Baiga Adivasi Fabric

Introduction:

Usage:

The orthodox Baiga tradition involved a preference for minimal clothing. Baiga women traditionally wear a garment known as “lugra,” (fabric) a long strip of pink and white cloth tied around the waist, wrapped across the breast, and tucked in at the shoulder. This creates a short skirt like that falls above the knees. While lugra (fabric) has been the traditional attire, sarees have gained popularity among Baiga women in recent times. Men adhered to this tradition by wearing short dhotis, which could be as brief as a langot (loin cloth). Additionally, it was common for men to cover their heads with a piece of cloth. This traditional attire reflected the cultural practices and preferences of the Baiga community, emphasizing simplicity in clothing.

While some were designed for everyday wear, particular patterns were reserved for special occasions such as bridal wear. Additionally, specific patterns were set aside as gifts for the bride’s mother.

Significance:

For certain tribal communities or those labelled as “primitives,” clothing serves as a form of practice to shield oneself from the impact of various weather conditions, such as rain, wind, or extreme temperatures. In contrast, some lack a “tradition for clothing” or “personal adornment” and acquire pieces of cloth from nearby weavers or mill cloth from local retail stores. Within the Adivasis of the central zone, there is a preference for a one-piece, skirt-like apparel, particularly for young girls. Elder women, on the other hand, opt for a plaid or sari-type cloth referred to as “lugra”. This attire may also be draped over the head on occasion. The different clothing choices reflect the diverse practices and preferences within these communities.

Myths & Legends:

The Baiga believe their mythical ancestors were Nanga Baiga, the male ancestor, and Nanga Baigin, the female ancestor. They were born from the goddess Dharti Mata, and Nanga Baiga had “great” magic power. They helped Bhagavan create the world and serve as its guardians.

Stories and beliefs of Baiga Adivasi community, unfolds the cultural tales that have been valued through generations. Some of famous are mentioned below:

Once upon a time, when the world was all water, God took a break on a floating leaf. Wishing for land, God made a crow from chest dirt and asked it to find soil. The tired crow sought help from Kunwar Kakaramal, a wise tortoise, who guided it to Paataal Lok, where Raja Kichakmal hid the soil. The crow brought back the soil, and God used it to create land, stirring it with a vessel and snake. To steady the land, God created the Agaria, who made iron nails. The Nanga Baiga secured the corners, stopping the land from shaking. Since then, Baigas are known as Earth’s protectors.

Top of Form

Elephants’ Lost Wings: In ancient times, elephants possessed colossal wings and could soar the skies. One day, at a lake, a curious encounter with a crocodile led to a struggle lasting 12 years and 13 yugs (epochs). Overwhelmed, the elephant sought divine intervention. God, finding the elephant with torn wings and near demise, used its ears to rescue and pull it from the water. In an effort to prevent destruction upon descending to the land, God removed the remaining wings, decreeing elephants could no longer fly. Thus, the wide ears of elephants became a testament to their past.

The Baiga and the Tiger’s Tale: Once upon a hill, Baiga Latiya and his pregnant wife was wandering into the forest for roots. When labour hit, a strange prediction was made – if a boy came, keep him away; if a girl, bring her. A boy was born, making Latiya furious. To protect the baby from a tiger threat, the mother fled, leaving the tigers to raise the child. As he grew, the boy cared for the tigers, hunting for them until they passed away. A unique story of a Baiga and a tiger, treasured by the Baiga community as a lasting friendship.

The Baiga and the Earth Mother’s Blessing: Saanti, a Baiga, had two wives, Jalango and Sayaat. In a dream, Mother Earth asked for a sacrifice to calm her. Saanti, believing the dream, took his children to the Earth Mother’s shrine. Along the way, a king offered his own bones, but Saanti refused. At Chitee hill, a wild boar appeared, volunteering for the sacrifice. Saanti danced the Karma dance, pleasing the Earth Mother. She blessed him to continue the dance forever. Since then, the Baiga people honour Mother Earth with song and dance.

The Beating of Bhagavan: In a town ruled by a Raja, an old Baiga, rewarded for his service, received a gold block. Enroute home, a dog stole the gold by a river. The old man, thinking it was Bhagavan, vowed to beat him. On his journey, he encountered a tank without water for five years, a horse unridden for 12 years, and a Gond man with five runaway wives because of unmarried husband’s sister. Bhagavan, disguised as a Dewar (Baiga magician and healer who performs important rituals in the village), advised him to return home. A letter by Bhagavan explained everything to the Raja, solving each problem. Following Bhagavan’s guidance, the old man found his gold at home, married the Gond’s sister, and lived happily.

History:

The Baiga, a relatively small and less recognized Scheduled Tribe in Madhya Pradesh, are known as priests. They refer to themselves as Bhumiraja/Bhumijan, signifying “Lord of the soil” or “Son of the nature.” Belonging to the Mundari or Kolorian group, they are scattered across central Indian states such as Madhya Pradesh, Chhattisgarh, Bihar, Jharkhand, Odisha, and West Bengal.

Our study won’t start with tribes and races taking control in India. Instead, we recognize an original culture that existed before Aryan influence. Clues from the Indus Valley (harappan) and Ganges Valley (vedic) civilizations suggest people wore draped costumes, giving us a peek into the diverse culture that thrived in India before outside influences. This approach allows us to appreciate the indigenous roots and unique facts of India’s early civilizations. During Vedic India period, approximately 1500 years before the Christian era, a wealth of evidence emerges regarding prescribed costumes for various occasions. The Vedic era encompasses a diverse range of costumes tailored for ritual, domestic, and social purposes. The attire is intricately adorned, blending both draped and handmade elements.

The literature of the time not only details the costumes but also provides insights into complementary accessories such as headgear, footwear, shawls, scarves, and other embellishments. This comprehensive view allows us to appreciate the richness and diversity of clothing and accessories in Vedic India, shedding light on the cultural intricacies of that era.

In ancient India, clothing exhibited remarkable diversity with three prominent types of garments. The first style resembled a lungi, featuring a lower garment with pleats or “4 nivi” tucked at the bellybutton. This was paired with a close-fitting choli or bodice, and a scarf-like over garment added an additional layer to the ensemble. The second type resembled a sari but had a loose end or pallav for body coverage, eliminating the need for a separate garment. The third type comprised folk or Adivasi costumes, characterized by simple and meagre attire. This often took the form of a one-piece garment, tied either at the waist like a skirt or ingeniously knotted above the shoulders or below the arms. This diverse range of clothing reflected the cultural richness and adaptability of ancient Indian attire, catering to various preferences and functional needs.

In Vedic India, good dress was highly valued, evident in terms like “suvasana” and “surabhi.” As the Vedic age transitioned to the epic period, details about attire emerged, including terms like “adhi-vasa” for over-garments and “paryanahana” for shawl-like wraps. The literature hinted at “drapi” or embroidered garments, “usnisa” for head-dresses, and “atka” for flowing clothes. This emphasis on various attire elements reflects the cultural significance of dressing well in Vedic India.

The subsequent phase of Indian costume, believed to span from around 320 B.C. to approximately 320 A.D., witnesses the emergence of fashionable trends influenced by historical events and climatic considerations. During this period, “eight to ten distinct varieties” of dresses gain popularity. The draped sari, however, continues to dominate and extends its influence across the expanse of India. Alongside, more fashionable costumes emerge, including the kurta-salwar, skirts, cholis, trousers, gowns, and various head-dresses. These additions complement the three basic types of dress mentioned earlier: the lungi or skirt type with choli, the full sari with a pallav, and a one-piece dress fashioned either as a mere skirt or a combined garment from a strip of material. This era also introduces flowing over garments, tubular pleated skirts, full skirts, odhnis (wraps), full saris, and combinations like sadra and lungi (tunic cum skirt) to the diverse array of Indian attire.

Sanskrit and Prakrit literature serve as rich repositories of references to dress and its diverse forms. Within these literary works, vivid descriptions of various types of attire not only showcase aesthetics but also emphasize deportment and fashion. Approximately twenty-three writers contribute to these detailed portrayals of clothing. Among them, Rajashekhara’s “Kavyamimansa,” composed in the 10th century, holds a distinctive place. This work is regarded as a significant source establishing the existence of regional costumes, offering what is considered a more or less authentic record of the attire prevalent in India during that period. Rajashekhara specifically highlights affinities in costumes across the northern and north-western regions, encompassing Saurashtra, Rajasthan, Malva, and Central India. Scholars recognize his descriptions as accurate appraisals of costume styles, reflecting the realities of the time rather than mere imaginative narratives.

Utility, aesthetics and a common style of dress with reference also to the availability of materials seem to have dominated the sphere of dress, and regional costumes came to stay.

A symbiotic relationship between different communities is not uncommon in traditional societies, where each group may have its own specialized skills that contribute to the overall well-being of the community.

In this case, the weavers from the Panika caste play a crucial role in providing the Baiga tribe with durable and suitable clothing for their lifestyle in the forest. The use of thick and sturdy fabric makes sense, considering the challenging conditions of the forest environment.

The Panika are a Hindu community primarily found in the states of Chhattisgarh, Jharkhand, Madhya Pradesh, Odisha, and Uttar Pradesh. Traditionally, they are known for their occupation as weavers.

The use of traditional dyeing methods and weaving techniques is an interesting aspect of many indigenous cultures, and it adds a rich cultural and artistic dimension to the textiles produced. Aal, or madder, is a plant that has been historically used for dyeing textiles in various parts of the world. The dye obtained from the roots of the madder plant can produce a range of red and orange hues, and it has been employed for centuries to colour fabrics.

These weaving traditions not only contribute to the aesthetics of the textiles but also serve as a means of cultural expression and identity for the Baiga tribe and other communities in the region.

Design:

The throw-shuttle pit loom, known as mangtha, is crafted from sagwan (teak wood) or saal (Shorea robusta) for durability. Weavers order these looms from carpenters (badhai), emphasizing collaboration to tailor the looms to specific weaving needs, ensuring functionality for creating traditional textiles like Pata and Phenta.

The motifs and patterns found in the crafts of the community are deeply rooted in legends, folklore, and everyday life. Inspired by these influences, the motifs on Aal-dyed textiles in the region are typically categorized into animals, insects, birds, human figures, and objects from their surroundings. Additionally, geometric patterns inspired by nature contribute to the rich symbolism. The motifs not only add aesthetic value to the fabric but also carry cultural significance, reflecting the community’s traditions, beliefs, and stories. The choice of motifs can vary based on the weaver’s creativity, cultural influences, and the specific purpose of the fabric, whether it’s for daily wear, special occasions, or ceremonial use.

Challenges:

Economic Challenges: Economic factors such as limited access to markets, fluctuating prices of raw materials, and low demand for traditional handwoven fabrics can pose challenges for the Panika weavers in sustaining their livelihoods.

Technological Changes: With the advent of modern machinery and synthetic fabrics, there might be a decline in the demand for traditional handwoven Baiga fabrics, leading to challenges in preserving and promoting the traditional weaving techniques.

Skill Preservation: Traditional weaving techniques require specific skills and knowledge passed down through generations. However, younger generations might be less interested in pursuing traditional weaving practices, leading to a potential loss of traditional skills and knowledge within the Panika community.

Market Access and Marketing: Limited access to markets and marketing channels can restrict the Panika community’s ability to sell their products at fair prices and reach wider audiences.

Introduction Process:

A distinctive aspect of the weaving process involves using Aal-dyed yarns to create designs through the interlocking extra weft weaving technique. The weaver throws a shuttle across the cloth width with one hand, catching it at the opposite selvedge end with the other hand. Foot-operated paddles change harness positions, creating a shed for each weft insertion. This repetitive process continues until the entire fabric piece is completed.

Raw Materials:

Yarn: Natural fibers like cotton are used for the warp and weft in Baiga pata weaving. These yarns may be coated with rice starch for additional strength and durability.

Dyes: Aal, or madder, is commonly used for dyeing the yarns in Baiga pata weaving. This natural dye imparts red and orange hues to the textiles.

Rice Starch: Rice starch is used to coat the yarns during the preparation of warp. This coating enhances the strength of the yarn.

Oil: Oil is applied to the warp during the sizing process to provide lubrication. This ensures smooth movement of the yarn through the reed and harness during weaving.

Bamboo Brush: A bamboo brush is used in the sizing process to separate the warp yarns.

Tosar (Wooden Rod): The tosar, a long wooden rod, is used for winding the weft yarns. It plays a crucial role in creating the elongated ball of weft yarn known as guccha.

Tools & Tech:

Throw-Shuttle Pit Loom (Mangtha): This loom is made of wood, often sagwan (teak wood) or saal (Shorea robusta), and is used to hold the warp threads in place during the weaving process.

Shuttle: Used to carry the weft yarn across the warp threads. In Baiga pata weaving, multiple shuttles may be employed, especially for creating coloured borders.

Foot-Operated Paddles: These are used to change the position of harnesses, creating a shed for each weft insertion.

Reed: A comb-like tool that helps space and separate the warp threads, allowing for the passage of the weft yarn during weaving.

Knife or Scissors: Used for cutting and trimming the threads during various stages of the weaving process.

Rituals:

process:

Step 1 – In the warp preparation stage, the yarns undergo a process of coating with rice starch. This is carried out outdoors, typically on the streets, where the yarns are dipped into a bowl of rice starch in small sections. The process involves rubbing the yarns between the hands, ensuring an even application of a light rice starch coating. This treatment is intended to enhance the strength of the warp yarns.

Step 2 – After coating the warp yarns with rice starch, they are spread out and placed under tension. A bamboo brush is used to pass through the warp in a back-and-forth motion, separating each end from the others.

Step 3 – Additionally, oil is applied to the warp for lubrication, helping smooth movement through the reed and harness during weaving. The yarn is then dried by gently pulling from both ends of the length, preparing it for placement on the loom.

Step 4 – The weft yarns are tied to a tosar, a long wooden rod with one tapered end. Rotating and moving the tosar up and down with the left hand forms an elongated ball of weft yarn, known as guccha. This guccha is placed in the shuttle for weaving.

The intricate patterning of motifs in Aal-dyed textiles involves the insertion of extra weft by hand, without the use of dobby, jacquard, or design graphs. The weaver relies on visual intuition rather than written instructions, lifting yarns with fingers to intricately weave the motifs. Coloured borders are created simultaneously using three shuttles – two for the borders and one for the Pata’s field. The interlocking of yarns from adjoining shuttles forms straight or serrated patterns, a technique known as phera.

Waste:

Yarn Waste: Trimming and cutting of yarns during various stages of the weaving process can result in yarn waste.

Starch Residue: The application of rice starch to the yarn during the preparation of the warp may lead to some starch residue being left behind, which could be considered waste.

Cluster Name: Dindori

Introduction:

Dindori is a district of Madhya Pradesh state of central India.

History:

Dindori was established in 1998 following its separation from Mandla. Originally known as Ramgarh until 1951, when it was a tehsil of Mandla, the name was later changed to Dindori.

Throughout history, central India witnessed the rule of various dynasties, including the Maurya, Sunga, Kanva, Chalukya, and Chedis. The Haihayabansi's kingdom governed Garha-Mandla from 875 A.D. to 1042 A.D. After the rule of the Baghel Raja of Rewa, Jadhe Rao Gond, a servant of the king, assumed royal status, making Gond Jadurai the first King of Garha-Mandla.

Until 1835, Mandla served as a tehsil of Seoni, later gaining district status in 1851. In 1857, during the suppression of the mutiny in Mandla, with the assistance of the Rewa king, the Britishers acquired the land of Ramgarh. The brave queen of Ramgarh was defeated, and the Sohagpur area was handed over to the king of Rewa. Consequently, the remaining area became part of Dindori tehsil, leading to its designation as a new district on May 22, 1998.

A tribal dominated area Baiga are the major tribe occupying the tribal area of the district. The Baiga, believed to be the first humans created by the earth, hold a sacred duty to protect it. Described as Naga Baiga and Naga Baigin, the first Baiga man and woman, their primary responsibility is safeguarding the earth. In fulfilling this duty, they ensure the conservation of forests and the protection of water sources. Recognized as Bhumia, signifying their connection to the earth, the term Baiga transcends a mere caste or tribe. Instead, it denotes those with profound knowledge of forests, capable of healing ailments and preserving the environment. Thus, Baiga signifies a custodian of nature and a guardian of a harmonious coexistence with the earth.

Formerly nomadic hunter-gatherers practicing shifting agriculture, the Baigas are renowned for their extensive knowledge of medicinal properties within their ecosystem.

The term 'Baiga' is believed to stem from 'Vaidya' in Hindi, signifying healers. Oral traditions pass down their profound understanding of the environment and biodiversity. Their lifestyle, characterized by simplicity and detachment from material possessions, sets them apart. Historical interactions with Gond tribals led to the Baigas' displacement to less fertile lands due to their opposition to ploughing.

Bewar: Baiga's Traditional Agriculture

The Baigas, guided by divine sanction, practice a unique form of agriculture known as Bewar. The origin story involves cutting down Sal trees and receiving instructions from God to sprinkle kutki seeds on the ashes, promising a bountiful harvest upon return.

Revering the earth as Dharti Mata, Baigas consider ploughing a sin, believing God crafted forests to provide for human sustenance. They attribute their impoverishment to adopting agriculture, viewing it as a deviation from their traditional practices.

Bewar, a Sweden agriculture method, involves burning forest patches and sowing seeds in ashes after rains. Colonial restrictions confined Bewar to the Baiga Chak region, triggering attempts to introduce settled agriculture. Despite evolving practices, some Baigas preserve Bewar. Kodo and Kutki crops, integral to Bewar, remain staples in their diet. The Baigas' connection to the land reflects their enduring reliance on traditional ecological wisdom.

Geography:

The district covers an area of 7470 sq.km. and is located on the eastern part of Madhya Pradesh, bordering the state of Chhattisgarh. It is surrounded by Shahdol in the east, Mandla in the west, Umaria in the north, and Bilaspur district of the state of Chhattisgarh in the south.

It is situated between the latitudes 22.17N and 23.22N and longitudes 80.35E and 80.58E It is divided into seven blocks namely Dindori, Shahpura, Mehandwani, Amarpur, Bajag, Karanjiya and Samnapur.

Environment:

Dindori district experiences distinct seasons throughout the year. Summer typically spans from April to the end of June, with severe heat in April and May reaching its peak. Winter sets in from mid-November to the end of February, with December, January, and February being the coldest months. March brings a pleasant climate, marked by the blooming of spring. The nights are colder during this time. The rainy season, from July to mid-September, is characterized by an extended period of rainfall. Autumn is brief, lasting from mid-September to mid-November due to the prolonged rainy season. In the winter months, minimum temperatures in higher elevations drop to 2⁰C-3⁰C, while maximum temperatures in lower areas can exceed 45⁰C during the peak of summer.

The district receives an average rainfall of about 1450.00 mm, with Block Shahpura receiving the highest average rainfall at 1320.00 mm, and Block Bajag receiving the least at 990.00 mm. The average maximum temperature is 43.6°C, and the average minimum temperature is 3.1°C.

Infrastructure:

For travellers heading to Dindori, the following transportation options are available:

By Air: The nearest airport is Dumna Airport, located in Jabalpur, approximately 146 km away from Dindori.

By Rail: The nearest railway stations are Jabalpur (144 km away), Pendra Road (115 km away), and Umaria (108 km away).

By Road: Dindori enjoys good road connectivity with neighboring districts such as Jabalpur, Mandla, Bilaspur, and Shahdol. The NH 45 Ext new connects Dindori to Jabalpur and Kabir Chabutra-Chhattisgarh Border. Additionally, the NH543 New links Dindori with Shahdol, Mandla, and Balaghat. Buses operate to nearby and distant destinations, including Nagpur, Bhopal, Mandla, Shahdol, Umaria, Amarkantak, and Jabalpur, providing convenient transportation options for travelers.

Baiga settlements exhibit a compact and exclusive nature, typically being homogenous. They prefer living in separate wards to maintain distance from other communities, preserving their distinct cultural identity. These settlements are often situated near foot-hills or hill slopes, surrounded by hills and forests, with perennial hill streams providing a reliable source of drinking water throughout the year. Baiga villages are structured in a large square and linear pattern, featuring a broad space between lines forming the village street, approximately 30 feet wide. Houses are strategically positioned closer to cultivable lands, and the village boundary is clearly demarcated by stone piles, often with burial grounds located just inside this boundary.

Baigas dwell in one-room mud houses, inadequately constructed and prone to leaking or collapsing during monsoons. Winter poses additional challenges, with cold weather prompting the burning of wood logs throughout the night. Families huddle around the fire for warmth, using thin sacks on the ground as makeshift mattresses. The basic living conditions highlight the need for improved housing infrastructure for the Baiga community.

Architecture:

Dindori district boasts a rich heritage with a blend of historical and spiritual sites. Among the spiritual places, notable mentions include Laxman Madva, Kukarramath, and Kalchuri Kali Mandir. These locations offer a glimpse into the cultural and spiritual facets of the region.

Kukarramath Temple: Kukarramath stands as a significant historical site in Dindori, merely 7 km away from State Highway No. 22. This temple holds a distinctive feature as it is westwards facing, unlike many other Lord Shiva temples. While there was once a cluster of five temples, only one stands today. According to legend, this temple was constructed in a single night, but the Shikhar (spire) could not be completed due to the arrival of morning. Recognized as a protected monument by the Archaeological Survey of India, this temple is also renowned as Rinmukteshwar Temple, adding to its historical and cultural significance in the region.

Culture:

The Maa Narmada Jayanti Festival is an annual grand celebration drawing devoted crowds, marked by profound religious events and worship along the Narmada River, while the region's vibrant folk dances, rooted in the Baiga and Gond tribes, reflect a deep cultural and spiritual connection.

Maa Narmada Jayanti Festival: The Maa Narmada Jayanti Festival is an annual celebration marked by fervor and grandeur, drawing a massive crowd of devotees. Preparations commence well in advance, with religious events organized throughout the week leading up to the birth anniversary. The entire city is gripped by a profound sense of reverence for this festival. In the morning, devotees from various places gather on the banks of the Narmada River to worship the goddess. At the main Narmada temple, special Puja and Aarti are conducted, followed by the distribution of Bhandara, signifying a time of communal celebration and spiritual devotion.

Folk Dance: The region is alive with a variety of folk dances, with the Baiga and Gond tribes showcasing a deep fondness for dances and music, considering it a divine gift. The dances are categorized into two types: social and religious. Religious dances are performed to seek blessings from the divine, addressing issues caused by natural calamities such as floods, famines, and epidemics. The folk dances in this region not only entertain but also serve as a cultural expression deeply connected to spiritual beliefs and community life.

People:

As per the Census 2011, total population of Dindori district is about 704,524 persons with 351,913 Males and 352,305 Females. According to the 2011 census, the scheduled tribe population is 64.69% of the total population. The scheduled caste population in the district is just 5.64% of the total district population.

The population of the Baiga tribe is 4,14,526 in Madhya Pradesh.

Present-day Baiga households maintain simplicity with earthen pots, leaves for plates, and gourds for drinking. Steel, aluminum, and brass utensils have become common additions. Staple foods include kodo, kutki, paddy, jowar, wheat, corn, and masoor. Pej, a healthy grain preparation, is a favourite during strenuous agricultural labour. Mushrooms, leafy vegetables, and forest roots supplement meals. Mahua liquor is a regular feature in festivities.

Medicinal & Ayurvedic Medicines: Dindori, within the Achanakmar Amarkantak Biosphere Reserve, boasts rich biodiversity attracting medical tourism. Traditional knowledge of medicinal herbs, used by local tribes for healing, is gaining popularity. People are turning to these natural remedies, combining traditional practices with modern medical approaches, making the region a hub for holistic healthcare.

Famous For:

The Ghughwa Fossil National Park in Dindori district, Madhya Pradesh, stands as a unique destination in India, harbouring a priceless collection of plant fossils. This extraordinary site has unveiled fossils belonging to 31 genera from 18 plant families, offering a glimpse into life as it existed in this region approximately 66 million years ago. The park preserves well-detailed fossils of various plant components, including woody plants, climbers, leaves, flowers, fruits, and seeds. Notably abundant are the palm fossils, contributing to the rich diversity of this ancient ecosystem. The park serves as a dedicated effort to protect and showcase these remarkable 66-million-year-old plant fossils, offering visitors a fascinating window into the prehistoric natural history of the area.

Kanha Tiger National Park situated 180 km away and the Bandhavgarh National Park at a distance of 140 km from the district headquarters. These national parks provide an immersive experience in the natural beauty and wildlife diversity of the region.

Karopani Natural Deer Park: Village Karopani serves as a remarkable example of harmonious coexistence between humans and wildlife. Located just 4 km from State Highway No. 22, en route to Amarkantak, this village is home to rare species of black bucks and spotted deer. The Karopani Natural Deer Park offers a chance for visitors to easily observe and appreciate these unique deer species, showcasing the beauty of the mutual relationship between the local community and wildlife.

Devnala: A mere 18 km from Dindori, Devnala provides an extraordinary experience for tourists and nature enthusiasts. Nestled among the hills is a profound cave from which water cascades down from a height of 50 feet. Devnala is undergoing development as a Yoga Kendra, offering visitors a serene environment to relax and connect with Mother Nature. This location provides a distinctive blend of natural beauty and tranquility, making it a noteworthy destination for those seeking a unique and rejuvenating experience.

Patangarh Paintings: Patangarh, a small village in Dindori, is renowned for its Gond tribe artisans producing world-class paintings depicting tribal culture. This art form, rooted in history, is a hidden treasure passed down through generations. The Gond tribe, mainly found in Madhya Pradesh and Chhattisgarh, showcases a unique cultural history. Legend speaks of a symbiotic relationship between Pardhans (Priests and Storytellers) and the Gond tribe, immortalizing genealogy through art. Today, societal changes have shifted the roles of Gonds, but their paintings continue to reflect the intricate dynamics of culture and history in a changing landscape.

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Team Gaatha

Process Reference:

https://www.sahapedia.org/culture-of-the-baiga-people

https://www.pradan.net/sampark/wp-content/uploads/2019/07/Baiga-Tribes-An-Uneasy-Journey-By-Chandan-Sarma.pdf

https://www.cuttersguide.com/pdf/References/The%20Indian%20Sari%20by%20Kamala%20S%20Dongerkery.pdf

https://www.downtoearth.org.in/coverage/the-baigas-and-their-weavers-12741

https://dindori.nic.in/en/tourist-place-category/historic/

https://en.wikipedia.org/wiki/Dindori_district

Cluster Reference: