However, the real nomads are the
Gawla, who keep cattle, and the Raika, who keep camels. The milk
of camels is widely used, but it is not used to make butter or ghee.
These nomads eat meat, even that of the jackal and fox.
Water in Rajasthan
is a scarce commodity and is sparingly used. Agriculture depends
entirely on the monsoon. The wells and other water bodies have
been built with money from the rajas or rich people. Water is
collected using the khadin system. In this water is drawn
from a rocky highland catchment area, from where it flows into a
low-lying plain area enclosed by earthen work. Kothari mentions
how tanks and canals in one area result in the drying up of
wells in surrounding villages. Some of the manmade lakes include
the Pichhola lake at Udaipur and the Gulabsagar at Jodhpur.
The little rain
that Rajasthan receives is a boon and its failure results in
drought, even famine. According to a belief, the Bania is
considered to be the culprit in such cases as he is thought to
usurp the clouds!
The Pabu epic is
very popular in the region in which people depend on breeding
cows, sheep and camel. Pabu is worshiped as a Bhomiya god who
protects the cows and kills cattle robbers. At the end, Pabu
chief interest lies in folk artistes and culture, their songs,
music and dances, one of the dances taking the form of teratali.
These folk artistes are usually poor and perform on certain
occasions for the rich patrons. Coming from low castes, Langas
and Manganiyars earn their livelihood by singing and dancing.
They were exposed
to international interest when in 1962, the BBC made a film on
Pabuji ki Par. In 1970, French scholars recorded their folk
songs. Komal Kothari helped select and train these folk artistes
and they performed in Paris in 1980. This exposure earned them
fame and money they had never dreamt of. The Festivals of India
from 1985 to 1992 presented more occasions for folk artistes to
perform and get exposure.
opened them to drastic change in life and eagerness to earn. It
also brought in questions of copyright, as to who owned these
folk songs as music companies began recording these songs and
beaming them. The folk artistes began to be paid not only for
live performances but also for the recordings.
account includes a lot that could have been edited and made more