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“ Yesterday was the day of cockfights, the birds stared at their bound legs Waiting to bleed their bird-friends, our white fluid glistened in the pots We went high on smelly rice drinks, we made a rope circle among trees That was the bloody arena for cocks, our basket threw up big plastic dice ” - Jagannath Rao Adukuri Fig. 2.13 Fig. 2.13 Owners of the cockerel prepared to release them and viewers outside the ring betting on them in a cock-fight which is an all men affair in the village market 50
2.13 Festival and worship 2.14 Entertainment (art, dance and music) Each of these Bastar tribes worships different forms of gods and goddesses. According to the ancient legend, Goddess Sati committed self-immolation in the fire pit of yagna kund, due to an insult committed by her father Daksha towards her consort Lord Shiva during the Yaga. Raged by the death of Sati, Lord Shiva destroyed the Yaga of Daksha and with the body of Sati in his hands started doing the Taandav. Lord Vishnu cut the dead body of Goddess Sati with his Sudarshan to free Lord Shiva from the grief caused by her death. Parts of the dead body of Goddess Sati were scattered to fifty-two different places, which were consecrated as Shaktipithas. It is believed that a tooth of Sati had fallen here and Danteswari Shaktipith was established. Danteswari is the state Goddess of Bastar and is often depicted riding an elephant. These Bastar tribes are also known for their colourful festivals and magnificent arts and crafts. Bastar Dussehra is the most famous event of this area and is well known for its grand celebration. All the tribes participate in this 10-day event and celebrate Dussehra as a congregation of Devi Maoli who is Bastar’s native deity and revered as the elder sister of Devi Danteswari and all her sisters. During Dussehra, the inhabitants of Bastar organize special worship ceremonies at the Danteswari temple of Jagdalpur. The tribals’ economy is agricultural, so the cycle of sowing and harvesting is the subject of many number of songs and oral narratives, which express the joy, anguish, apprehension and exhilaration of the farming community. Oral narratives like the Gondwani and Ramayani hold the community together. The bulk of the folk songs of Bastar are in Halbi. Of the settlers, among those who have felt inspired to employ local tongues for creative writing, an overwhelming majority has done so in Halbi. Chhattisgarh takes pride in several indigenous dance styles such as the panthi, rawat nacha, pandwani, chaitra, kaksar, saila, khamb-swang, bhatra naat, rahas, raai, maao-pata and soowa. Karma dance form is usually performed by tribal groups like Gonds, the Baigas and Oraons in Chhattisgarh. This dance form marks the end of rainy season and the advent of spring. Chhattisgarh’s film industry is called Chhollywood. Every year, many Chhattisgarhi films are produced by local producers. Theatre is known as gammat in Chhattisgarh. Fig. 2.14 A bronze dokra sculpture of goddess Danteshwari, who is usually depicted riding an elephant Source: https://www. zacke.at/en/collection/ Fig. 2.14 51
Page 1 and 2: 1
Page 3 and 4: LOHSHILP The Blacksmithy Of Chhatti
Page 5 and 6: Acknowledgement The completion of t
Page 7 and 8: Preface The history of Indian handi
Page 9 and 10: Table of Contents Contents Page No.
Page 11 and 12: Contents Page No. 8.1 Personal mark
Page 13 and 14: About NID The National Institute of
Page 15 and 16: LAD@NID The Lifestyle Accessory Des
Page 17 and 18: Introduction The crafts of India ar
Page 19 and 20: 19
Page 21 and 22: 1.1 About Chhattisgarh Chhattisgarh
Page 23 and 24: 23 Fig. 1.2
Page 25 and 26: “ I have moved and moved many tim
Page 27 and 28: 1.5 Climatic condition The climate
Page 29 and 30: quantity of teak. Towards the north
Page 31 and 32: 11 Wildlife Sanctuaries and 3 Natio
Page 33 and 34: 33
Page 35 and 36: 2.1 Formation of Kondagaon As per t
Page 37 and 38: 2.2 How to reach Kidichepda? Chhatt
Page 39 and 40: nuptials. Even in terms of the popu
Page 41 and 42: The Ghotul is typically located out
Page 43 and 44: a shirt/T-shirt and a piece of clot
Page 45 and 46: Fig. 2.8 play an important role in
Page 47 and 48: Fig. 2.10 natural forces like the s
Page 49: and cosmetics. One old lady was ser
Page 53 and 54: Fig. 2.20 The Dhols, the Mandals, D
Page 55 and 56: 2.15 Folklore The Jhitkhu Mitki sto
Page 57 and 58: Fig. 2.23 Fig. 2.25 Fig. 2.23 Bronz
Page 59 and 60: dye, extracted from AAL found in th
Page 61 and 62: 61
Page 63 and 64: 3.1 Introduction to the craft Lohsh
Page 65 and 66: Fig. 3.4 Fig. 3.4 A craftsman using
Page 67 and 68: Fig. 3.5 ... they started believing
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Page 71 and 72: 0.04 in, 0.032 in, 0.025 in, 0.02 i
Page 73 and 74: h. i. k. j. l. scraping it on metal
Page 75 and 76: 75
Page 77 and 78: 5.2 Making of animal sculpture The
Page 79 and 80: Fig. 5.8 Fig. 5.11 Fig. 5.9 Fig. 5.
Page 81 and 82: The part is elongated and hammered
Page 83 and 84: Fig. 5.26 Fig. 5.29 Fig. 5.26 Strik
Page 85 and 86: Fig. 5.37 Fig. 5.40 Fig. 5.37 The n
Page 87 and 88: Fig. 5.47 87
Page 89 and 90: The posture of the craftsman is suc
Page 91 and 92: To provide shape to the belly, the
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Page 95 and 96: 95
Page 97 and 98: Fig. 5.68 Fig. 5.69 are blunted by
Page 99 and 100: Fig. 5.75 Fig. 5.78 Fig. 5.76 Fig.
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Fig. 5.86 101
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aat (pinched point) for the wick. I
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Fig. 5.100 105
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Fig. 5.104 107
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Impression moulding Once all the pa
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Cleaning The figurines are washed i
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Fig. 5.123 Mounting Since these fig
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to countries like Italy, Russia and
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Amitabh Vishwakarma 24 yrs of age A
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Fig. 7.2 Fig. 7.2 Cylindrical khut
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Fig. 7.6 Fig. 7.6 Laman Diya Dimens
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Fig. 7.15 Fig. 7.12 Fig. 7.12 Giraf
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Fig. 7.19 Clock Frame Dimensions: T
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Fig. 7.22 Fig. 7.22 Dhruda and Chit
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8.3 Future of lohshilp Challenges a
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8.5 Personal experiences When we go
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Conclusion Handicrafts are a substa
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12. District Administration Bastar.
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