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DDK HistoryF.p65 - CSIR

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28 PHASE PARDHIS [2.3<br />

In each case, it will be possible to see the interaction of obsolete with<br />

modern forms of society, to see historical processes illustrated, as well as<br />

ethnic groups that have survived the process.<br />

Nearest to me in location are a tent-dwelling nomadic group of<br />

Ras Phase Plardhis whose basic costume (for the men) is a simple loincloth,<br />

who never take a bath, but who retain the natural cleanliness,<br />

mobility, superior senses of wild animals. They have six exogamous<br />

clans or septs whose names have become surnames of feudal Maratha<br />

families: Bhonsale, Powar, Cavhan, Jadhav, Sinde, Kale. The last is<br />

actually a Citpavan brahmin surname; the penultimate once denoted<br />

‘ son of a slave-girl’ (without acknowledged father) till it was ennobled<br />

by rising to the kingdom of Gwalior. That the names were acquired<br />

during the period of Maratha dominance follows from the speech of the<br />

tribe, a Gujarathi dialect. Besides begging and petty stealing, these FSrdhis<br />

are expert birdrsnarers. They still worship a mother-goddess, though the<br />

main image now is an embossed silver plate simulating brahmin images;<br />

some of them identify it with the Devl of Tuljapur. The goddess became<br />

popular all over Maharastra fairly late in the 16th century ; her<br />

adoption by the Pardhis seems comparatively recent, and does not match<br />

their ritual. The sudden appearance of a superior type like the Cro-<br />

Magnon man in Europe may have been due to such a fertile cross. It is<br />

the function of the clan chief or head of a band to dance before the<br />

goddess on ceremonial occasions, but to do so, he has to wear a woman’s<br />

skirt and shoulder-cloth, of design not known in this part of the<br />

country, and certainly not worn by women of the tribe. “ Then I am the<br />

goddess !” says he ; the emphatic claim has to be substantiated during<br />

the dance (in front of the rest of the band which sings the<br />

accompaniment to the dancer) by an ordeal, usually plunging of the<br />

right hand into boiling oil. Such is the state of ecstasy that the priest-chief<br />

does not feel the oil, nor is any mark left on his skin thereafter ; should<br />

the hand fester, it would be proof that the goddess had rejected<br />

priest or rite. The chant may continue for three days, accompanied by<br />

the sacrifice most beloved of the goddess, that of a bull calf, or buffalo<br />

calf. Clearly, the ceremonial, whose avowed purpose is increase of<br />

game and food, was taken over by the men from the women, though the

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