Dangs of Gujarat

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Dang dance is performed by Dangi tribe of Dang region of Gujarat. This dance is usually performed during Holi and other festivals, also at fairs, ceremonies and rituals connected to worship. It is quite swift, vigorous and highly rhythmic. Musical instruments used are percussive Kahaiya and Dholki  besides short shehnai. Men and women stand alternately in a circular form and dance by going round and round, creating various choreographic patterns. They may have their arms around the shoulders or waists of the neighboring dancer. The movement builds gradually and reaches a fast tempo before winding to a halt. The women climb on the shoulders of men and form a human pyramid. The two and three tier formation moves clockwise and anti clockwise.

 

The Dangs live in the rocky, hilly forests of western central India. They are primarily located in the Dangs district of Gujarat State.

They have always lived close to nature, depending on it for survival. Animals are respected and treated as equals. For this reason, they are often called the “children of nature.” The Dangs district contains many protected forests that the Dangs are allowed to use for cultivation and residence. They live in one-room bamboo huts made with thatched roofs.

Despite their poverty, the Dangs enjoy singing and dancing. The villagers are skilled in creating objects out of stone, wood, and clay. Hindu artisans often help them with such crafts. Tattooing has also become an art among the Dangs.

The majority of the Dangs practice ethnic religions, and all of them are involved in ancestor worship (praying to deceased ancestors). Their lives revolve around rites, rituals and folk beliefs. Many are animists, believing that all objects have spirits. Trees, animals, demons, serpents, and spirits are worshiped through magical rituals. Wagh-Dev, the tiger god, is their sacred animal god and their emblem of worship.

The Dangs believe in magic, witchcraft, and sorcery, along with their many tribal gods and Hindu deities. They believe that the supernatural world contains both good and evil. Their constant fear of the spirits keeps them revolving around a circle of prayers, rituals, offerings, and sacrifices. The Bhagat (priest and medicine man) is thought to be the ultimate “good man.” He is believed to be a spiritual man who communicates with the gods. He is considered a friend, a philosopher, a guide, and a healer.

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Folk dances of Mizoram

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Chheihlam is generally performed over a round of rice-beer and it reflects joy and exhilaration. While a pair of dancers dance in the middle, others squat around, clap, sing to the beat of a drum. Those sit around take turn to join in the middle

 

Cheraw is one of the popular folk forms of Mizoram, also found in other north-eastern states of India. I recall watching a similar performance done by an ethnic group from Taiwan. It is as well found in other far-eastern countries such as Philippines.

Men sitting face to face on the ground tap long pairs of horizontal and cross bamboo staves open and close in rhythmic beats. Girls in colorful Mizo costumes of Puanchei, Kawrchei. Vakiria and Thihna, dance in and out between the beats of bamboo. This dance is now performed in almost all festive occasions. The unique style of the Cheraw is a great fascination everywhere it is performed. Gongs and drums are used to accompany the dance.

The bamboos, when clapped, produce a sound which forms the rhythm of the dance. It indicates the timing of the dance as well. The dancers step in and out to the beats of the bamboos with ease and grace. They need to keep up with the timing with high focus and concentration, as they jump in and out alternately. A misstep by a single dancer may throw the entire set off and may result in injury too.

The origin of this dance form dates back to 1 CE

Chawnglaizawn is a popular form of a community called Pawi. It is performed by a husband to mourn the death of his wife. The husband would be continuously performing this dance till he gets tired. Friends and relatives would relieve him and dance on his behalf. This signifies that they mourn with the bereaved.
Chawnglaizawn’ is also performed in festivals and to celebrate trophies brought home by successful hunters.

 

 

 

 

Thol Bommalattam – Shadow Puppetry

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This is an ancient form of entertainment and story-telling that continues to this day, though sparingly. It uses articulated cut-out figures made of thol (leather) that are made to dance, act, fight, nod, laugh so on between  a source of light and a screen. This art form is still found in many countries across Asia, notably China, India and Indonesia have always been major players.

 

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European merchant ships played a role in importing this art form to parts of Europe.

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Puppets are held close to the screen and hands and legs are manipulated with attached canes. I took a peek behind the screen while the women work and hundreds of puppets strewn across the floor. The team members were scurrying around to pick the right characters for the scenes to follow.

 

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Indian epics Ramayana and Mahabharata form the repertoire, used to be performed by itinerant artists on temporary platforms during temple festivals. It is believed puppet-theater dates back to 3rd century BCE. The puppets in general are three to four feet tall.

 

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Momasar – a Rajasthani village festival

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Stage for home-grown folk arts

As my taxi changes gear from highway to village-dirt-lane, a street dog barking furiously runs along for it finds a foreign moving object in its neighbourhood in this early hour of the day. We outdo the dog by a long way, and I could hear strains of music wafting in through morning stillness. I ask the driver to head in that melodic-way. Musicians belong to Islāmic faith singing Hindu bhajans in the courtyard of quaint Hanuman Dhora temple at dawn opens the festival. Villagers sitting cross-legged on the blanket are taking in the bliss. White-clothed and turbaned elders walk in at their pace while head-covered women in bright red Rajasthani sarees gather in a corner on the blanket. A few SUVs to my left and camels inside house walls to my right. Desert sand underneath my feet and peacocks trot at higher elevations looking for breakfast, this hour is indeed sublime !

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A village 160 miles north-west of Jaipur in Rajasthan is hosting the 6th edition of Shekhawati Utsav, organized by Jaipur Virasat Founndation that works to keep and promote traditional art forms of the state. The festival runs for 2 days, staging 200 artists from various regions and attracts a few thousand crowd to this remote hamlet, mostly from nearby villages and also a handful of die-hard fans from abroad.

We break for tea and simple refreshments at a local temple-hall. I meet up with a group who come from US and various European countries. “Marc and I chanced upon this festival last year and this year we are here to play. Yes, we were suggested city gigs but we settled for this unique village one” says Markus from Germany. In a first, this edition would feature a non-Rajasthani band in Marc Sinan and Iva Bittova. Energized by tea and with the help of a local guide, we stroll through the maze of lanes for local attractions such as temples and century old charming havelis that are painted with frescos, belonged to wealthy merchants of yesteryear.

Music at rural settings

I enter Patwari ki Haveli, an exquisite heritage building of Momasar, for ‘Music in the afternoon’. A group of women sing welcome-songs at the massive door. An array of activities in the courtyard include men spinning yarn from drop-spindle, rope-making demonstration and young students of wood-craft display their creative works. “This reflects the motive of our Foundation – preserve and encourage tradition in all forms” says Vinod Joshi, Director of JVF and the force behind this festival, which also serves him as a pay-back to his birth place. Along the wall, Kathodi performers present a unique image as two men blow into a mouth-piece of a vertical wind instrument, a man on scraper and another rubs a thin metal rod placed over a brass plate to produce the drone effect. “They live in the forest and make their own musical instruments” says Joshi. A flight of stairs in the haveli brings up a compact hall that is open to the skies where the 80 year young Safi Mohammed sings with gusto often tossing and turning the tanpura on his hand, more than strumming on it.

A quick stop for snacks at the temple hall and as the light starts to fade, we head to a farm. Though it is dark, I could get a sense of the expanse of the place and feel my respiratory system is more at ease now. As the wind blows across under starry sky, a dimly lit make-shift platform offers space for more folk art traditions. A red-turbaned, white dhoti clad man with anklets thumps his feet and waves his arms around to the beats and singing of two men playing on maante drum, a large clay-pot – their silhouette leave a surreal feel. While Marc and Iva sounds are a novelty in village-ears, the day ends at Taal Maidan, an open-air ground, at midnight with “Kuchamani Khayal”, a folk-theatre tradition from the Nagaur region of Rajasthan and is very much on the decline.

Curtain downs with a bang

Second day begins with ‘Baal Mela‘ that features a few thousand young boys and girls from 13 different schools in the village to get them re-acquainted to their rich roots and help them understand that tradition and progress could go hand in hand. “This is very crucial for the future of what we are now involved in” says Joshi, who sounds keen on covering the entire spectrum in his quest. The children get to see artists who do not make it to center stage this year, yet perform amid children’s’ competitions and workshops.

On the grand finale evening, hoards of villagers stream in one direction, young girls giggle their way in, boys bond with arms around shoulders while women look in unwind-mode with their day chores done with. Now my taxi struggles its way through this mass in this otherwise no traffic zone. As I reach brightly lit Taal Maidan, the place is buzzing, children play in sand chasing each other, flies and bugs have a field day around high wattage lamps and even crawl on people, excited in their sudden-found-illuminated-lives. The stage that exudes Rajasthani decor is all set for the show. An endless kaleidoscope of folk forms that include Dhol-thali, Kalbeliya, Gair, Bhapang, Kachhigodi, Sahariya Swang dance unfold on front that last well into the wee hours.

Though a comfortable hotel stay is some 25 miles away, the festival affords to experience folk art at its provenance. While Langa and Manganiar musicians are hot invitees on world stage, JVF aims to bring the world to their homes.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This piece by yours truly was carried in India’s national daily –

http://www.thehindu.com/features/friday-review/A-stage-for-home-grown-arts/article16644617.ece

 

Sex in stone

Well, if you think we have ‘evolved’ in our innovative ways in the centuries past, going by the carvings in stone, the answer is a big ‘No’. I have left out documenting scenes of gingerly orgies, perhaps personal taste unconsciously played out in that omission. The temples in Odisha seem to have been lot more ‘liberal’ than the ones in rest of India. I wonder if the proximity to Khajuraho had its influence here, as the temples in both places built around the same period. Most of the temple sculptures consist of erotic, music and dance in nature giving the impression that it must have been one party-town! At large, the niches on the walls alternate between eroticism, musicians and dancers. No wonder the most sensuous of the Indian classical dance form Odissi has its origin here !

In general, the artists and sculptors seem to have had lot more freedom to express themselves though the administration in those days was primarily under the ruler of the province. There is even an inscription belong to circa 10 CE of the famous king Rajaraja in Thanjavur that says only the administrators are reportable to the court whereas the sculptors have full freedom to express their art. After all, how many gods and animals the sculptors could think of chiseling in, as they needed variety in subject. It is said the reason behind finding such bold and blatant erotic sculptures in the outer walls of Indian temples is that the pleasure-stage has to be ‘passed’ before we ‘reach’ higher-consciousness that is in the form of a deity at the sanctum. And on the ground, after satiating this strong and powerful force of nature, through self-inquiry, one is expected to reach the higher plane. Kamasutra by Vatsayana too written with similar views on life. This perspective is in tune with the four entities, Dharma (duty/righteous living) Artha (wealth) Kama (pleasure) and Moksha (liberation), that Sanatana Dharma (Hinduism) prescribes for a common man. These stages help mellow gradually, as not everyone is blessed with ‘sudden-enlightenment’. Whatever be the reason, the sculptures certainly evoke curiosity and interest and draw tons of tourists to these temples. Let alone the text Kamasutra, nothing in comparison did ever exist to these ‘open sex manual’ anywhere else on this planet.

From being so liberal, how did India become conservative? I recall watching a documentary on Africa where the local black women express a confused-look at topless European women on the African beach, and the narrator goes ‘ these women must be thinking when they were ‘topless’, the colonial occupants covered them up in the process of civilizing, and now their colonial descendants come over here and look ‘uncivilized”. Many of the famous Chola bronzes of the 10 CE are topless. So the colonists in India too must have had a role in bringing about a conservative mind-set. Prior to that, the burka-clad Islāmic invaders enforced their fuddy-duddy ways and many Hindu Indian women started to cover to save themselves from invading rapists and kidnappers whose idea was to expand their faith numbers.It is said this is the reason behind the practice of women covering their face today, particularly on the western front states such as Gujarat, Rajasthan as through these regions Islam forced itself into India. These are indicative of an open society that changed with Islāmic invasion followed by Victorian/colonial values from the West.

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Women in Rajasthan today

Kites soar high on Uttarayan

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As a 3 or 4 yr old, I had this hunch one day that an orange colored kite that got snapped in  battle with another landed on the open terrace of the house in which I was born. On going up the flight of stairs, indeed an orange kite was lying at the door way to the open terrace. And that was the earliest kite-link I could recall and the fascination continues to this day. It is the maneuverable paper/fighter kites that interest me and not the ‘dumb’ polythene ones.

Hours of my school day evenings and weekends were spent on terrace-top, watching  kite-battles, flying, and even got hold of the ones that swung my way. A polythene one will always be packed for beach outings, no matter where in the world. Procuring large and colorful Pakistani and Afghani battle-lost-kites from elsewhere, I would be the lone kite-flier in the great-lawn of Central park, New York on the weekends. Maneuvering the kite close down to the weekenders lying on the lawn would make their faces lit up in glee.

Fly a kite Fly a kite

Such a pretty sight

Sheer pull of string injects life into

As it soars up touches heaven and

On nose-dive back to earth

Right left and somersault

What control have I but on let go the string

Free at last and out of sight !

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But nothing quite prepared me for what’s below –

Kites literally fill the skies of Gujarat during Makara Sankranti, also called Uttarayan festival. Uttarayan, the ascent of Sun into northern hemisphere, entering the tropics thus heralding the beginning of warmer months is celebrated here in a unique manner and kites take prime time and are ubiquitous. The timing for this sport could not be any better as the skies are spotless blue and the breeze is right enough to lift the kites aloft. The whole state shuts down its regular shop and hits the rooftop

On alighting the flight in Ahmedabad, I am blown away by the colorful adornment of entire Sardar Vallahbhai Patel terminal with kites. As the taxi speeds toward the city, a bit of craning at the window reveals a sky dotted with varying hues. Kites are not just in the skies alone, but on the hands of almost everyone on the street, cutting across age, gender and faith. Trees flower nothing but kites during this time and the power-lines are embellished with trapped ones. Bill-boards and bulletin boards carry kite designs and even the idols at the temples are decorated with kite-like ornaments.

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Taking advantage of this fervor, Gujarat Tourism has been organizing International Kite festival since 1989, just for two days before Sankranti as Sankranti day and the day after are altogether a different ballgame in town. The participants constitute kite flying clubs and individual enthusiasts from world over. Some 140-150 fliers from 25 plus countries that range from USA to Japan and from different states in India unleash the strings. Revelers come in droves to Sabarmati river front to take in the sights of kites of all shapes, sizes and colors, deftly maneuvered by both Indian and International fliers. The kites are in animal, from teddy bears to dragons, floral and in various other intricately crafted designs, and some even carry social messages. An eagle-like kite is swiped at by a bunch of live eagles, causing a flutter among the crowd. Some kites are so humongous and require a team of ten or more to handle. The kite fliers need to be preregistered to get in the arena. A tourism event like this is of course packed with food-court, handicraft shops, Gujarat state pavilion, games for children and rock music shows. If the legs get tired at this day-long event, the beautifully laid promenade along the Sabarmati river is the place to relax the muscles. Ahmedabad has a kite museum too where kites from 24 countries are exhibited. Gujarat Tourism does an excellent job of organizing this event with the same precision and care as they do for festivals like Navrathri, Rann Utsav and so on, not surprising for it functions in one of the most progressive states in the country.

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Unlike the well-behaved polythene kites at the river front on the first 2 days, the skies of Sankranti and the day after are ruled by mean-paper-fighter kites that are out to cut anything and everything near with the aid of ground-glass-coated manja (abrasive) string. This breathtaking spectacle has to be experienced from the pol. A pol is a self-contained neighborhood with cluster of adjoining houses that have open terrace, swathed in gated narrow lanes in the old quarters. There are roughly 600 such pols still left in the city of Ahmedabad, spared by the developers. The pol certainly has an old world charm and the people who live there do reflect a warmth that may be missing in the skyscrapers. As I wander through the lanes, a Gujarati family invites me to their terrace top for a life-time experience, something I have not imagined even in my wildest dreams. As I reach the rooftop, climbing four levels of dark narrow stairways, I can not believe what I see – the sky is a canvas of thousands of kites and colors and every single terrace is filled with humanity to the hilt, thus setting the atmosphere electric. And the noise level, caused by excitement and stereo speakers set up add to the mayhem. As my host family feeds me the kites to fly, not a single one on my hand lasts more than 5 minutes as the crisscrossing manja of nearby kites cuts the string, allowing no room to step aside. There is a constant parade of snapped kites in the air, sway in flowing rhythm, while the ones traveled its distance shower all around us. Kite-fliers pay scant attention to these side attractions and are fully focused on the kites on hand. Besides, such freebies have no appeal as the families stock up 300 plus kites of various sizes and 10 plus manja-spools called phirkis for the 2 day festival. Kids running after cut-kites in other cities of India would have a field day here and end up having a handful. Triumphant cries constantly emanate from the terrace that emerge victorious in cutting other kites.

 

The day on the terrace starts around 8 in the morning for the entire family, while friends and neighbors join in too for group flying, thus making the occasion a social gathering which otherwise is hard to come by in these busy days. “Its a total holiday for us and we spend the whole day at the terrace” says Mrs. Parmar, a resident at the pol. A sneaky lunch break at noon includes Gujarati delicacies like Jilehbi, fafda, till-ladhu, chikkis and the traditional mixed-veggie dish made only on this day called Undhiyu. While the kites battle it out up in the skies, a Chai (tea) break is taken in the late afternoon. And as the light start to fade, a dramatic transformation sweeps across the sky, as the kites’ place is now taken by thousands of Chinese lantern that sail gently in the direction of the wind. Such lit up sky leaves a sense of surrealism as we look up in awe. The traditional Tukkal or illuminated box kites, tied in series on a single line and gets launched in the sky has now given way to these relatively easier-to-handle Chinese lanterns. Fireworks too join in this galaxy of lights. When the line of lanterns starts to recede, it is time to crank up the music and shake the legs before calling it a day. The day after Sankranti follows similar schedule but with more gusto, more kites and more lanterns as it is the last chance to exhaust the stocks on hand, as most prefer not to carry forward old stocks into a new year. The city has a massive cleaning job on hand as manja thread and torn kites are scattered all over the place.

During Uttarayan, exclusive kite markets called Patang Bazar open up and the larger ones are at Delhi Darwaza and at Raipur. These 24-hour brightly-lit markets hit the peak the night before the big days as the crowd throng here in festive spirit and lap up the supplies in packets of huge numbers. The spending spree is simply mind-blowing. The markets carry kites and accessories, such as manja-spools and protective finger-bands that help prevent cuts on fingers when flying high-tension kites. As opposed to readily available manja-spools for common enthusiasts, serious fliers go for quality, custom-made manja on the side-walk that comes at a higher price and wait-time. “We are a family of seven and we start making the kites three months before the festival. Our kites price range from Rs.40 (about $1) for a packet of 20 pieces to Rs.600 for a packet of 5 pieces. The manja-spool range from Rs. 150 to 200 for 1000 yards” says a shop owner.

Kites have a long history in the region. Indian kings found the sport both entertaining and as well an expression of their prowess, but it probably took its time before reaching the masses. Today, kite manufacturing is a serious business worth around Rs. 500 crores ($100,000,000), as claimed by the then Chief Minister Modi himself during one of the inaugurations of the festival.

Whether you are a kite enthusiast or not, the festival is worth the stiff-neck and you will no doubt find yourself flying a kite in no time. A Gujarati family at the pol will only be too happy to share their festivities even if you not know them before.
Other details like next festival date, places to eat and stay and nearby sights can be found at http://www.Gujarattourism.com

The piece was carried in India’s national daily and in an Israeli magazine –

http://www.thehindu.com/features/magazine/come-fly-a-kite/article6730646.ece

http://www.esra-magazine.com/blog/post/kite-runners

note : still never miss when I sense something up in the sky…… do crane and look up !

Fes Festival of World Sacred Music 2015

 

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await queen’s arrival

‘India, Ah..Shahrukh Khan..Chennai Express’, a greeting that starts with an inquisitive frown but ends in gratifying smile, was what I repeatedly heard from the time I touched down on Moroccan soil. It made me realise that going from the land of Bollywood has an endearing factor in certain places. I was in Fes, also called Fez, for the 21st edition of the well-known World Sacred Music Festival, a festival that set the tone for many across the world under the same tag.

Founded in 1994, the festival has enjoyed growing success year after year. In 2001, the UN designated this as a major event for promoting cultural dialogue through music. It is only apt that it is held in a city that is in the distinguished list of UNESCO world Heritage Sites. For nine days every year, the sacred sounds from various cultures across the world, comprising hundreds of musicians from over 25 countries featured in about 50 concerts, would radiate from numerous venues in the city.

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The drive from the airport dotted with trees was indicative I was in olive country. After the ritual of unpacking in the riad, a traditional home turned guesthouse, I headed out through the mind-boggling narrow, winding alleyways of old medina (city), that felt like a work of Aladdin’s genie. I was on time-travel, literally walking through 1300 years of Moroccan heritage that lined with shops selling anything from camel meat to ceramics, olives, handicrafts to carpets. Amid children playing in the lanes, throng of traditionally dressed people, donkeys and mules with their loads threaded down Tala Kebira, the main thoroughfare of Fes.

Gasping for air, I finally made it to Bab Al Makina, a large open-air square and part of the Royal Palace, the venue for the opening evening. The security was tight as Princess Lalla Salma was going to chair the festival opening. Once the capacity crowd gave their respects to HER MAJESTY, the spectacle unfolded on stage with the artists and on the ochre walls of the Makina with projected images using innovative multimedia technology. Scores of artists for the evening came from various African countries, in keeping with this year’s theme of paying tribute to Africa and celebrating the travels and works of couple of Moroccan icons of the past centuries, whose journeys shaped the historical relations between Fes, Andalusia and Africa. The audience in thousands were in rapture all through the evening as they were taken on a similar journey to the sites and landscapes that charmed these two explorers of the past, with the aid of music and dance melding in an exciting series of tableaux. Though it was a bit nippy evening, the grand inauguration not only provided the warmth but a clear indication of what was to follow in rest of the festival days.

the famous blue gate

the famous blue gate

 

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Batha museum evenings

 

 

While the top acts and the ones with local patronage were hosted at Bab Al Makina, afternoon concerts were at Batha Museum, a former palace, under the cascading foliage of a Barbary oak with a dense garden as the backdrop. The shows here included Kurdish to Scottish and Flamenco to Malian and more. India’s Debashish Battacharya playing with Ballake Sissoko, a Kora player from Mali, showcased the ragas flow from the banks of the Ganga to River Niger. The museum was also the venue for the forum that took place over five mornings, where the intellectuals dissected subjects such as Spiritual paths and trade routes, Linguistic pluralism and other contemporary challenges pertain to Africa.

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dar adiyel

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Sufi nights

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Then there were couple more venues where ‘Night in the Medina’ shows held – Dar Adiyel, an 18th century residence for the Governor of Fes, and Sidi Mohamed Ben Youssef Cultural complex. These places were signposted in the medina for easier access, but there were no reverse signs to get out which made some get lost in the maze. ‘The more you lose your way in the medina, the more you discover’ is the popular comfort-saying there. But it shouldn’t deter anyone as help is always lurking in the form of young kids in the corners, who are constantly looking for ‘lost souls’ to bring them out for a small price.

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Bhagavata Mela

Mellatur Bhagavata Mela troupe gave the audience an introduction to this 500 year old dance theatre art form by performing for the first time outside India. While the informed ones and the Indophiles were in subliminal state, a lady from France walked up to me and said ‘I have seen better shows on my travels in India’. It is probably not fair to expect the electric atmosphere of the Melattur agraharam when the team is trimmed to a bare minimum for factors demanded in international tours. A packed Bab Makina saw an Arabo-Andalous melodic evening on the penultimate day but the much loved Hussain Al Jassmi of UAE brought on a high-octane finish to the festival with the young and old among more-than-capacity-crowd were on their feet all through the show.

Free fringe concerts happened at the magnificent public square called Boujloud square that attracted 50,000+ in an evening; Sufi Nights were held at Dar Tazi gardens. These shows were big draw for the locals who came in large numbers after their day chores were done with.

Weather can be variable in Fes and it is better to pack layers, something water-proof and a sun-hat. Getting to the venues is always on foot. Since there is no afternoon shows on festival Wednesday, it is the best time to take a day-trip of your choice out of Fes. It is better not to get to the festival expecting all ‘sacred’ as the artistic director Alain Webber said ‘well, I need to mix in a bit of commercial acts in order to make the festival viable’. For vegetarians, enough options on the menu and there is even a veg-riad. Being an Islamic country, dress code is in place though I saw western jeans and veil walked together.

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market

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medina ways

 

As you walk through the medina, you plunge into the sights and sounds – traditional industries such as soap-making, flour-mills, tanneries, textile weaving, metal ware; bollywood songs meld seamlessly with Reggae and local Gnawa strains. Fes is famous for artfully painted ceramics, rugs and carpets hand-made by women in the Atlas mountain, spices, jewellery, leather goods, antiques, dry fruits and so on. Century old madrassas, mosques, Andalusian architecture, museums are all within the medina gates. And no one leaves Fes having not climbed the tanneries’ terraces despite the stench! Fes merits a visit on its own right for its historical and magical charm, but a combined trip during the festival would be a visual and aural treat.

 

Festival site – http://fesfestival.com
Info – http://www.fez-riads.com

FOR MORE PICTURES, Please visit my Dropbox below  –

https://www.dropbox.com/sc/vtz7p8b17eg3x3y/AABpQPE57c9cRSl5BleZk9SSa

A report on the festival by yours truly was carried by the national daily – Please click  the link below –

http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/matters-of-melody/article7387424.ece