‘Boad’ in Kodava language means to beg/ request. ‘Namme’ translates to ‘festival.’ Thus, the ‘Boad Namme’ can be loosely called as the festival in which the people of Kodagu request ‘Goddess Bhagavati’ to grant their wishes.
The Boad namme is observed across Bhagavathi temples located in several villages in the southern part of Kodagu district, in series. The first Boad of the year starts at the temple of Kunda and the last one is observed at Parana village. Kudure (Horse) worship is an integral part of the Boad namme. In this, a young boy belonging to a designated clan from the respective village dresses up in the costumes of a horse and participates in the various ceremonies during the festival. Hence, it is said that ‘Kundath-ra Bott-le nenda Kudure, Parana mani-le ilinja Kudure.’ Translating to ‘the horse which rises at Kunda will only settle at Parana.’
I will talk about these two Boad festivals in separate posts. Among a series of all other Boad namme that are observed across villages in South Kodagu, I am starting from the middle, at Chembebellur village. The Boad Namme of Chembebellur is among the most popular of them all. It is observed over a period of four days and usually happens around the last week of April of each year.
Day one is Pattani. People belonging to all the native clans of Chembebellur observe ‘Fast’ on this day.
Day two is Kudure. Three young boys representing three clans of the three main Keris (areas) of Chembebellur i.e., Ajjinakanda clan of Podakeri, Coluvanda clan of Podakote and Chembanda clan of Nadikeri wear the costumes resembling horses (Kudure) and start from their respective Ain mane (clan’s ancestral home). They are accompanied by men impersonating other local deities of the village like Choundi, Aiyappa and the others during their march towards the Bhadrakali temple where they all assemble and hold the following rituals. Post this, there is a fire set up in front of the temple in which effigies are burnt.
Day 2: Kudure at Chembebellur Bhadrakali temple
The gathering then moves towards the village’s ‘Eshwara temple’ where the rest of the men and boys of all age groups dress up in various costumes. This dressing-up is a form of a vow they make to invoke Goddess Bhadrakali’s blessings. The costumes could range from traditional Bund-kali (Mud-smearing), Pill-Bhoota (Hay man), Puli-vesha (Tiger costume) etc. to more modern forms of cricketers, Llamas, swamijis, seducers etc. These dressed up men folk visit every house of Chembebellur asking/begging’ for alms all night and it is a fun time for all the households who host these men in the houses.
Day Three is Boad. This part of the festival is the most awaited and the highlight of the four-day celebration. All the dressed men congregate at the Bhadrakali temple in the afternoon. They are accompanied by the men impersonating the local deities as well. They all together circumambulate the temple thrice and go around begging form alms from the thousands of people who gather there to participate in the festivities. The end of the circumambulation marks the end of the Boad where all the men collectively offer all the money collected through begging to the Goddess and seek her blessings.
Day 3- Boad festival at Chembebellur Bhadrakali temple
Day four is Choole. Young boys who are yet to reach adolescence, cross-dress in attire of Kodava women and offer their prayers at the Bhadrakali temple. This day marks the end of a fun and yet traditionally rooted festival of Chembebellur, paving way for a Boad namme to start at yet another village of South Kodagu.
Disclaimer: The purpose of this article is for documentation of lesser known festivals of India. The above information is only based on what I could gather by discussing with people who had gathered at the temple. My apologies for any wrong representation. Readers are welcome to contribute any information that is deemed important and useful to be shared here.
My first thoughts about visiting a national park used to be safaris, birdwatching and game sighting. But my trip to Kanger valley national park in Chhattisgarh helped me change that perspective by letting me understand that a trip to a forest can be beyond wildlife. Even without having any major landmarks to visit, a trip can be complete by simply traveling slow, being present and immersive in the energies of the moment.
A walk tour around Jagadalpur set a good preamble by introducing me to the culture and history of the tribal communities and the royal family of Bastar. Jagadalpur is where most rituals of the Bastar Dussehra center around. Bastar Dussehra, the longest festival in the world is celebrated for seventy-five days thereby attracting tourists from across the globe to witness the congregation and unique rituals of Adivasis inhabiting the region.
The Royal Palace at Jagdalpur
We then drove towards Kanger valley National Park, the only national park in India where human settlements is allowed within the heart of the forest that is thriving around the Kanger River. A sumptuous lunch served on patravalis was followed by a walk to see the beautiful Thirathgarh waterfalls and the serene Sita Kund, important sites of pilgrimage in the local culture. After spending some time there, I went on a guided trek to Shivaganga, an untouched gem. ‘The seclusion of the waterfall, reachable by a flight of bamboo stairs laid out through the thickets would be best complimented by an overnight camping and the dance of the fireflies’ as described by the guide.
Sita Kund at Thirathgarh waterfalls
That night’s accommodation was at an Adivasi homestay. A traditional greeting was followed by warm conversation with the host family, accompanied by homebrewed Mahua liquor and red-ant chutney around a bon-fire, in the courtyard overlooked by a huge Mahua tree. The night’s sky there is certainly a delight for astrophotography enthusiasts. I woke up for sunrise and joined my host on his walk along the riverbank to collect ferns for a perfectly organic meal to start our day. With the mud and bamboo houses, wooden fences, dining on cow-dung smeared floors, slow-cooked food in claypot and on firewood with locally available ingredients, my stay was an incomprehensible experience of sustainable living.
Among three magnificent limestone caves located within the national park, we explored the stalactites and stalagmites of Dandak caves. A fifteen-minute session of meditation inside the dark and silent chamber of the cave was transcending. A Gypsy ride to Kanger Dhara waterfall was followed by bamboo rafting on the pristine and calm waters at Kailash Jheel. Since, our campsite was at a walkable distance from a tribal hamlet, I sneaked out and spent time at the local fair there. Tribal folk had congregated from all neighboring hamlets to watch the ‘Naat’, a theater form where excerpts from epics are adapted into local stories and performed all night.
The next morning started early with an inspiring birding session along the river trail as I was accompanied by a ‘Myna Mitra’, the friend of the Myna birds. This is an initiative by the forest department toward conservation of the Hill-myna, the state bird of Chhattisgarh by getting the local forest dwelling tribal youth involved to track the daily activities of these birds. We got lucky to spot a pair of these birds, the highlight for a typical wildlife trip.
Gumadpal temple, Bastar
After a quick meal, we headed towards Gumadpal to see a 14th century Shiva temple. Historians haven’t yet found the reason for its unique three-tiered Linga. That day happened to be the weekly market or haat, as locally called. A walk around the haat was another opportunity to get a closer understanding of the local way of life. Haats do not just provide for trade but also for worshipping local deities, entertainment, socialization and even matchmaking. A few women were singing and dancing to the local songs and asked us to join in as well. It was surprising to know that barter still exists here. I tasted local food like tubers, mahua, tendu, and a variety of local brews and wines. Jewelry and home-décor items in dhokra, a GI tagged craft made by a method believed to be practiced since over 4000 years were being sold among several other unique crafts of the region. I witnessed an energy packed session of cockfighting as well.
Dokra art at various stages of metal casting
Having travelled to Chhattisgarh and not seeing the poster boy of its tourism advertisements, did not seem fair. River Indravati plummets down with all her might in a horseshoe shape, making Chitrakote waterfalls the widest in India. I checked into the government run luxury resort to spend my last evening, where every cottage offered a view of the setting sun over the waterfall. A ride in a country boat right into India’s Niagara waterfalls was just the prefect way to say good bye.
Chitrakote waterfalls during summer season
From waterfalls and caves to tribal hamlets and local markets, from history and folklore to art and craft, from food and wine to mud-houses and palaces, from dance and music to culture and architecture, my experience at Kanger valley national park was replete, wholesome and truly full of surprises!
Fact file:
Transport: Jagadalpur is connected by daily flights, rail route and by buses. Self-drive cars or taxis can be availed for travelling within Bastar.
Stay: Several tribal homestays are available within the national park. Nature camps and resorts run by Chhattisgarh tourism board and heritage stays in palaces are managed by the erstwhile royal family of Bastar. Good hotels of all budgets are available at Jagadalpur.
Food: Bastar cuisine mostly comprises of locally grown rice and vegetables.
This travel was part of the ‘Dekho Bastar- Season 1’ event organised by India Tourism Board and Bastar District administration in collaboration with Kanger Valley National Park. The article appeared in ‘Apr~May’23’ edition of ‘Bastar Bhoomi’ magazine.
They make their money earn for them. A series of wise and sensible investments in form of real estate, development of existing real estate, deposits, shareholdings in companies, etc. People who were born with money or born rich enough are made known that it takes an effort to stay rich. Rich people have a strong enough financial backup if things go awry. It’s okay to lose a little money in the name of learning because they can afford not to repeat it.
What do people who become rich in a short duration do?
Spend their money on things and experiences they might not have had previously. They spend it like water without a thought for saving up for contingency, because they are blinded by the glitz and glamour the short fortune is showing them. They become used to the artificial sense of being rich and try to fit among the actually rich people, regardless of their personal financial background. So one fine day, when the income stops or rather their luxuries surpass their income, hell breaks loose, because they weren’t prepared for the struggle of remaining rich without a strong financial backing.
Salaried people without any strong financial background are more prone to the above scenario, when they start earning more than they what they expected in a short period of time. Not necessarily salaried people, there are lots of other people who can be like this. They fall into fake reality of being rich wherein, they are living their life on a month to month basis, solely dependent on their salary.
If you ask me which one I belong to, I honestly don’t know. I am a citizen of Bangalore born to working parents (pure middleclass upbringing). I never have money, yet I’ll have a little.
This is a small village in South Kodagu that is closer to Kerala borders than it is to Madikeri. This is where my maternal cousins originally hail from, and they went to school with me at some point while staying together at our maternal grandparents’ house. So, it was natural that I too would accompany them to their native village on several occasions when they went to their parent’s house at Theralu.
Apart from the expansive Tata tea estates and the Kerala borders some of the other popular landmarks that I enjoyed day tripping here were Irupu waterfalls, Mrithyunjaya temple and the Nagarhole National Park.
For all that I can remember from those visits were that there were people speaking and following different culture than I was familiar with. All the workers that worked in both my maternal and paternal hometowns were from the local tribal communities who spoke and ate quite same as what I did at home. But those working at my Uncle’s estate in Theralu spoke so many different languages. The larger group had almost created a mini-Assam in the site of their labourers quarters. They had built so many structures, equipment, tools out of bamboo (the most common site in all over Assam) and ate food that was made with ingredients that we in Kodagu didn’t know were edible until we saw them.
The Glenlorna tea estate Coorg
This is also where I was introduced to Tamil language and their movies. A large group of workers came to work in the farm at Theralu during the peak coffee harvest season and returned back to Tamil Nadu after the season ended. During evenings or on weekends, these workers often came to my cousins house to watch TV. Although I didn’t know their language and didn’t comprehend with most things they communicated, I picked up names of the stars whom they clapped hands in enjoyment or sounded a “Shhhhhh” to express disappointment while watching their favorite stars on the screen. In spite of not understanding a word of what the movie or tele-serial was about, it was an inevitable situation for me to sit and watch through whatever was being played 😀 Looking back at the days, those stars from the early 2000s are the only few whom I can associate with while talking about movies with a Tamilian!
Assamese kids enjoying their shower in a small stream in the estate
With limited means of communication, the major exposure we had in this small hill-district was just limited to living in estates or serving the army. Here, I saw migrant workers coming from faraway places in search of ANY doable jobs, saved a portion of their limited income and sent it to their families back in their hometowns and still lived a life of modesty. I learnt that life was not all easy for people living in other parts of the earth. It always made me think and reflect how unequal and different life was for everyone. Theralu taught me lessons of gratitude for the life I am living!
In this post today, I like to discuss a technical subject by standing in the shoes of a traveler. During my student life, I have never been in a race to become a top-scorer. However, it was Professor Mukunda’s enthusiastic teaching method, that ‘Material science and Metallurgy’ has been one subject that I topped the department (I like to show-off a bit, with those dark glasses emoticon). With an in-hand admission letter to one of the top universities to pursue a post-graduation in the subject, the lostlander deviated along the way, only to become a professional ‘Metallurgical Failure Mode Analyst’ much later in her career. If not for Prof.Mukunda, a seed of interest in the subject would have never been sown and I wouldn’t be writing about such an unconventional travel post, it seems.
Metallurgy is a science in which India has mastered from even before the world could imagine. The Vedas have a devoted section to teach these techniques. Prof.Mukunda’s favorite topic was ‘Metal casting with the lost wax technique’. His face beamed in joy every time he mentioned the intricacies that were achieved in the metal art thus created. “No two pieces that are exact replicas of each other can ever be created”, he stressed. We had foundry visits as part of our curriculum but that’s where we could only see sand, centrifugal and other forms of metal casting. Without having easy access, investment casting, also called as the ‘lost wax technique’ of metal casting was only left to our imagination. Many years after my graduation, I have been fortunate that I have been able to visit some of the amazing and traditional foundries in my country that practice the lost wax technique. These places have got them their individual ‘GI’ tags. Here is a walk through my foundry visits which I believe I should share with my fellow readers.
Idols of Swamimalai:
Swamimalai translates to the ‘Hill of the Lord’ that is named after an important temple in Tamil culture dedicated to Lord Murugan. This little town is famous beyond just this holy abode. One doesn’t need explanation at the mention of the bronze idols of the Cholas era. Apart from several of these antiques being prized possessions at museums across the globe, these treasures are among the highly traded commodities in the black market. These are ALL brought to form in Swamimalai. It is believed that the artisans of Swamimalai are a group of skilled men called as the Stapathis who have passed on their heritage of metal idol making, since the 12th century. The precision of composition and the measurements of these metal idols, mostly bronze are followed as per the ‘Agama Shastras’. This holy land of the alchemists was a part of my weeklong backpacking with my brother, back in Year-2015.
Clockwise from top left: 1. Raw material for mould making with the furnace and blower 2. The mould 3. Furnace 4. Metal sheet after moulding ready to be polished
Aranmula Kannadi:
An extremely important part of malayalee culture, this handcrafted mirror is a quintessential part of Kerala. I was told that on the day of ‘Vishu’ festival, after waking up in the morning- he/she should first see themselves in an Aranmula Kannadi placed alongside the ‘Canacona flowers and a lit oil lamp’ before anything else. ‘What is it about a mirror?’ a person unknown to the traditions of this land might ask. ‘These mirrors are not glass!’ These mirrors are super-polished metal surfaces that are capable of reflecting real images. A glass always reflects a secondary image (you can notice that there is a distance from the reflecting surface to the image formed) whereas, the metal surface reflects primary images (There is no additional distance between the object and the image).
Top: The secondary reflection in a glass mirror; Below: The primary reflection in a metal ‘Aranmula Kannadi’ mirror
These manually polished mirrors are created through investment casting whose composition remains to be a secret that is passed down through generations of just 1 family. The small group of these master craftsmen who are protecting their secret recipe of the Malayalee culture all reside around the Aranmula Parthasarthy temple in the state of Pathanamthitta. I had the esteemed opportunity of visiting one of these foundries when I sneaked out after working hours on one of my business trips in Year-2019.
Video of my visit to the mirror making foundry at Aranmula
Dokra art of Bastar:
This non-ferrous metal art is created by the forest dwelling tribes of Chhattisgarh. Historians believe that this art has evolved from what was used by the primitive tribes to create figurines of their local deities for worship and for jewellery purposes. The metals used were earlier collected directly from earth in the mineral rich area of Bastar, then smelted to separate the desired elements and mixed in intended proportions to form the final material for casting. This is an undocumented tribal technique that has been passed down through several centuries. Today, it is widely used for commercial purposes of decoration and gifting. It is now revered as a part of the tribal culture that represents the state of Chhattisgarh. I had an opportunity to visit one of these foundries and observed keenly the lifeless metal take form into art during my family’s five states’ road trip in Year-2020.
Dokra art at various stages of metal casting
Kola masks of Karkala:
Talking about all these foundries, I cannot be leaving my homestate behind. Although the folk art of metal mask making is slowly dying, these masks are an extremely important part of the culture of the Tulunad region. These bell metal masks are used in the spiritual performance of the ‘Bhoota Kola‘. Today, the art is used beyond mask making and can be seen in idols, lamps, bowls, utensils among other things used and sold extensively in Udupi district of Karnataka.
The lamps and idols of Nagamangala:
The contribution of the Hoysalas to the art and heritage of Karnataka cannot be justified with any number of words. Their intricacies and detailing in their work can be seen not only in the stone sculptures of their temples but also in their metal crafts. A few of the practitioners of the Hoysala style of metal casting have saved and passed on their knowledge to a few artisans who have made the town of Nagamangala their home. This thriving art can be seen in the traditional bronze lamps widely used across Karnataka and in the idols of various deities in this region. Although bronze is believed to be a godly material, other metals like tin, copper etc. too are cast into various articles using this technique.
This post is my small attempt towards promoting local art. I look forward to influence at least a few of my readers to learn more about the rich heritage of India and encourage local artisans in various ways possible. Do share your thoughts with me through the comments below.
Bastar is an area soaked in rich culture. And art is an integral and unique part of this indigenous culture. It is safe to say that Kondagaon district is the art hub where there are entire villages dedicated to each of these handicrafts, with households registered with the ministry of culture & art. Several of these artisans are National award winners and visiting faculty at universities across the world. During my week long stay at Bastar, I managed to find time to visit some of these villages and interact with the artisans.
Blame it on me being an experienced professional in materials, manufacturing and heat-treatment processes, I have this weird fancy for everything that involves these aspects. One would not want to seize a travel opportunity from me when there is an element of art and engineering in it…. On similar lines, is the first part of this post.
The major and famous handicrafts of Bastar can be listed as below:
Wrought iron artefacts:
Chhattisgarh is a state blessed with a mineral rich geography. Until a few decades ago, the tribes inhabiting the region used to collect raw iron ore from the naturally available soil or portions of earth, heat it in a furnace and separate the molten iron to make wrought iron. Today, wrought iron is directly purchased from the market. This is then melted and beaten into sheets. The sheets are then formed into various patterns and welded into beautiful artefacts. Although the traditional designs are based on the local tribal culture and represent aspects of daily life in Bastar like animals, hunting, the tribal folk, tribal deities, etc., modern adaptations have been inspired by the Indian epics among many other things. But still, each piece is handmade and unique with no two pieces being exactly the same.
Demonstration of making wrought iron craft by an artisan
Dokra art:
Bell-metal is an alloy prepared locally and cast into various patterns through a technique called as ‘lost-wax technique’ of metal casting. Although this technique was primarily used by the indigenous tribes to mold their traditional jewelry back in the time, it has slowly evolved into making idols and other home décor items. These indigenous metal cast items are collectively called as Dokra art.
Dhokra art at various stages of metal casting
Terracotta pottery:
A special type of clay is dug from the vast paddy farms and is then crafted into various artefacts. The specialty of the art here in Bastar is that very large and real-life sized objects are crafted completely with clay. After the potter assembles the product piece by piece, he then burns it as a whole unit to give it the required strength and rigidity. Well, there’s an entire village of potters / Terracotta artisans in Kondagaon.
Terracotta art at Bastar’s pottery village
Wooden carvings & Carpentry:
With the abundance of forest cover and timber availability, wood craft is a major part of the handicraft culture here. Large tree trunks and roots are given the form of beautiful figurines, animals, etc. by very skilled artisans. This can also be seen in the rich carvings on doors and friezes of various old and traditional structures across the region.
Stone sculpture:
With the mineral rich earth of the region, various types of soil and stone are available. Several of these earthy materials are used to make beautiful sculptures.
With a somewhat influence of the Patachitra art from the neighboring state of Odisha, the local Gondi artform and several other influences, the indigenous wall and fabric painting has evolved. Beautiful pictures of tribal deities, everyday life etc. can be seen being depicted through these paintings.
Handloom:
A small portion of the local tribes are involved in collection of the naturally available cotton and Kosa silk from the forests and weaving them into traditional textiles.
Jewelry:
Each of the tribes who inhabit the remote jungles of Chhattisgarh have their own unique pieces of jewelry. Anything that ranges from silver, fabric, plant fiber, shells or animal bones, the locally available materials from the wild are adapted into their culture in the form of traditional jewelry.
For someone visiting Chhattisgarh, experiencing the tribal culture and enjoying the rawness of the natural landscape in Bastar would undeniably be the priority. If you are lucky, then you might get the opportunity to visit a tribal Ghotul. A Ghotul is a structure that accommodates people. It is either an open arena with earthen floors, without walls and with roofs laid with wood and hay or it is a completely closed structure built with earthen walls decorated with various murals. ‘But what is so ho about it?’, one may ask.
The Muriya girls with a Ghotul in the backdrop
The primary purpose of a Ghotul is what makes it important in the regional culture of Bastar in Chhattisgarh. It is a socializing club for the unmarried youth of the Muriya and the Gond tribes which also in some parts, serve as a dormitory for the registered members. Young boys and girls register themselves with a Ghotul of a particular village or area when they hit adolescence and the functioning of this traditional club is presided over by a head boy and a head girl from the respective tribe. Here, every evening, the members gather and learn the essentials of taking up a new life ahead of them. Reaching adolescence means that they have become eligible to get married and take upon the responsibilities of running a family. So, they are taught all the required life skills like managing a house and a family, folk traditions, music, cooking, religion, cleanliness, discipline, sympathy and everything else. The whole idea is to pass on and contain the traditions within the tribe.
The celebration dance by the Muriya tribes for hunting a game
This also promotes inter-tribe or inter-Ghotul weddings so that a member of a particular tribe doesn’t leave the community and the strength of the community is sustained. While pre-marital sex is considered as a taboo elsewhere in India, this culture encourages the youth to indulge in sexual activities to find the most compatible life partner. It is said that if a member of a Ghotul gets pregnant and doesn’t know who the father of the baby is, the village will adopt the baby and nurtures it as everyone’s own child.
Due to the rich ideology of conservation of the culture, people from across the globe come to study and understand the functioning of these Ghotuls. The Muriyas indulge in celebration of the little things from their daily lives. For example, after a successful hunt in the wild, a birth in the community, a betrothal, etc. They have about 12-15 different types of dances that they perform to celebrate these everyday joys. There are rituals and a sequential procedure on how the members need to conduct themselves in the course of visiting a Ghotul like getting ready, dressing up, assembly and starting the evening at the Ghotul.
I got an opportunity to visit one such Ghotul and here is a video of a dance they performed for us.
the Muriyas celebrating a game hunt at a Ghotul
As a small introduction to the video above: In this dance, you can see two hunters dancing around and in between the other members, while musicians are standing in the middle and playing the traditional instruments. There are also a couple of men wearing head gears that look like chital / spotted-deer which indicates that this celebration is after a game was shot-down by the hunters and brought to the Ghotul for a feast.
What are your thoughts and views about the Ghotul system? Share them with me through the comments below.
If you have your own vehicle and planning to do a bit of rural and tribal tourism in Bastar, then you might come across several structures that are endemic to the region. Some are integral to the local culture and a few are modern additions but unique to Bastar. Here are a few such structures that may spike the curiosity of any new person noticing them around.
Mata Mandir: One might be surprised to see random wooden structures lying around by the roadsides or in the middle of some farmlands. No two are similar in appearance. Some maybe fixed structures and some may have wheels like pushcarts. These are temples or places of worship are usually dedicated to Bheema Dev & Godandi Dev, deities of the Muriya Tribes. A godman from the tribe is believed to possess the spirits of the deities and walks with these wooden tools or push carts. If you have a closer look at one of these structures, you will notice that it has been designed to place his legs and walk with it. You will however, come across concrete structures that are influenced by modern construction materials.
Various Mata-Mandirs in Bastar
Gudi: These are the lesser known wonders of India, also called as the ‘deceased pillars or column of the dead’ in modern terminologies. The dead persons from the Maria and Muriya tribes believe on sending a person happily after his death. Hence, the tradition is that they bury the body in a vertical/ standing position and erect a flat stone slab or a wide pillar at the grave site. These stones are then painted with artistic patterns and nice verses are written about the deceased on these slabs (This is something similar to the of placing a headstone in the burial of some mainstream religious culture).
Muriya Gudi enroute Barsoor
Gotul: These are traditional centers of socializing and learning for the youth of the Madiya and Muriya tribes. These are spaces either with mud walls or open wooden floored spaces with wood and hay roofs. Unmarried girls and boys congregate every evening at a Gotul where they socialize, indulge in various celebrations and merry making, learn the basic skills of leading a life and managing a family. This is also where they indulge in choosing their own life partners. The basic ideology of a Gotul system is teaching the youth of life and cultural lessons and building and containing the traditions within the community.
Termite hill: If you ever take a drive around the villages of Bastar, you will notice that their houses are unique. They have mud walls, hay roofs and floor and a large front yard neatly smeared with cow dung. I got an opportunity to go inside and take a look at the interiors. That’s when I realized that these tribal houses may even have large termite-hills inside their houses or perhaps in their bedrooms. These tribes are nature worshippers and believe that these termites are gods that have chosen their homes to take shelter. Hence, termite hills are auspicious and cannot be destroyed. Further, after worshipping this anthill all year, there is a specific day in a year when the family prays the almighty, seeks his permission and then removes these dwellings and releases the mud/ clay into a nearby water source. Same is the case before any tree is cut in a Bastar village. The tribes invoke their deities to get permission before axing them.
Gau-Mata chowk: This is a modern addition with a cultural significance that can be found at the entrance of every village in Bastar. ‘Kamdhenu’ the holy cow feeding a calf is a popular representation in Indian culture. Similarly, this image has been a large part of the Bastar culture. You can see it even in their art and crafts. Coming to the Gau-Mata chowk, these are concrete structures around which the cattle of the entire village is assembled together, twice a day. From here, one person or one household from the village takes the responsibility each day to take the assembly of cattle out for grazing and return to the Gau-Mata chowk. From here, the cattle assembly disperses every evening and are then taken back to their respective sheds.
Atal chowk: This is another modern structure named after the former prime-Minister of India, Sri.Atal Bihari Vajpayee. This is just a concrete pillar erected at the entrance of every village in the Kondagaon / Bastar region.
Do you know any other unique structures from Bastar that you think that I have missed out? Do drop in your comments and share the information with me.
Ever since I chose to do ‘Slow travel, it has given me ample opportunities to understand newer cultures and traditions. Since slow travel allows me to interact with more local people, I also get exposed to a lot of local music and art. One such knowledge gained during my interactions with the various tribes of Bastar is the various musical instruments made and used by them for various purposes.
Khut/ Khoot: This percussion instrument is a hollow trapezoidal shaped wooden block. It is hung around the neck of the person playing it and is struck with two wooden sticks to create a unique sound.
Maandaar: This is a small size drum that resembles a dholak. It has a hollow wooden body and wound with leather strips from end to end. The two sides used to create the sound are made using specially chose animal hide. It is tied around the waist and struck either with bare hands or using very thin wooden sticks to create the sound.
Gadha Baja: This is another percussion instrument with a resemblance to the (Bayan) Tabla. It has a hollow wooden body with a wide playing surface firmed with leather. It is used either individually by hanging on to the neck of the player during a celebration or used in pairs at temples and religious gatherings. Sticks are used for generating the sound here as well.
Taal: This instrument is a pair of metallic hand cymbals that are common to the rest of India’s folk music scenes as well.
Clockwise from top left: Khut, Maandaar, gadha baaja, Taal,
I got an opportunity to witness the indigenous music of the Muriya Gonds during my visit to a Gotul. All the above-mentioned instruments can be seen in their performance. Click below to watch the Muriya tribal performance with all these instruments.
Tribal ceremony at a Gotul in Bastar, Chattisgarh
The other musical instruments used by the tribes of Bastar are as below:
5. Sulur: This is a wind flute handcrafted out of a specific bamboo. The sound is generated by swinging the flute in the air (unlike the normal flutes that needs air to be blown into it). The bamboo tube is decorated with very fine and artistic designs engraved on to it. This flute is used for two purposes. Firstly, it is sounded while grazing their cattle and secondly, it is used in festivals and similar ceremonies. Click on the below video to watch how a wind flute is played.
Playing Sulur, the flute of Bastar
6. Mohiri: This is a wind instrument made using bell metal. There are two types. The ‘Bada mohiri’ is used in festive occasions and the ‘Chota Mohiri’ is used during all other ceremonial and social gatherings.
7. Tribal trumpet: Another common feature of the popular ‘Dokra bell metal craft’ in the region is the tribal trumpet. I couldn’t certainly tell which tribe uses this in particular, but this wind instrument is a popular souvenir picked by the tourists and art enthusiasts who flock the region in large numbers.
There were many iterations in the initial plan and the destination was changed multiple times, but my family and I finally decided to visit and explore Bastar. Holistically, Bastar is a region spread across multiple states and was primarily ruled by the Kakatiya dynasty. But with changing administrations and new state formations, the Bastar region is now split into seven districts in the state of Chhattisgarh with Bastar itself being the name of a district. The region is one of the richest in India in terms of tribal culture and reserves of natural resources. Taking Covid safety precautions into consideration, we decided to drive our own vehicle instead of taking a flight or public transportation to avoid coming in touch with random people.
When people in our immediate acquaintance got to know about our choice of destination, a few thought that we were crazy. And then, a few concluded that we had lost it when we told them that we were doing a road trip right through the red-corridor area. But it was a combination of inquisitiveness, curiosity, adventure and assurance of safety from a local friend that finally got my family and myself on a road trip to what is infamously called the Naxal heartland- Bastar. To add a little bit of spark to this wild road trip, was our new ‘Flame-red’ colored car that was delivered to us just a couple of days ago. We did not have a number plate on it and were going to cross five state borders with a ‘Temporary Registration’ sticker.
With all that background, let us discuss the crux of every traveler’s doubt- Is Bastar safe for travelers?
First things first, about Bastar-
The public transportation or connectivity in the Bastar region is almost non-existent. So, if you are a budget traveler or a backpacker, then this trip will not work out for you. Hire a self-drive vehicle either from Raipur or Vishakhapatnam (The nearest major cities with airports) or get one from home.
For stay at this point in time, there are ‘zero’ places listed on Airbnb. Limited hotels are available only at Jagadalpur which you can make your center point of travel. Alternatively, there are some resorts run by the Chhattisgarh Tourism Board (CTB) scattered in good locations across the region that you can manage to find online or through local contacts.
Entering Sukma, forest area begins
The Details of our visit to Bastar.
We started this trip from Hyderabad on the morning of Christmas-2020. As our journey proceeded from the plains towards the forests, the changing terrain was an indication that the red-color (of the red-corridor map) was getting more significant. We strictly adhered to two conditions laid by our friend/ local guide who was based out of Bastar. One, to stay connected from the time we started from Hyderabad and update him frequently (based on the mobile network). Two, do not drive after sunset. We had planned the entire route and our halts in consultation with him. With Kothagudem, we had officially entered the ancient ‘Dandakaranya forest’ region, the modern ‘Naxal heartland’. Only difference is Ravana had kidnapped Sita from the region back then, one could possibly be kidnapped or shot at by a Maoist in modern day. The day’s drive was mostly un-exciting with a good wide National highway passing through Sal tree forests alternating with cotton fields till Badrachalam, where we stayed for that night.
The following day, when we took a deviation towards Konta at Chatti junction is when we started to notice the actual change in terrain and demography. Civilizations suddenly disappeared and the roads became emptier. For most stretch it was just us, driving either through thick forested areas or large open grasslands. No man-made concrete structures, whatsoever. Even if it felt like we reached a tribal settlement after driving for a few kilometers, the settlement was limited to just one or two huts with their set of cattle and poultry. It was a little eerie to think of, but that did not stop us from halting our car and taking a few photographs.
A cattle shed in a village around Konta
After reaching Konta (The Andhra-Chhattisgarh state border) is when we started to sense the heavy air around us. Every village that came thereafter was spread across 1 to 2 kilometers along the highway. And every village had a CRPF camp with an armored MPV (Mine Protected Vehicle) at their gates, ready to be driven out at any given point. All camps had hero stones erected near the gates with names of the martyrs from the respective camps who had died during service. We were heading towards Sukma, possibly the brightest red spot one would find on the map. With extremely unreliable mobile connectivity to reach out to our guide, we had started to reconsider if we had made the right decision to take the road less travelled! Anyway, there was no way we could undo our plans since we were already there now. Instead, we decided to go ahead by thinking about the adventure and excitement that may come ahead to us.
Meanwhile, I got a message delivered on my phone from our guide. It had the contact name and number of a volunteer (Person X) based out of Sukma. We were told to meet Person X and have a cup of tea with him at Sukma before continuing our journey towards Jagadalpur. After reaching the Sukma bus stand, we called Person X and waited for him to arrive. In a bit, a young boy came to us on a bike and asked us to follow him. Even before we could complete our words of enquiring his name, he said: “Haan, haan, follow my bike” and we trailed him through narrow residential lanes to a big mansion. Another man (Person Y) welcomed us warmly and we were kind of overwhelmed and at the same time, wondering whom and why we had to meet someone in Sukma.
Person Y asked us, “Weren’t you supposed to be a big group of people?”
“No, it was just our family travelling”, we clarified.
“But Person Z told me that five of you will be arriving here for the meeting”, he said.
“Person Z? But we were supposed to meet Person X!”, we told him with a perplexed look on our faces.
We realized that there was some confusion. We were at a wrong place… in Sukma! I immediately called up Person X and told him about the situation. I then handed over my phone to Person Y and we were fortunate that both X & Y knew each other. Both of them were local leaders and represented the same political party. X came to Y’s house and it followed with some chai served to us. Our basic introduction and conversation were limited to local politics, our journey so far and our trip to Chhattisgarh. About half an hour later and as discussed with our guide from Bastar, we decided to continue our journey further.
A short while later, when we were ascending the Ghats, a bunch of CRPF men who were on their random patrol stopped us and enquired the details of our trip. Without much drama, they let us go after knowing that we were random tourists, heading to Jagadalpur from Bangalore.
Somewhere near Konta
Our guide arrived at Dorba with his family and escorted our car for the rest of the day. We reached Jagadalpur for the night’s stay. Over the next few days of our stay in Chhattisgarh, we explored several settlements and hamlets located in areas where no roads exist. Through our extensive drive through vast expanses of paddy fields and coal, iron and other mineral rich mountainous and forest terrain, we got a better sense of geography and geo-politics of the area.
So, come to the point! Was it safe?
I would like to explain this with multiple incidents and my viewpoints. PLEASE NOTE that these opinions are purely based on my personal experience. This may differ for each person visiting there.
As per our guide, our visit to the local’s house in Sukma was to acquaint us with a localite in that region so that, if we were being tracked by someone, they would know that we were harmless tourists and not associated with any other intention. But my viewpoint is that, apart from Sukma, we explored the districts of Dantewada, Bastar, Kondagaon, Kanker, Narayanpur, Gariaband and Dhamtari during the course of our stay in this region. All considered to be core areas of Naxalism/ LWE in the state. We drove our number less car with a ‘KA-TR’ sticker all around –> Not a single day did anyone stop us, ask us or threaten us. It felt like we were travelling in any other Hindi speaking place in India.
When we entered the villages, we had a local person accompanying us almost always. We were told that a lot of villagers worked as informants to the Naxals. (starting from children as young as 8-10 years to grown adults, across gender). So, if a localite familiar in a particular village that we were visiting accompanied us, we would be safe –> My viewpoint on this is, when we moved to the interior parts, the villagers could speak only the local dialects of either Halbi or Gondi. Why that, when we visited the Gotul on one of the days, I even understood a portion of a conversation between two villagers standing next to me. They were discussing that I was a foreigner, who had come there to see their dance. Like really? I look so INDIAN in color, features, dress and in every other sense. Even then, the exposure of these tribals to the world outside their villages is so limited that any visitor would look alien. In such a scenario, communication would’ve been a task for us if we wanted to understand their culture better. A translator helped us to bridge the gap in communication.
We were told that the Naxalites come out after sunset and bother the villagers for rice and other needs. We had heard of stories of how people/visitors/ guests were kidnapped from houses at night. We met so many villagers from various tribes, visited their houses and ate their food. They were excited to host us and shy to talk to urbanites. Never at any point did I feel like we were going to be harmed. We even stayed for a night at Dantewada and most other nights at Kondagaon. The villagers didn’t seem to talk about anything to me like kidnap or murder.
There are several tribal communities that are still primitive in their culture and do not come out in contact of normal civilization. Barter still exists in this part of the world. Permits are required for entry of many villages, especially for those visiting the Abujmadh area. To think of, it is unfortunate that inspite of conscious efforts by governments to empower the tribes, it is still falling short.
Somewhere near Kanker, we were by ourselves on a night journey towards Raipur. While we were told that the highways were safe, there is one point where we were asked to stop and wait for about 2 hours. With us, there were hundreds of other vehicles also who had stopped and spent the hours getting a nap during the waiting time. Daily, the ITBP policemen do combing in this area. Inspite of several positive experiences like those above, things like these present the intensity of the underlying danger and threat.
By having all these presumptions, it cannot be ruled out that naxalism is REAL. And it is in abundance in these areas. The underlying thought cannot be ignored that I must have gotten lucky!
Bastar district, Chattisgarh
My verdict on safety for travelers:
I went to Chhattisgarh and returned safe. Every place across the WORLD has its own threat, but in different ways. When you are in Rome, be a Roman. So, whichever place you choose to travel, keep the local customs and sentiments in mind. If possible, get in touch with a localite and take them into confidence. Travel to build connections and build connections to travel.
The Lost Lander 