Man and nature have been interdependent since time immemorial. It’s interesting how man understood the importance of natural resources and used them to his benefit in building civilizations and empires. All the civilizations strived on one primary resource, water being the most important. The story of Hauz Khas (Royal Tank) has been one of its kind with every ruler, and “time” changing its significance and imparting newer meanings to it. 

Built as a reservoir for the people settled around the 4th capital city of Delhi, Siri fort, Allauddin Khalji had strategically placed it to be where it was, in the 13th Century. With 2 main Nullahs connected from the southern ridge of Delhi flowing through the present-day institutional campuses like JNU and IIT Delhi, it lies equidistant from Tughlakabad fort and Firozabad (the successive capitals of rulers of Delhi). Having a perimeter of 1 km and an average depth of 2.2 m, the lake sufficed the day-to-day needs of the community for drinking water and farming. Soon, due to the composition of the lake bed and exploitation of the lake, it started to dry. The bed was also used for cultivation for a brief period. The upper layers being porous, composed of sandy and clayey silt, it was difficult for the water to be retained and evaporation losses also contributed to the drying of the lake multiple times. Feroz Shah Tughlaq, the ruler who has been well known for his contributions to the built heritage of Delhi, had introduced a Madarsa along with his tomb in an ‘L’ shape around the lake in 1388 with an intent to appropriate the legacy, rewrite the contested succession and promote Islam. The place which was earlier used by locals for daily needs had been face-lifted. A new meaning, a new beginning for the exchange of knowledge, cultural associations and architecture was seen. Hundreds of years later, the tombs,  the madrasa and other monuments remain intact but are scarred by the humans who disregarded the heritage and vandalized it. 

The case of urbanization is something that has been posing a threat to the ecologically rich, architecturally sound, and historically significant complex. Post-independence events like the Asian and the Commonwealth Games had brought in people from various cultural backgrounds to settle in the vicinity. DLF, a private developer, procured land and started developing high-end societies like Safdarjung enclave. Although this ensured a cultural and economic mix of social groups, this eventually led to disregarding the existing heritage. The lake dried in the second half of the 20th century after which INTACH proposed an Operational scheme in 2002, the first of its kind, to conserve the lake. Without the detailed plan of how treated water from Vasant Kunj STP could have been redirected to Hauz Khas lake via Sanjay Van Park where Duckweed treatment was introduced, the lake we see today wouldn’t have existed. 

This was a crucial step towards conserving an important ecological repository. Today, Hauz Khas district park is a home to rich biodiversity, thousands of avifauna, flora and many other living entities that help enhance the microclimate of the region. Where would man be without mother nature? Be it the engineering marvels like the step-wells which are left to be mere monuments or the diminishing courtyards of any old city of India, be it the encroached forests leaving fauna homeless or the carbon emissions which lead to global warming, we have been ignorant and selfish all along. Few cases of revival often go unnoticed and unappreciated.

The Hauz Khas complex housing madrasa and the lake, is now the heart of Hauz Khas, South Delhi. The neighbourhood has undergone a drastic shift in character from an area of historic importance to an affluent precinct with cafes and shops especially attracting the youth of the city. 

The boundary wall that stands between the district park and the Hauz Khas village differentiates yet beautifully unifies the two distinct fabrics, one being ecologically sensitive Hauz Khas lake and the other being highly dense and commercialized Hauz Khas village. Argumentably, the coexistence of the two raises concerns regarding their future, sustenance, and how they would change with time to set newer trends as seen in the past. I call this unique relationship between the two, “the flip side”.

The illustration depicts the coexistence of ecology and habitat. The two being geographically placed adjacent to each other, still have a distinct identity and interdependence. 

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hi, I’m K Chandana…

An ardent traveller and an architect by profession, I believe in ‘Vasudaiva Kutumbakam’, meaning the world is one family. I am a passionate musician, a sport enthusiast and love to write. Currently enrolled in the masters program of Urban design at SPA Delhi, I am to create sustainable and inclusive neighbourhoods.

“If we always find mud around us, it proves that there is mud somewhere within us.”

                                                                                 -Mira alfassa (the mother)

Auroville – a town that belongs to earth is a perfect example of sustainable habitat. A city with perfect balance between human and nature . Once a dream of Sri Aurobindo and the mother today is a reality. The mother dreamt of a new society: balanced, just, harmonious and dynamic. Thereupon, she saw that “the earth is not ready to realise such an ideal” and therefore called it ‘A Dream’ which today is a reality. 

Architecture and design within Auroville are highly experimental around natural architecture. Natural architecture takes advantage of locally available building materials, as well as the layout and contours of the project site.

 On my virtual visit to this universal town, I discovered a new path to sustainable living. Today when the idea of sustainability has globally taken centre stage Auroville ends up becoming a model because of its eco-friendly, cost-effective and vernacular architecture.

Do have a Virtual visit to Auroville:

@GottaDoIndia

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hello there, I’m Mihika Khare…

I’m an art enthusiast and architecture student . I am passionate about learning and researching the untold monuments of the past. My Keen interest is in exploring the various aspects of art, heritage, and culture. I believe my real strength is my ability to create creative and unique vector illustrations. 

Karez can be defined as horizontal subterranean channels that were supposed to help in tapping, conveying and distributing water over large areas. Also called Qanat, these tunnels carry water from areas of supply to the areas of scarcity or need. The concept is originally Persian, brought to India during the 15^th century by Muslim rulers and was used to supply water in the drier areas of the Deccan. While various Karez systems were dug out, Naubad Karez is one of the longest –2 kilometres from the mother well to the end – and, more recently, people have been actively trying to restore the structure. The benefit of having tunnels is that they prevent evaporation and contamination of water. The cave-like channels are resistant to earthquakes and floods, war destructions and even rainfall variations.

The karez system is usually based on gravity where the water flows from a higher source point to a lower area.  In middle eastern examples, the source of the karez is usually an area of heavy rainfall which takes water to dry areas. Naubad karez, like other karez systems of Bidar, is particularly interesting as it transports water from areas of lower altitudes to areas of higher. The karez has 57 vents probably used for drawing up water or storage as can be paralleled with Central Asian examples of Karez. When water hits the depressions made for storage, the water level rises and thus creating an inner flow. This karez flows from the southwest to the northeast direction.

The marvel, however, lost its charm with time. Pollution being the main issue, the openings are treated as sewage and water from open drains also seeps into the tunnels. The increased nitrate concentration makes the water unfit for consumption – as some locals continue to use it for that purpose. The karez originally relied primarily on underground water but after restoration, the karez works more on a watershed approach. The restoration, which took place during the drought in Bidar (and nearby places) in 2017 helped people overcome the catastrophe to a certain extent.

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hiya, I’m Aadya Arora…

I am an undergraduate student of History and English. I like learning about Indian culture and heritage, understanding different aspects of it and widening the way I perceive it.

At that age, I was so taken aback by the captivating view that the intricacies like how, when, or why the bridge was built did not even cross my mind. It was only but a few days ago when my mother mentioned it while reminiscing about the trip, that my interest was piqued, and I decided to read up about the Living Root Bridges of Meghalaya, which are a quintessential example of the perfect amalgamation of architecture, human innovation, and nature. Documented for the first time in 1844 in the Journal of the Asiatic Society of Bengal, the bridges may themselves date back a few more centuries as per the department of environmental studies at the North-Eastern Hill University (NEHU), Shillong. Presently there are 11 functional root bridges in Meghalaya, the most of which are in and near Cherrapunji, one of the wettest places on earth. Among them, the Double Decker Root Bridge over Umshiang river in Nongriat village is the most famous and popular tourist attraction. In addition to being a delightful natural wonder, the two levels of the bridge provide a utilitarian purpose as well. Due to significant rainfall during the monsoon season, the water level of the Umshiang river rose and often submerged the lower bridge, prompting the villagers to construct the second level. In the past few years, a new bridge is being engineered at Nongriat which will make it a triple-decker bridge, which according to the locals will help attract more tourists. 

Originally built by the members of the local Khasi Tribe of Meghalaya to connect isolated villages and cross rivers and streams, these bridges have over time come to facilitate commerce, connected villagers, and even lead to the formation of new relationships among the people, along with attracting tourists and improving the socio-economic conditions of the region. The Khasi tribe’s indigenous process of constructing the root bridges is just as intriguing as the outcome. Made up of interwoven living prop roots of Indian Rubber trees (Scientific name: Ficus elastica) belonging to the fig family, these bridges serve as a more stable and sustainable alternative to the man-made wooden bridges which decay and get destroyed in just a few years due to the region’s prolonged monsoon season. To establish a strong foundation, the rubber tree trunks are planted on both sides of the bank and the young tender prop roots of the trees are directed across either with the help of temporary bamboo scaffolding or through hollowed out betel nut tree trunks, which rot and disappear over time after guiding the roots of the desired path. Stones and pieces of wood are used to fill the gaps, which get embedded in the floor of the bridge. As they are grown from roots and not constructed of perishable material, root bridges take around 15 to 30 years to be created and become strong enough for people to be able to cross them. They also persist for centuries, only getting more robust and durable with time as the roots keep getting entangled and strengthened. 

The Living Root Bridge in Riwai, Meghalaya

Source: https://commons.wikimedia.org/w/index.php?search=living+root+bridge+of+Riwai&title=Special:MediaSearch&go=Go&type=image

The Double Decker Root Bridge in Nongriat, Meghalaya

Source: https://commons.wikimedia.org/wiki/Category:Living_bridges

The Bridge floor

Source: https://commons.wikimedia.org/wiki/Category:Living_bridges#/media/File:A_bridge_made_from_trees.jpg

Bibliography:

1. Shankar, Sanjeev. “Living Root Bridges of Meghalaya.”
2. Chaudhuri, Punarbasu, Subarna Bhattacharyya, and Alok Chandra Samal. “Living root bridge: a potential no cost eco-technology for mitigating rural communication problems.” Int. J. Exp. Res. Rev 5 (2016): 33-35.
3. https://www.nationalgeographic.com/travel/article/living-root-bridges-clean-village-mwalynnong-india
4. https://www.livemint.com/Leisure/XG0VvYWuoy7fLoKL6WoHfP/Why-Meghalaya-is-building-new-root-bridges.html

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hello there, I’m Upasana Patgiri…

Currently a student of Bachelor of Planning from School of Planning and Architecture, Bhopal, I like to describe myself as a nature enthusiast and an inquisitive person. My interests are varied, from painting, embroidery and photography to trekking and cycling. I also like to cook, travel and learn new skills. Being a student of urban planning, discovering and learning about different places, concepts and ideas excite me and I hope to keep on exploring, questioning, finding answers to things, going ahead in life.

In parts of Rajasthan, Gujarat, Delhi, Madhya Pradesh, Maharashtra, and North Karnataka (Karnataka)-several step-wells are still present. They not only provided water supply but were utilitarian in strategy. And often have architectural and social significance by serving as temple tanks. Since step-wells are located deep into the ground, not being exposed to heat helps in keeping the water cool. During the monsoon, water is recharged that eventually dries up in summer. It also served as a retreating place for travellers, caravans, even the villagers in hot season with stone benches, beautiful ornamentation. Ritualistic activities that satisfied spiritual needs were performed. Today, more than 200 step-wells are likely to be discovered in Gujarat alone. It is said that the first step-wells were erected in Gujarat, and hence the moniker of ‘land of step-wells. 

They are referred to as Vav in Gujarati and Baori in Hindi. One fine day when going out was considered healthy, along with my college friends, we went to venture into the infamous yet secluded Sevasi Vav. Built during the reign of Sultan Mehmud Begada, the Sevasi Vav is located in the Sevasi Village, outskirts of Vadodara. Said to be built in 1543 CE by Raja Haridas in the memory of a spiritual leader, Vidhyadhar. The vav is seven floors below ground and we entered through a gate-like structure with a dome in the middle. The elephant and tiger relief work on both sides of its gate welcomed us. It is said to be constructed with a mix of brick masonry and a system of stone columns. Keeping in mind the orientation like the rest step-wells, it’s in the east-west direction. Researchers have claimed that one can feel the sudden drop in the temperature on entering the vav which proves the vav’s ability of water storage efficiency. The locals depended on it for hundreds of years surviving the semi-arid climate of the state. It is a treat to the eyes as the structure shines brighter with sunlight beaming in and the vav lits up gloriously.

Figure 1: Entrance of Sevasi Vav

Figure 2: Top view

 Standing on the seventh step on your right side lies a mandala. The mandala is presumed to be associated with the Vastu Shastra diagram. The walls are intricately carved with motifs that can be spotted on each level. Torans, flowers, bells, animals such as elephants, horses, and bird engraving can be seen. False ‘jharokhas’ with floral patterns on their walls are seen. Following the stairs, as one proceeds down, on every intermediary floor, pillar gateway, carved with magnificent floral motifs, horse subjects, a pair of birds carved can be seen on either side of its capital. On the 63rd step, a large platform with a Trishul, dedicated to Shiva is placed in front of an ‘Agnikund‘. Religious activities like hawans, puja, and such are held there as it performs as an active temple. The 80th step has a pillar with an elephant motif on both sides of a Gujarati inscription mentioning the date and year of construction of the Vav. 

Figure 3: A diagram which is assumed to be related to Vastu Shastra

Figure 4: Horse motif on the pillar

Figure 5: Gujarati Inscription

Figure 6: Agnikund, on the right-hand side lies the Trishul

A dried-out-up well stands parallelly across the 99th step. The last few steps got submerged in the water. Two lanes run on either side of the stepwell, which may have once served as a bridge. These two alleys form a mini-narrow entrance exit to a platform-like structure directly in the centre of the stepwell, on the 7^th storey. Following the two alleyways, the dome-like building awaits at the other end. The dome has two entrances and exits via stairwells. The balcony inside the dome provides a clear view of the stepwell from the top as well as the well on the opposite side.

Figure 7: Water filled with Garbage

Figure 9: Top view of the well

Figure 10: View of the Doom from the top storey

Figure 11: View from within the Sevasi Vav. 

However, decades of neglect have damaged the building, which is now in disrepair. One of the walls has even slanted slightly, and some pillars have developed fractures. According to locals, if the wall is not provided external support, the entire building may collapse. Even the 25-foot-deep well is overflowing with trash, leaving little place for water. Avantika Singh, a former collector of the district, visited the place with other prominent people a few years ago and was shown around the steps by the villagers. They had also presented a case for its rehabilitation. In 2014, a city-based wildlife NGO and an Ahmedabad-based NGO had cleaned the Vav as a part of the ‘Swachh Monuments’ campaign. However, it is only Patel who looks after the monument.

  Due to lack of protection, the vav’s paintings got harmed by a person. The acid produced by the mixture of smoke and moisture from burning offerings has harmed the plasterwork. Despite complaints to authorities, the problem has not been investigated, and the individual continues to do so without consequence.

Richard Moe, National Trust for Historic Preservation, says:

“There may have been a time when preservation was about saving an old building here or there, but those days are gone. Preservation is in the business of saving communities and the values they embody.”

 The heritage monuments are gradually losing their essence due to a lack of preservation. They are inhabited, utilized, transformed, and incorporated into the everyday lives of the people. Water is one of the most basic needs. India is severely water-stressed. We should try to rely on the practical and sustainable water conservation techniques that have emerged throughout ancient periods.

Bibliography:

1. Pathak, A. and Kulkarni, U.D., 2007. Influence of Chalukya architecture on Hampi stepwell. In National Seminar on Water and Culture: June 25 (Vol. 27).
2. Tayyibji, R., 2016. Ancient Stepwells of Ahmedabad: A Conversation on Water and Heritage. Sutra Journal.
3. http://edugreen.teri.res.in/explore/water/conser.htm
4. https://medcraveonline.com/IJH/IJH-04-00250.pdf
5. https://www.myindiamyglory.com/2019/12/17/sevasi-vidyadhar-vav-1543-stepwell-built-by-raja-haridas-awaits-revival/
6. https://historyofvadodara.in/vav-stepwells/#:~:text=According%20to%20a%20Devnagari%20inscription,was%20revered%20in%20Sevasi%20village
7. https://www.sciencedirect.com/topics/engineering/natural-resource-conservation
8. https://timesofindia.indiatimes.com/city/vadodara/529-year-old-vav-lies-in-a-shambles/articleshow/55534190.cms
9. https://www.downtoearth.org.in/news/water/pride-in-ruins-60781
10. https://www.sciencedirect.com/topics/engineering/natural-resource-conservation

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hello, I’m Ramyani Sengupta…

Currently my career is in ruins with a degree on grave robbing; I graduated in Archaeology and Ancient History from Maharaja Sayajirao University of Baroda, Gujarat. I’m the social media manager at India Lost & Found. I keep an avid interest in art and aesthetics and a lot of things. Art and cultural learnings are my major pillars of interest. I’m fascinated by different languages, while poetry and dance attracts me as it signifies the true colours of life. I also have a craving for different kinds of food which radiates my positive energy!

In the west of India, states like Gujarat and Rajasthan, comprise very dry and arid regions. Water is a scarce resource here, making it crucial to conserve. The people in these regions have come up with various indigenous techniques to store water during the monsoons and use them throughout the year, or sometimes dig up wells till the groundwater level to sustain their lives.

A look into India’s architectural and ecological history indicates how water was preserved and how this system has existed since the 10^th century in India. Baolis for the first time appeared in the 2^nd and 4^th century AD in Junagadh, Gujarat. From there they spread to Rajasthan and then to the rest of northern and western India and Pakistan. But, the great bath of Mohenjodaro can also be considered a form of Baoli, which was made in the 3rd century BC. So technically we can say they go way back to the ancient period.

Baolis or step-wells had steps to reach the bottom where the well or water source is situated. They also have rooms and resting places where travellers can rest. They were built as multi-functioning structures where villagers could collect water and commuters could have a place to rest. The water would collect in the well during the rainy season and it would serve as a reservoir for drinking and irrigation purposes throughout the year. Some baolis were dug up to reach the groundwater level. The main well along with the secondary structures in baolis are mostly constructed from stone masonry. Not just as an ecological and conservation purposes of saving water, but these baolis were seen as an aesthetic space to showcase the art and architecture of the period they were built in. They had intricate designs and motifs on the walls and were symbolic of the culture that prevailed in the region and during a particular period. Architecturally, they are a marvel and are one of the finest examples are seen in both Hindu and Islamic architecture. They were used as temples and ritual sites where they had pictures of male and female deities engraved on the walls of the baoli.

Today, even when the water in these baolis has dried up, they are still re-adapted and used as temples, most significantly the Mata Bhavani Vav in Ahmedabad built in the 1^st century and by the Chalukya dynasty in Gujarat. That is another importance of Baolis. Apart from conserving water, they were also an important religious and social structure. Ladies would often perform rituals in these Baolis. The location from the movie Padmavat where Rani Padmini performs Jauhar along with 16,000 other Rajput women is also a kind of Baoli which was a structure inside the Chittorgarh fort. One Baoli which has often been used as a shoot location for a lot of movies is the Chand Baori. Chand Baori is a multi-approach stepwell in Rajasthan and is situated in the village of Abhaneri. Movies like Bhool Bhoolaiya, Paheli, the fall, etc. were shot here. The stepwell has also served as an inspiration for the location of one of the batman movies-the Dark Knight rises. The Baori was made between the 8^th and the 9^th  century by King Chanda to solve water issues in the region. It is 13 stories deep and has 3500 steps in total. However, Rani ki vav or the queen’s stepwell in Gujarat is the most popular Baolis in India, which was made during the rule of the Chalukyas dynasty. It has had the status of UNESCO world heritage status since 2014.

Baolis have served from being an absolute necessity (to conserve water) to being an important and significant artistic disposition (being heavily adorned with structures and deities that showcase the art and culture of the era) from historic to modern times. They are important ecological structures that have ancient roots and serve the purpose of conserving water structurally. They are important cultural assets and therefore should be preserved at all costs. By the early 20th century, there were very few Baolis that were serviceable to the public, as the British thought of them as unhygienic and so many of these Baolis were destroyed or filled, thus rendering them redundant.

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hi, I’m Radhey Sureka…

Radhey is a student at St. Xavier’s College, Calcutta. Though from the field of commerce, she loves all things history, culture and heritage. Currently, she is working with the Oral History Database team of India Lost & Found.

Across the different traditions in our country, the importance of nature (be it the topography, water, forests or more) is interwoven and rooted within our lifestyles, spaces and actions, leading to one of the earliest sustainable cultures. In our daily lives, the use of earthen pots for storing water, eating on Sal and banana leaves, having the morning brew in tiny clay cups, or jute bags for our grains, medicines from plants, or the decorations for major events made of flowers and leaves, have all shaped our culture, making it more one with nature, something unique that makes us Indian. So when the world celebrates Nature Conservation Day in July, what better than to highlight our tangible and intangible cultural history with the stories and movements associated with conservation? The concept of ‘Sustainable Habitats‘ intends to celebrate and bring forth the importance of natural heritage in our built heritage.

The month of July will explore endless possibilities of the symbiotic relationship between people, their built heritage and nature as seen often across different cultures and eras in India. These would involve observations from travel journals, sketchbooks, history or heritage papers and more, and would come from all of our departments, as well as a bonus from our alumni interns!

So fasten your seat belts and come along with us for a journey into the lives of people who feel for our heritage, and have an eye for sustainability while they’re at it!

Hi, I’m Swapna Kothari…

Swapna is a Conservation Architect who believes that cultural narratives allow you to dream, and give the power to imagine. She is Curator at Inkling by India Lost & Found and also doubles as a Research Authenticator.

The movie Jait Re Jait, a 1977 Filmfare award winning Marathi language film, directed by Dr. Jabbar Patel, is based on a book by G. N. Dandekar. Its story revolves around the Thakar tribal caste, where Nagya, the protagonist (played by Dr. Mohan Agashe), is a drummer, obsessed with being ‘punyavant’ or pure. He meets Chindhi, (played by the evergreen actress late Ms. Smita Patil) who has abandoned her ineffectual husband. Nagya and Chindhi fall in love and the story unravels their struggle to find union. The movie delivers the message, that if you want to achieve your goals, you should be willing to take efforts, even if it means paying the ultimate price! (No spoilers here!)

Additionally, more crucial to the theme, the film depicts the beliefs of the people who worship a bare mountain peak, called ‘Lingana’, as their god. So entwined is this god or force of nature in their lives, that it finds mention as the flora and fauna, the day and night, in every alternate phrase of the tribe’s folk songs. Interestingly, highlighting their close relationship with nature, the people of the tribe also count their days and identify seasons by referring to the colours of leaves and trees. In their folksongs, the Thakar tribe address themselves as the ‘birds of this jungle’.

Here is a stanza from one of the songs in the movie:

 “आम्ही ठाकर ठाकर ह्या रानाची पाखरं
या झांबर्‍या गर्दीत मांडुन इवले घर…”

“We are Thakars, Thakars, the birds of this jungle,

We’ve established our tiny houses between these serried trees…”

The plot of the movie is interesting. It starts out with Nagya using his father’s dhol or drum, which he finds difficult to use. He demands a new, smaller dhol from his father instead, to make things easier for him. Reality is, as is usually the case, very different. Nagya’s father explains that making a dhol from scratch takes one and a half year, and is quite a challenging task. When you depend on nature, you move along with it, and cannot speed things up, unsustainably. Nonetheless, because Nagya is so obdurate, father and son finally proceed to make a dhol. They cut a suitable tree trunk and locate an ancient rock-cut water body at Lingana hillock, since the wood has to be submerged in water for a whole year. Simultaneously, the skin of an animal has to be dried and prepared. Only then can the dhol finally be assembled.

This whole process of making the dhol is intriguing and interesting. It not only shows the amount of patience the tribal members have, but also how wholly dependent they are on nature for meeting their needs and requirements. The patience, intricacies and excitement depicted in this relationship reveals how the people seek joy in nature and in the smaller things of life.

Another striking moment from the film for me, was when Nagya’s father warns him not to utter any bad word during the ‘Sugiche Divas’, or days of harvest, considered to be the happiest days for the tribe. The time of harvest is considered by them as their only festival, where any kind of negativity should be eliminated.  

What caught my attention was the unique calendar used by the people of Thakarwadi (the tribal settlement). The calendar closely follows the patterns of nature, similar to the traditional calendar system of the Hindus. Full moon and new moon days are significant.

The movie does a good job of bringing out the tribe’s lifestyle and communion with nature. Throughout the movie, the background and foreground score depends largely on folk songs.  There is a mention of plants, animals, the sun and moon, days and nights, in all these songs, composed poetically and with great music to go with it.

“आल्या बरसाती घेऊन, मेघ मल्हाराची धून, या झिंगल्या झाडांना बांधले पैंजन…

चांदन्या गोंदून, चांदन्या गोंदून…धरलिया चादर…”

“The music of ‘Raga Malhara’ has invited the monsoon showers. The wind makes the trees swing, they sound as though ghungaroos (anklets) are tied to them.

The raindrops sparkling in the moonlight emit light as if the roofs (and Mother Earth) are covered with a blanket of stars!”

“चैत्र गेला, वैशाखाचं ऊन गेलं,

पाऊस पाणी सरलं, सरली हंगामाची घाई…”

“Chaitra (the first month of the Hindu calendar) has passed, the harsh summer of the month of Vaisakha has been survived,

Monsoon showers have ended, so has the bustle of the farming season…”

The message conveyed by the Thakar community and their relationship with nature indicates how finding oneself equals to finding god. That is the journey of life. The tribal community has found god in nature. Material desires such as wealth and fame take one further away from this higher purpose. Finding god is a reward in itself, and to the people of the tribe, god lives solely in nature. To survive and thrive, we must co-exist with nature, our god.

This symbiotic relationship with nature is what caught my attention, and the words “sustainable habitats” promptly reminded me of this film. Many such stories of natural heritage mingled with our culture exist in India, they are only waiting to be explored, and gazed at with a fresher lens. I hope the snippets of this movie push you to watching it too, and I hope you like it, just as I did.

On the theme of being one with nature and with god, I am reminded of the words of Lord Byron,

“There is a pleasure in the pathless woods,

There is a rapture on the lonely shore,

There is a society, where none intrudes, by the deep sea, and music in its roar:

I love not man the less, but Nature more.”

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.