The history of Indian indigenous communities, as well their art and culture dates back to the times of pre-Aryan era. However, in the field of academics we usually discuss the socio-cultural aspect of some select tribal communities. Every region and state of India has its own art and culture, which we popularly call as folk or indegenous art. They have their own pattern and style which makes it unique among others. Another thing that defines them is that they are the keepers of nature, as their art and culture is built in close association with the environment around them. This is what makes our country’s heritage effervescent in the true sense.
Even though much has been written on the indigenous issue(s) of India one can still find a lack of consensus on its definition as well as the numbers involved in it. More or less, what we all know of the ‘tribal’ in India is what we have read once-upon-a-time in our History or Political Science books where they have been referred to as ‘schedule tribes’ or STs in the Indian constitution.
Credits: Sthalantar Research Foundation
‘Indigenous’ has become the status which communities assigned to themselves, claiming that they are the first inhabitants of India. The tribal have been considered as economically and socially backward, the ones who are different from the mainstream and who would not blend-in. But is that so? When we review the term tribal, we often find certain terms that are used synonymously like ‘adivasi’ and ‘uncontacted’ among others. By definitions they are different and it is important to understand their respective meanings. For instance, ‘uncontacted’ are the people who have no peaceful contact with anyone in the mainstream or dominant society. Whereas, the term ‘adivasi’ is generally used as a common lingo for the various tribes of India. It is also pertinent to note here that ‘indigenous’ is a broad term including small tribal, folk and other communities which choose to continue their age old traditions instead of being swept away in the normative societal structure. These are the people intent on continuing to live on their own terms even when it’s an endangered lifestyle. The select regions under the purview of this edition encompass such diverse local social groups some of which one might be familiar with while we explore about the others, their culture, language, and much more.
Gujarat has a significant contribution to the Indian cultural element, as the state is known for vibrant art, architecture, culture and heritage. Some of the Gujarati products that are known across the world are its mirror work, furniture, jewellery, embroidered garments, leather and metal works. One cannot ignore the very famous Patola (print) sarees. One can find different aboriginal communities of Gujarat, namely – Siddhis, Rabari, Padhar, Mers and Bharwads. They are located in the coastal Saurashtra districts of Junagadh, Jamnagar and Kutch. The Siddhis are known to have come to India from East Africa and thus bear a striking resemblance. The Rabaris and the Mers seem to have come from the Mediterranean in early times. In the plains of the Surat, Broach and Bulbar Districts, there are also other communities, such as, the Dublas, who appear to have a foreign origin, the Dhodias, who might have migrated from the Dhulia region of Maharashtra and the Choudhuris, who may have come from Orissa or West Bengal. Most of the adivasis claim descent from clans, such as – Rathod, Solanki, Chauhan, Parmar and Makwana. They are religious and are animistic in practise. They are engaged in different occupations as well as celebrate various fairs and festivals with great gaiety.
In order to further familiarise with the endemic culture let’s look at the Rabaris. The word Rabari translates to ‘outsiders’, colloquially referred to as ‘rah se bahar chalne vaale’- those who walk on untrodden paths. One can hear them being addressed primarily as Raika and occasionally as Rewari or Desai. They are indigenous nomadic, cattle and camel herders and shepherds that live throughout northwest India, particularly in the states of Gujarat, Punjab and Rajasthan.
Credits: Sthalantar Research Foundation
The concept of living in harmony with the surroundings is perceptible in Gujarati folk culture. Wind instruments like turn, lava, bungalow along with string instruments like Ravan Hatton, Ekta rock and Januar are still a popular choice for folk musicians. While Tippani folk dance by women depicts the boredom created by long trips of their men to the ocean, Garba and Dandiya revolve around the mythical fight between Goddess Durga and Mahishasur, the mighty demon king; all the while also symbolising the cycle of life from birth to death with Goddess Shakti being the only constant in the constantly changing world. These cultural traditions are few examples of the many existing regional practices which have evolved to be distinct enough to form their individual identity while still being a part of the extensive culture of the Indian subcontinent.
Credits: Sthalantar Research Foundation
On the other hand, the state of Maharashtra in itself is known to reflect diversity, naturally. It is considered the land of scholars, saints and now actors popularly. Thus, we often tend to associate it with its fast-moving urban culture. Despite all of that, there are some major indigenous cultures in Maharashtra followed and practised by some of these major indigenous communities like Bhil, Gond, Koli Mahadev, Warli, Kokana, Thakur, Andh among others. Most of them are engaged in agriculture. However, they have been able keep their vivid creative element alive. Artisans of Maharashtra are very precise and delicate in their work. Paithani Sarees that have been in production since past 2000 years are fine, exquisite silk sarees with delicate zari handwork on their border. Warli Paintings done by the warli groups who live in the Thane district of the state tell a tale to the viewers. The paintings are of stick-figure forms and much more.
Credits: Sthalantar Research Foundation
Maharashtra being one of the most prominent coastal states with an opulent historical and cultural background also accounts for warrior and fishermen community traditions within its folk culture. While on one hand Narali Purnima marks the end of turbulent monsoon and the beginning of new fishing season; fishermen celebrate by decorating their boats and appeasing the sea-god with their offerings of coconut before embarking on a sail. Koli dance incorporates the sea and fishing as primary elements. It originated as a major entertainment source for the Koli fishermen community. On the other hand, there are ballads called Povadas singing about the valiant life of the Maratha warrior Chhatrapati Shivaji. It is written in couplets along with exciting Bhalerao which cuts through the mundane tasks of farming performed in the fields and also adds to little joys to women’s routine lives. Origins of simple traditions, revolving around the basic survival occupations, ingrained in daily life is after all the true definition of indigenous culture.
The state of Rajasthan is what we all know because of its vast deserts, with fervent folk and indigenous roots. Apart from what we do not know about the state is its local culture and communities. Some of the major ones you can locate here are – the Sahariyas, Minas, Bhils, Gadiya Lohars and Garasias. Amongst the lot, the Sahariyas are considered the most backward of the Rajasthani tribe, who mainly inhabit the jungles. While Bhils are the biggest collective in the state, the second largest status is enjoyed by the Minas. The Gadia Lohars and Garasiasare are relatively smaller communities of Rajasthan. Being the largest state, it also has an abundance of diversity while the underlying traditions remain the same across the state. A famous Rajasthani saying – 5 kos mai badle boli, 20 kos mai badle roti – translates to – the dialect changes every 15 km while the cuisine changes every 60 km. Therefore it’s evident that while geographical surroundings were a major factor in shaping the lifestyle of indigenous communities, they weren’t deprived of the sense of belongingness to their communal identity and thus evolved their culture to create unique identities for themselves.
Credits: Sthalantar Research Foundation
It would be unfair to discuss our indigenous culture without evoking mythology and epics. To give a glimpse of such myths and legends, there is one associated with the Bhils. In the famous epics of Ramayana and Mahabharata, the Bhils were depicted as the ones popular for their archery skills. Many such original communities find a place where they are described as the protectors of the jungles or as protectors of the periphery. It is very odd to find that they had enjoyed more respectable positions in the society during ancient times, but now they have to struggle even for their daily sustenance.
Beyond a tribal definition, these are the communities whose cultural origins and development is rooted in their local survival needs. From water scarcity and mythical (or local) heroes magically conjuring a permanent water source to unique crops and farming techniques in Rajasthan or gathering resources from forest and forests as the primary source of livelihood in Maharashtra, their vibrant culture squeals independence regional identity to the highest level humanly possible. Therefore, they have been purposely marginalised for centuries to protect the consumerist money driven modern technological world.
There is no denying the fact that we are evolving, but we are not evolving together – isn’t it? We can also note that many indigenous communities, in order to survive have switched to commercialising their art forms in public spaces such as haats and other art or craft fairs. One cannot deny the fact that these have great potential in the international market due to their traditional aesthetic, sensibility and authenticity.
The race to modernisation has severely affected the lifestyle of these local groups, their culture, art and traditions. This can be traced back to the time when Britishers declared forests as state property. The tribal were not allowed to collect food and woods, many tribal chiefs lost their administrative powers as well as suffered at the hands of traders and moneylenders. Besides in a world of increasing migrations and evolving modern technologies, having a sustainable lifestyle in harmony with the natural surroundings rather than being greedy to acquire more than necessary from outside is a wonderful feat in itself.
Even today, decades after independence, the condition and status of such homegrown groups has not altered. In the contemporary era, they have to fight the race against Globalisation. Even when we are aware of the fact that Globalisation is an inevitable phenomenon, we haven’t done much to protect our already fading indigenous art and culture. However, due to the problems faced by indigenous communities such as loss of land and integration into mainstream society, the future of Indian autochthonous art and its culture has become the subject of concern.
If we have to look at the brighter side, we can see that these indigenous arts have found their way in the latest fashion trends and wall art. For instance, the boho-fashion trend can be commonly witnessed on social media and is very popular among the millennials. The trend has its inspiration from tribal cultures, including their prints and patterns with modifications to meet market requirements. The same can be said about the art of tattoo making which again takes great inspiration from tribal culture and their symbols.
Another such example that fits the case is of graffiti. One can broadly find many distant similarities between local tribal wall paintings and them, where only the medium and means of painting have become more modernised and efficient- for example, spray paints. There are many such evolutionary similarities one can locate when observed in close proximity. One can say that the inborn original art of our country has influenced many contemporary art forms, artists taking inspiration from the rural lives of India, such as Chittoprasad who painted the stark reality of the unheard masses- the village people.
Although the modern world has marginalised the indigenous cultures and art, there are many such NGOs and communities who are working towards protecting the tribes, their culture and artforms. It is imperative and urgent to understand that once they are perished, we will lose an integral part of our indigenous culture and heritage. A loss that cannot be equated or recuperated in monetary terms.
The writer had just finished her M.A. in History from Delhi University and preparing for further studies. Exploring culture, society and learning about the various facets of humanity has intrigued her since childhood and thus she aspires to contribute her bit in making the world a better place.
Ritika is a museum enthusiast and likes to explore the diverse arts, culture and heritage of India. Living in a country which has been the storehouse of history in its every nook and crannies, it becomes really difficult for her to remain aloof from it for long. She believes that the community needs to know about this and this is what she is striving to achieve.
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