CIKS fellow and researcher Nidhi explores the culture of the Rathwa tribe residing in eastern-central Gujarat- focussing on their art, culture, traditions, festivals, beliefs and values in this long essay rich with insights from months of the author's fieldwork.
Introduction
In this blog, I explore the Rathwa tribe residing in eastern-central Gujarat through the lens of their art, culture, traditions, festivals, beliefs and values. The insights shared here are based on several secondary sources as well as my own observations and experiences while making visits to Chhota Udepur district. Here, I wish to acknowledge my position of power and privilege as an urban, educated woman who does not come from the community I am studying. Hence, this write-up should be read as my understanding of the community’s life and culture. I made several visits to the Adivasi Academy at Tejgadh, referred to sources from its library, met members of the tribe and reached out to experts, academics and professionals working with the community since long to validate this documentation endeavour and address prejudice of any kind emerging from where I am located as a researcher.
The global narrative on indigenous communities is dominated by a colonial understanding which forces modern parameters like civility, urbanization, education, globalization etc on the lives of indigenous peoples. A deeper look at tribal life helps us understand significant concepts like life in harmony with nature, allegiance to dharmic principles (righteousness in the case of Indic civilization), sustainability, community orientation, sacredness of rituals, and an emphasis on interconnected and holistic living.
The Rathwas
As per the Tribal Development Department, Government of Gujarat, 14.8% of the state’s population is tribal and resides in fourteen eastern districts of the state. There are 26 tribes in the state, out of which five are particularly vulnerable tribal groups. Districts like Surat, Vadodara, Panchmahal, Sabarkantha, Banaskantha, Chhota Udepur comprise of tribes such as Koli, Siddhi, Rabari, Bhil, Ahir, Bharwad, Rathwa, Gamit, Dhodias, Barda, Vasava (Jadav, Singh, & Farro, 2024).
The Rathwas are a distinct tribe in Gujarat known for their rich culture and colourful traditions. They live a simple life with nature and are native to Gujarat, Maharashtra and Madhya Pradesh. Their origins can be traced to the Tendlah area of southern Malwa and the hilly area of the Vindhyachal range up to the river Narmada known as the ‘Rath Area.’ This region includes Alirajpur, Jobat, Bhabhra and surrounding areas. In the beginning of the nineteenth century, the western part of the area was merged into the Chhota Udepur state, and therefore the Adivasis who lived in this area came to be known as Rathwas (Singh, 2022). The tribe gets its name from the term ‘Rath-bistar’ or ‘Rathpradesh’ which means the hilly and forested regions. Chhota Udepur, earlier part of Vadodara district, was carved as a separate district in 2013 (Business Standard, 2012).
Various communities of Gujarat’s purva patti are endowed with rich oral traditions through which tribal life in eastern Gujarat can be traced. Among them are the Rathwas who consider the sun, moon, clouds, earth, fire, trees, water as Gods and worship them. Life, for them, is connected to all these forms of nature. They celebrate festivals like Holi, Diwali, Divaso, Dusshera, Dev Diwali, Akhatrij, Ind, Kuwariyo, Pithora and Gamshahi. The major Gods worshipped are -- Baba dev, Vag dev, Simbodo. There are different Gods for family, marriage, village, animals, rain etc in the form of Gamdev, the God of the village, who is worshipped at the beginning of any ritual. After the Gamdev, Gods of the respective house and ancestors are revered and offered food.
The community hosts different melas (fairs) that exhibit their cultural diversity. Haat -- which functions like a weekly market place where exchange of culture and products takes places is also a unique feature of the community. For each occasion, the Rathwas have specific rituals, Gods and Goddesses to be worshipped. Festivals are meant not merely for celebration and enjoyment, but connect people to nature, to the divine and thus a larger purpose in life along with offering the opportunity to connect with community and society. The Rathwa village comprises of a Patel, a Punjaro, Badvo (shaman), leaders and Vajir who are at the forefront of decision making, organizing rituals and festivals (Rathwa & Rathwa, 2016).
Ancestor worship in Rathwa culture
Reverence to ancestors is an important feature in the religious and cultural life of many tribal groups in India. The Rathwas are no different. Ancestors are worshipped when the family sits to eat, when the first-fruits ritual is performed as the new corn cobs are brought in from the field (Ratnagar, 2010). I vividly remember observing this when I visited the celebration of Gamshahi in April 2024 at Jamli village, Chhota Udepur. Besides the community celebrations, every house honoured the deity in their own way (referred to as Gharli – Ghar na Dev). Food (urad dal vada/dhebra is consumed commonly), grains, leaves, coconut, a diya (lamp) was kept as a mark of respect. On the occasion of Ind pooja and Pithora pooja, the family’s dead grandfather, father are named together with the founder-ancestor of the family’s shaman/priest. Roy Burman (1992) refers to this as “individual rights embedded within communal rights” (p 134).
Worship of Babo Pithoro
Baba Pithora is chief among the Gods worshipped by the Rathwas. This is exemplified through paintings that are drawn on walls of Rathwa homes to pray for peace and prosperity of the family as well as for removal of obstacles. The paintings are not merely an art form since the ritual of Pithora is an integral part of the religious and cultural worship of the Rathwas. Babo Pithoro is remembered and worshipped during the time of adversity and vows are taken during difficult phases. Once hard times are bygone, hurdles are removed and good things happen in life, the Rathwas undertake the ritual for fulfillment of the vow to express their gratitude. Pithora marks a profound, unflinching sense of belief that they possess in the divine and its ability to make their lives happy and prosperous. The primary motifs in Pithora are horses, gods, goddesses, ancestors. It is said that 165 types of motifs can appear in a single pithora creation. Therefore, these paintings are an expression of the beliefs, values, history and culture of the community (Patel, 2017). In 2023, Pithora artist Shri Paresh Rathwa was honoured with a Padma Shri by the Government of India. This reinstates hope for recognition and honour to rituals as well as the art forms from indigenous tribes (Shah, 2023).
The Pithora ritual
A Pithoro is held in gratitude for a boon, or in fulfillment of a vow. For instance, one holds a Pithoro if one had previously taken a vow in case of a child’s recovery from illness, successful crop, giving birth to a healthy child etc. Once a happy event takes place in the family, sooner or later, Pithoro worship is certain. The decision of when to hold the pooja is taken on the advice of the Badvo. The person who hosts the ritual is supported by his entire patrilineage. The entire village participates in the ritual and is seen giving their support through offerings based on their capacity. The ritual involves invitation of the feast on little leaf parcels of seeds, animal sacrifice, cooking of rice, vada, meat, feeding people, serving alcohol, visiting the devsthaan repeatedly, playing dhol, dancing and singing. It represents a coming together of the community irrespective of status and identity (Ratnagar, 2010, p. 69-71). Referring to this ritual as a factor of production, Naik (1956) says it gives confidence to a person, and the cycle of celebration exists during different stages of the production process. The making process of Pithora paintings includes the Ghardhani (owner of the house), Lakhara (painter) and Badva. I first encountered Pithora paintings and Rathwa artists in 2016 while coordinating a global art exchange project supported by Vadodara Municipal Corporation where tribal artists from Chhota Udepur collaborated with American artists to paint the imposing exterior walls of Sir Sayaji Nagargruh auditorium – one among Vadodara city’s town halls.
The legend of Babo Pithoro
In the stories of the Rathwa community, we find several elements of nature worship -- leaves, flowers, fruits, grains, pulses, rain fire, air, animals, insects etc. A well-known legend is that of Babo Pithoro, the celestial, divine child of Kaali Koyal. He is born illegitimate, unknown to his father Kandurana, abandoned by his unmarried mother Kaali Koyal, found and raised by his mother’s sister Rani Kajal (Bordewekar-Gajjar, 2017). Since his lineage was not known to Baba Ind, he was worried when Baba Pithora demanded a share of the kingdom (reference to a matrilineal system among the Rathwas since Baba Pithora was Baba Ind’s nephew). Ultimately, Baba Pithora’s divinity is proven and accepted. He is thus worshipped by the community, and honoured through Pithora paintings (Ishai, 1998).
The Badvo
To understand the oral story telling traditions of the Rathwas, in particular, the Gayana tradition, it is important to have an understanding about the role of the Badva in the tribe. Haekel (1963) refers to the Badva as a combination of ritual leader, doctor, soothsayer and shaman. In tribal culture, Gods and Goddesses must be approached by a Badva when necessary and asked for solutions and help. He then goes into trance to seek out the spirits. Thus, in tribal culture, Gods come to people only in fleeting epiphanies, they do not reside in temples (Ratnagar, 2010). The Badva:
represents knowledge passed down in heredity
possesses knowledge of belief systems, rituals and customs
is a medium to approach the Gods
advises the community during difficult times
is a repository of ritual songs and stories associated with customs
supervises ceremonies (weddings, pre-sowing rituals of farming) as per tradition
Rathwi Language and Culture
The Rathwas speak Rathwi. Choksi (2009) observes that indigenous peoples have immense linguistic diversity. The language and literature of the Adivasis lends them a unique voice enabling the outside world to better understand the community in their own words, through their own aesthetics. Adivasi languages were never written down. Their vast store of literature depended upon oral transmission which was sustained by language. Some of the tribal languages spoken in Gujarat spanning from Banaskantha in the north to Valsad in the south are – Garasiya, Dungri Bhili, Panchmahali Bhili, Rathwi, Chaudhari, Gamit, Kunkna, Dehwali, and Warli. Culture and values of tribal life can be traced through folktales and folksongs preserved in indigenous languages. It is through these languages that the intricate histories and narratives of the past are cherished to guard memories of earlier generations while also addressing contemporary concerns. Language is an important vehicle to preserve and propagate culture. The loss of language results in inadequacy in culture, traditions and values and how the community views itself and the outside world. This is ultimately hurtful to a long surviving civilization like India which boasts of diversity in all cultural aspects.
Modern moorings
Many indigenous communities the world over are struggling to protect the past under the influence of modernity, urbanization, industrialization. Tribal communities still lack political, economic and cultural resources. For e.g., the loss of tribal languages has resulted into a loss of the rich traditional, cultural, linguistic and aesthetic wealth that these communities possess (Devy, 1998). They are moving away from their own language and culture as there is limited economic and political value attached to it. In my conversations with Sejal Rathwa, a young educated woman of the community, she reflected on how the tribe is losing touch with their own language and is keen to adopt urban centric modern languages and culture. She is at the forefront of efforts at the Bhasha Tribal Academy in encouraging children and young adults in her community to learn to speak and write in Rathwi. The Rathwa society is also divided between Bhagats and Jagats. The former have adopted many Hindu rituals and practices whereas the later prefer older, indigenous customs. A tension between indigenous and Hindu identity has resulted in fault lines among those who believe that their ways of life are being abandoned to adopt a more city-centric, upper caste and upper-class lifestyle.
References
Alles, G. D. (2015). Work and Play in Gamshahi: Performing the Indigenous Village in Eastern Gujarat. Internationales Asienforum, 46(1-2), 103-125. Retrieved from https://www.proquest.com/docview/1739315194?sourcetype=Scholarly%20Journals
Business Standard. (2012, September 11). Chhota Udepur to be 28th district of the state. Retrieved from Business Standard: https://www.business-standard.com/article/economy-policy/chhota-udepur-to-be-28th-district-of-the-state-112091102029_1.html
Choksi, N. (Ed.). (2009). Tribal Literature of Gujarat. Mysore: Central Institute of Indian Languages.
Gajjar, S. B. (2017, March 17). The Magic of Babo Pithoro: Traditional Painting in Contemporary Times. Retrieved from Sahapedia: https://www.sahapedia.org/the-magic-of-babo-pithoro-traditional-painting-contemporary-times
Haekel, J. (1963, April). Some Aspects of the Social Life of the Bhilala in Central India. Ethnology, 2(2), 190-206. doi:https://doi.org/10.2307/3772819
Ishai, S. (1998, August). પિઠોરાની કથા. Dhol. Vadodara, Gujarat: Bhasha Research & Publication Center. Url: https://bhasharesearch.org/adivasi-academy/about
Jadav, R. S., Singh, R., & Farro, J. (2024, January). Empowering Rathwa Tribes in Kawant: Upanishadic Roots to Contemporary Educational Challenges. Gap Bodhi Taru, VII, 78-83.
Patel, H. H. (2017, March 17). Motifs in Pithora Painting. Retrieved from Sahapedia: https://www.sahapedia.org/motifs-pithora-painting
Rathwa, N., & Rathwa, V. (2016). રાઠવા સમાજમાં બાબોપીઠોરો. Vadodara: Bhasha Research and Publication Centre.
Ratnagar, S. (2010). Being Tribal. New Delhi: Primus Books.
Shah, J. (2023, January 31). How the 2023 Padma awards may give a new lease of life to waning Gujarati art forms. Retrieved from India Today: https://www.indiatoday.in/india-today-insight/story/how-the-2023-padma-awards-may-give-a-new-lease-of-life-to-waning-gujarati-art-forms-2328769-2023-01-31
Singh, G. (2022, February). A Cultural Study of the Rathwas. IOSR Journal Of Humanities And Social Science, 27(2), 46-51. doi:10.9790/0837-2702064651
Credits:
Adivasi Academy library, Tejgadh,
Sejal Rathwa – Independent Researcher and Media Consultant, Tejgadh (Chhota Udepur)
This blog has been created as part of the CIKS Summer Fellowship 2024. Each fellow will share a series of blog posts summarizing their projects from the fellowship. Keep an eye out for the exciting work the fellows are doing.
About the Author: Nidhi Shendurnikar
Dr. Nidhi Shendurnikar has a doctoral degree in Political Science from The Maharaja Sayajirao University of Baroda, Gujarat. She has close to a decade of teaching and research experience in media and communication studies and has supervised over sixty postgraduate dissertations.
For her fellowship at CIKS, Nidhi is working on tracing and documenting the Indic storytelling traditions, with a focus on the Gayana tradition of the Rathwas in Chhota Udepur in Gujarat.