depot Dr. Diwa Bhatt, Uttaranchal Sahitya and Sanskriti, Shri Almora Book Depot Kaushal Kishor Saxena, Kumaun: kala Shilp aur Sanskriti Shri Almora Book Depot Dr. Hari Mohan, Sanskriti, Paryavaran and Paryatan, takshila Prakashan, New Delhi, 2007 Dr Moh. Anwar Ansari, Kumauni Shilpkaron ka Jiwan aur Unki paristhitiyan, Shri Almora Book Depot, 1997 K. S. Valdiya, Uttarakhand Today, Shri Almora Book Depot. M.P. Joshi, Uttaranchal ke Mandirronka Vastu Shilp, Uttaranchal Himalaya, Shri Almora Book Depot, 1994 Uma Prasad Thapliyal, Uttaranchal Etihasik avem Sanskritik Aayam, R. Publishing Corporation Ltd., New Delhi, 2005 Shiv Prasad Dabral, Bhotantik Sher Singh Bisht, Uttaranchal ki Sanskriti, Gopesh Prakashan, Almora, 2006 Yamuna Datta Vashnav â&#x20AC;&#x17E;Ashokâ&#x20AC;&#x;, Land and People- Himalayan District of uttar Pardesh S.S. Pangty, Johar ke Swar, Lok Kala Kendra Darkot Munsyari, Pithoragarh, 1986

Journals / Art Magazine Pahar, Talla Danda, Nainital Art and Asia Pacific, P.O. Box 480 Roseville NSW 2069, Sydney, Australia Asian Art, Oxford University press, 200 Madison Avenue, New York

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International Journal of Visual Arts studies and Communication (IJVASC) Kala Dirgha, Lucknow Purvasi, Hukka Club, Laxmi Bhandar, Almora Marg, Mumbai Oxford Art Journal, Oxford University Press Uttarakhand, Pantnagar, Nainital Somasi, Himachal Pradesh Tribal Art, Varrier Elvin, Publication division, New Delhi The India Magazine of her People and Culture, New Delhi The Art News Magazine of India, Mumbai

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About Author Shekhar Chandra Joshi (b. 1961) did Diploma in Art Masters Training (A.M.T.), Masters in Art (M.A.), Ph. D. and D.Lit. He has an excellent academic career with gold medal in PG and the highest degree of D. Lit earned in the subject. Dr. Joshi is both a practicing artist of high stature and Shekhar Chandra Joshi competence and an art connoisseur. His paintings have been exhibited and collected in India and abroad including France, Australia, Korea, and Canada etc. His research contribution and art published in national and international journals of academic repute including the newspapers and magazines. He is the recipient of prestigious International fellowship of Korea Foundation, Seoul where he worked for six months; several Research Grants of the University Grants Commission, Department of Culture, Government of India. He attended conferences personally and presented his papers on art and culture from time to time in Vienna University, Austria; RMIT University, Melborne; University of Toronto etc. His published books are entitled ‘Art And Communication’, ‘Adhunik Chitrakala Ka Itihas’, ‘Kala ke Sidhhant avem Chitrakala ke Rang’ , ‘Korea ki Kala’, ‘Importance of Art’; reviews and monographs on ‘Fantasy of Raga’, Hoard Holy and Heritage, ‘AIAA’ and UAWA Exhibitions etc. to his credit. Besides, he has written articles and research papers for various magazines and research journals few of which have been translated and published in Russian and other languages. He has also been performing for the radio and T.V. He was honored by ‘Agnipath Kala Rattan Samman’, Uttaranchal Kala Samman, and awards of ‘Mohan Upreti Lok Sanskriti Kala’ and Snehil etc. He was Dean, Faculty of Visual Art; Head, Department of Drawing & Painting of Kumaon University, Proctor and Senior Programme Officer NSS of Kumaun University Soban Singh Jina Campus, Almora, Uttarakhand, India where Dr. Joshi is presently working as Professor. He is also an editor of International Journal of Visual Arts Studies and Communication (IJVASC). Phone: +5962-230720, Mob: +9719332735 e-mail> joshipti@gmail.com