Snake Charmers of India

Snake Charmers at Jaipur Palace

As we were concluding our day tour to the Amer Fort, Jaipur, we were quite astonished to see two

snake charmers (“Sapera”, “Sapela”, “Sapuakela”) wearing colorful turbans having two bamboo baskets in front and many “pungis” dotting the ragged piece of cloth they were sitting on. I had not seen a snake charmer since decades and this was a miracle.

Snake Basket @ Padmasekharpur Odisha

Childhood memories started fleeting by and I remember the summer holidays when all cousins would gather at our grandmother’s place. Back in the 80’s snake charmers in cities and towns were quite common and we would wait eagerly to call them home at least once during the summer break.  The “Sapuakela” would come with multiple baskets each having a separate species of snake and enchant us for an hour or so and taking back with him a few Rupees.  I vividly remember seeing the Cobra, Rat Snake, India Python, Russel Viper and the Sand boa. The swaying moment of the “pungi” and the Cobra would be in unison and we always thought that the snake was responding to the sound. Little did we know those days that snakes are deaf and they tend to follow the movement of the “pungi”. Years passed by and we would follow a similar routine every summer, we grew up and routines changed. The country went through a phase of urbanization, development and environment/wildlife conservation and when I look back we lost touch with the “Snake Charmers of India”.

Back to present day, I was eager to relive the olden days and was excited what was in store. As one of the snake charmer lifted the hood of the basket, there arose the majestic Indian Cobra also known as spectacled cobra, Asian cobra or Binocellate cobra. 

Snake Charmer with Cobra@Jaipur Palace

At this point of time, the conservationist in me decided to go on the back foot and allowed the child in me savour the moments. While we failed to capture the moments on video, the following video one by "Dustin Kerschtien"matches what we experienced. 

Days passed by post the Jaipur trip and I forgot about those beautiful memories, until the day when I heard Prime Minister of India, Shri Narendra Modi addressing people at the Madison Square Garden(Sep 2014). "India was once known as the “land of snake charmers”. Had it not been for Indian Americans, who have excelled in various fields, that image would not have changed. During a foreign trip I was asked whether India was still about “snake charmers”. I said, "Our ancestors used to play with snakes, we play with mouse”.

It intrigued me again to revisit the topic of Snake Charmers of India and I set out to understand what has happened to Snake Charmers all over the country. India  has around 250+ species of snakes and alteast thousands of people who have knowledge of this trade(snake charming) in different pockets of the country. Over the past few decades many of them have taken up to alternate professions/trades (like agriculture, govt jobs, begging etc.) after the passage of the Wildlife Protection Act of 1972 which made Snake Charming illegal. Many protests have happened in the country during this period however our need to lead on the forefront of wildlife conservation deafens this noise.This informative video by Vivek Mishra is worth watching.

The main question I have in mind "Is this trade dying?" Definitely not is my thought and it should not be allowed to just cease one day. The centuries of wisdom the “Saperas” have with them should be used and is being probably being used at many places. With the lack of primary healthcare in villages, the villagers are often depended on “Sapera’s” to treat snake bites as they have access to traditional herbs & roots that may heal.  On the other hand to help them generate livelihoods the governments have legitimized Snake Charming in tourist places like in Amer(Jaipur) Fort. More efforts are needed by the government, animal conservation groups and citizens of India to help them generate livelihood. 

Back to my research, I stumbled across an ethno-botanical study “From charmers to educators: Using indigenous knowledge for conservation education“ conducted by “Bahar Dutt, Rachel Kaleta and Vikram Hoshing”.  The study concluded beautifully as follows: “To conclude it would be easy to just let snake charming come to an end in an era of globalization and mass communication. On the other hand, a lot can be done to save the traditional skills of this community caught between their past and modern conservation laws. The employment of snake charmers as ‘barefoot conservation educators’ and the recognition of their indigenous knowledge would not only protect their culture and identity but also assist in the protection of thousands of snakes killed through ignorance”.

As you are browsing through this extensive study, I leave you with this beautiful dance form Kalbeliya from Rajasthan which is performed by nomadic tribe who are snake charmers.

Contributed by Sandip Mishra

Photocredits (EnigmaticIndia team and Saumya Parida)

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Textile traditions of India: The awe-inspiring world of Ajrakh

Ajrakh is that awe-inspiring block print fabric, gratifying the senses and the soul, steeped in 400 year old history. How about enriching your sartorial taste with a dash of this vibrant fabric that defies geographical boundaries and connects us with the abundantly rich textile traditions of India. I'm happy to share my second blog in this series, featuring the world of Ajrakh.

Synonymous with the region with of Kutch and Sindh (in Pakistan) today, authentic Ajrakh is striving hard to revive and survive - it needs our appreciation, care and concern.  Patterns and designs that are rooted in our composite culture, tracing back to the Mohenjodaro civilization, bind us with our neighbour Pakistan and trace our links with the Egyptian glory.

Ajrakh takes me back to those days when Hyderabad had very few stores that sold ready-to-wear handlooms and hand block printed garments. I got introduced to Ajrakh at this small store in Lal Bahadur Stadium, run by Sohan Shetkari Sanghathan. I can still remember vividly how the store manager explained to me why Ajrakh garments cost more than other prints and how constrained I was to buy with with my measly pocket money in student days!

I always cherished the longing wish to own at least a kurta and a dupatta; here’s a stole from Fabindia that I usually pair with my tops and tunics for that awesomely earthy feeling!

Ajrakh is symbolic and and literal at the same time. The paradoxical name of aj-rakh (keep it today) actually refers to a process that takes days  as the fabric undergoes magical changes, transforming itself into something beautiful and ethereal.  As this richly informative source says: "The word Ajrakh also relates it to the Arabic word 'Ajrukh', meaning 'deep blue'; referring to the 'universe". The sharp geometrical patterns resembling stars and the indigo dye denoting the sky is a symbolic representation of the ‘universe’, originally depicting Islamic forms of architecture.

Here are some interesting facts about Ajrakh  that give its unique colours and shining finish no matter whether it’s done on cotton, silk or any other fabric:

• Authentic Ajrakh is printed on both side, with pure natural dyes
• A mixture of  camel dung soda ash, castor oil is used to soak the cloth and soften
• The resist method uses Chuna (quick lime ) and gum arabic to get the exact natural effect

This video captures the process in detail and shows the ingredients and the delicate intricacies that are followed traditionally

My interest in learning more about the textile, took me to the books and videos of Ms. Jasleen Dhamija, the well-known textile historian and author, deeply connected with crafts and handlooms of India. Spare a few minutes to watch Ms. Dhamija narrating interesting incidents that takes us back to historical moments:

It's almost impossible to say many nice things about Ajrakh in a short write-up. However, it's heartening to have so many online sources to learn from. I wouldn't have been able to compose this piece without referring to many online sources, particularly Youtube and Wikipedia.

(Contributed by Madhuri Dubey)

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India@69: Personal glimpses and stories in 69 words

We are happy to publish our first contributory blog post India@69 in 69 words on the occasion of Indian Independence Day.  We thank Mahua, Ankita, Shantanu, Pramod, Prof. Sihna, Shree and Aryani for being a part of this memorable event. While it’s almost impossible to narrate your experience or tell your story about enigmatic India in 69 words, some of our friends took up this challenge and here’s what they have to say.

Collage: Picture credit: Ankita Katuri and Pramod Dhal

Mahua Maharana’s trip down the memory lane while they sighted a tiger and her cubs:
"It was 1985; we had gone to Hazaribagh Forest.  It was off-season.   The wooden cottages, legacies of the colonial Raj, were charming with dim lanterns and huge bathtubs.  But the magic happened in the night. In an absolute silence heaven came down to us. We could touch the stars, walk through the Milky Way, bathe in the moonlight and saw a tiger mother passing with her three cubs. " Mahua Maharana, Bhubaneshwar

Ankita Katuri reminiscing about her trip to Pench:
"Last year, we went to the Pench National Park – a beautiful place to relax, unwind and become a part of nature where it still is, as it was meant to be. Although we weren’t lucky enough to spot many ‘exotic’ animals, it was heartening to see the freedom they had. Trip highlights: watching wild animals actually move freely without inhibitions and getting to learn the art of making pottery." Ankita Katuri, Hyderabad

Photo credit: Ankita Katuri

An account of how Pramod Dhal saved a duck in Chilika lake:
“It was a semi-chilled winter morning; I was heading towards a small island in Chilika. To my utter surprise, found six tufted ducks trapped, one was blinking its eyes, but others dead. Ah! So cute and lovely innocent creature struggling for life between NET & DEATH, I heard the ‘sound of a soul’, pleading for its life, rescued the one. And I was lost in its pursuit of freedom.” Pramod Dhal, Bhubaneshwar

Shantanu’s discovery of how enigmatic India is during his road trip to Sikkim:
"A road trip is where you get to meet the real enigmatic India. One such unforgettable trip was from Delhi to Sikkim. From the filth of some cities to the almost aseptic cleanliness, the latest cars to contraptions on wheels, expressways to dirt roads, landscape changing from the plains to the forests and then to the ice clad mountains, boy we have a really enigmatic India!" Shantanu Bhattacharyya, Delhi

Prof. Sinha brings in the significance of remembering our history:
"As the Independence Day approaches each year, there is a lot of writings that appear on the heroes of our struggle for freedom. All political speeches and messages are mere replete with tales of sacrifices of our leaders. But almost always the same names get all attentions while enormous other lesser known names remain push in to a long forgotten pages regularly. Is not it injustice to our legacy? "Prof. Ramesh Sinha, Gurgaon

Shree Chattopadhyay recollects her childhood memories of the Cellular Jail in Andaman:
"Every Independence day when I hear our Prime Minister speak at the Ref Fort, my mind wanders to the corner most cell of Veer Vinayak Dmodar Savarkar in Cellular Jail (Kala Pani); the remotest archipelago of India- the Andaman Island. I visited there as a child. That small space had seen the pain of our independence activists; heard the sound of the boisterous sea and felt the echo of freedom. I salute to all, who have gave us our identity- our motherland to us." Shree Chattopadhyay, Hyderabad

Aryani Earla relates her larger experience with enigmatic India:
"Planet Earth filled with several mysterious sights, unexplained origins, History, Theories and plenty of mystifying sightings, Mythic creatures and their worldly appearances. Places around the world are home to countless Statues and monuments honoring many who make a considerable impact. Carnivals with elements of local culture. Something unusual and slightly kooky- Natural adventures with Dolphins at Sea and Zip lining in forest was terrific. Enjoyed every inch of it." Aryani Earla

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Living traditions of India: Hand block printed fabrics

Block printing technique
(Photo Credit: Internet sources)

The textile heritage of India is a rich tapestry of diverse patterns and designs binding us with our multifaceted history, culture and traditions. The ethnic patterns, designs, printing and dyeing techniques can be traced back to the ancient Egyptian and Mohenjodaro civilizations. Block prints like Ajrakh, Bagh, Bagru, Sanganeri, Dabu, Kalamkari or tie and dye and resist methods like Bandhani and Batik are some forms of textile art that inscribe beautiful stories though colourful floral and abstract motifs and geometrical shapes.

The fact that these living traditions have survived the onslaught of mechanized printing and other economic compulsions of textile industry speaks volumes about how art and craft can never perish, with dedicated practice and patronage. 

Block printing on fabrics like cotton, silk, woollen or linen is a highly skilled process done manually, step-by-step, with incised wooden blocks. It's an art form practised by families for generations, using natural dyes and mordants. The process may be slow and painstaking but that's what gives it the eternal artistic value, simply unachievable by any other method. Most block printing is directly done on the cloth, however, some techniques require the cloth to be pre-dyed. 

This blog post introduces some of the popular block prints of India that are practised by artisans in different parts of the country as a means of sustained livelihood.

Soulful universe of Ajrakh

Like many textile art forms, Ajrakh has interesting stories to tell about its origin. With the sky as its predominant theme, this form embellishes the fabric with symbolic depictions of the universe in indigo, red and black as its primary colours. It’s a 16-step process of dyeing and printing, sincerely practiced by communities in Gujarat and Sindh, Pakistan.

Paisleys of Bagh

Though Bagh belongs to Madhya Pradesh, it traces its origin to Sindh and Rajasthan. The paisleys of Bagh combined with floral and geometric patterns have adorned sarees, dupattas, bed-covers, shawls, stoles and yardage for ages. The credit for keeping the tradition alive goes to Ismail Khatri who was recognized with a national award from the Government of India.

Blocks and dyes of Bagru and Sanganer

Block prints of India
(Photo Credit: Internet sources)

Bagru and Sanganeri are identified with the places where they are printed. This rich art form is more than a century old and it is one of the popular prints in Rajasthan, synonymous with bedcovers, sarees, quilts, skirts and stoles. The flora and fauna depicted in these fabrics are delicately complemented with earthy hues and themes from nature and abstract art.

Distinctly Dabu
Dabu is a natural dye based print using blocks and mud-resist technique with finely sieved clay, calcium hydroxide (Chuna in Hindi), wheat chaff and gum. Dabu belongs to Rajasthan and  its distinctiveness comes from the labourious process of dyeing and printing. The choice of organic colours and pastes with an interplay of the dark and the dull make it subtle and sublime.

Bold and beautiful Bandhani

Bandhani is the most popular textile art that spans the length of India from Rajasthan and Gujarat to Madurai, in the form of Sungudi sarees. This tie and dye form of printing is like playing hide and seek with the fabric in between the dots and the waves. Depending on the manner in which the tying is done, we get patterns like Mothra, Leheriya and Ekdali.

Subtle shades of Batik

Batik actually means writing with wax. The delicate process involves coating a part of the cloth with wax and then dyeing it to create simple and subtle patterns. But best Batik happens only by chance when some of the special effects get created in the natural way wax works on the fabric. Batik is found in many textiles traditions in different geographies of India.

Earthy Kalamkari

Kalamkari means crafting with the pen. It originated under the patronage of Golkonda Sultanate and presently it is identified with two forms: the Machilipatnam style and the Sri Kalahasthi style. The fabric is a unique mix of free style drawing and block printing. The prints are derived from the intricate paintings that had layered drawing and dyeing process.

The next blog posts will focus on the tales each textile art form has to tell and what it needs from us to live and thrive eternally.

(Contributed by Madhuri Dubey)

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