28th Surajkund Crafts Fair, Faridabad

After staying in Haryana for almost 22 years, I finally visited Surajkund crafts fair – that iconic Mecca of unparalleled art, captivating handicrafts, vibrant hued textiles, unsurpassable heritage, striking paintings and mouthwatering food that comes alive annually every spring in the rocky outcrops designated as Aravali Hills at the intersection of state boundaries of Haryana and Delhi. Set opposite the ancient Surajkund water reservoir (now dry), that was a site for both religious congregations and monarchic attempts at achieving immortality through massive architecture, in a super-vast multileveled arena conceived and built for the very purpose of hosting it, the annual occurrence draws hundreds of sculptors, weavers, artists, painters, merchants and cooks, the last being not so skilled as the rest, and millions of visitors and patrons. The arena – barren rocky outcrop flanked as far as one can see with stunted, thorny trees interspersed by wide pathways and majestic gateways designed after various ancient temples and tribal constructions throughout the country – becomes a whirlwind of colors, textures and faces.

Welcome to Surajkund!

The international fair, held every year from February 1-15 and organized by the Indian government’s Department of Tourism (Ministry of Culture and Tourism) in collaboration with Haryana Tourism, aims to depict the uniquely vast diversity of Indian art forms and heritage in a landscaped visibly rural setting besides providing a platform to select artists and craftsmen, distinguished and often awarded for their ingenious skill and artistic innovation, to interact with patrons and sell their wares from the over seven hundred hut-like stalls in the premises without any middlemen – it is a much grander, more sophisticated and more amplified version of the Dilli Haat which does the same, but in much smaller premises, throughout the year (refer Pixelated Memories - Dilli Haat). For security reasons, public transport like autos and buses have to drop visitors considerably away from the arena and the parking is located even further away (thankfully we had access to the VIP parking!) – yet if the continuous crowds consisting both Indian and foreign tourists and numbering in hundreds moving to and fro between the fair grounds and the drop point are any proof, the charm of the fair refuses to thin out during its entire duration and the merchandise never ceases to attract and amaze even more visitors!

Arts, handicrafts, food, culture and photography!

The place of honor is of course Haryana’s, since the state hosts the event every year, and many of the dance and cultural performances draw from the state’s impeccable tastes and interesting history, but alongside another state and a foreign country are designated as a unique theme state and partner country respectively for the cultural festival and requested to send in contingents of artists and craftsmen to showcase their skill and artistic traditions – this year, the positions were accorded to Goa and Sri Lanka and apart from Haryanvi dancers and performers, there were many hailing from the theme lands. Sri Lankan flags fluttered jovially as they surmounted the numerous vibrantly painted makeshift gateways lining the arena pathways as representative of Sri Lankan art and culture while posters and thick placards embossed with colorful wavy flourishes and “Go Goa” tourism campaigns identified the state’s enviable position and presence in this year’s celebration of art and crafts.

A taste of Goa in Haryana

For sale were literally thousands of exquisite items – colorful textiles originating from different Indian states, sculptures crafted out of stone and clay and painted brilliantly or inlaid very dexterously with colorful stones, unparalleled brass work, intricately carved woodwork and furniture still smelling of fresh varnish, cottage industry craftsmanship items like terracotta idols, paper mache stuff, sea shell decorative items and curtains, tribal masks and statues of pagan deities, ornaments and jewelry, Rajasthani puppets in myriads of designs and sartorial choices, glasswork lamps and ornamental accessories like kitchenware and vases, paintings sketched on cloth and paper and set in large wooden frames, beautiful idols of elephants, camels and birds adorned with glittering beads and shimmering sparkles – I cannot even begin to describe the variety of items for sale since it is so very vast – the photographer in me went crazy experiencing this delightful extravaganza of colors and compositions. The sun might have been shining brilliantly and forcing most visitors to seek refuge under the makeshift shops and counters, but not me! No no, I clicked to my heart’s delight and it seems like I shall be hopping to the fair again and again in the coming few years to click at the numerous sights and the heartwarming little sculptures and patterns!

Elephants!

And if that is not enough, the global affair seems to be a natural draw for circus entertainers and joy ride installations – with so many visitors around, why should they miss their chance to make a few extra bucks – in a considerably lower setting than the rest of the arena are set numerous rides, from the massive Columbus’ ship executing pendulum movements on their levers and the scarily thrilling Ferris wheels, to the small merry go rounds and hopping frog rides meant for the little visitors, the fair has it all. The “Well of Death” – where cars and motorcycles are driven by bravehearts on the vertical walls of a huge cylinder while from the top stunned onlookers gaze with their jaws dropping wide and their eyes shining with excitement – seems to be amongst the most famous attractions, given the nearly thousand-strong crowd teeming with amazement surrounding the area. My parents tell me that I’ve been to the fair once when I was still a toddler, I do not remember anything else except glimpses from the “Well of Death” that I enjoyed while being perched upon my father’s shoulders – of course I cannot place the glimpses in a setting or another fair, and have to take my parents’ words that it must be Surajkund. 

This isn't even a miniscule fraction of the crowd.

At sudden instants and without any premonitions, the arena would come alive with the sounds of traditional folk songs and the beat of drums and the crowds would rush towards the stages set for the dancers who would perform very short lived sequences and plays before heading back to their designated seats – given the meager size and height of the stages and the enormity of the crowd, very few actually are able to see, leave aside click, the performances, and sad to report I was never once amongst those happy few even though I stayed at the fair for nearly an entire day. Throughout the arena are thrown in numerous artists working on the go – calligraphists skilled in such nimble work that they can pen entire texts intricately on a single grain of rice and willing to exquisitely illustrate one’s name on the same, fine sketch artists, painters and henna artists; besides these there are the usual vendors offering lemon sodas, ice creams, cold drinks and candy floss.

Another elephant

Located amidst the usual art and craft counters are numerous stalls stocking pickles of scores of different types fermented in dozens of oil and spices preparations, teas and coffees of numerous origins and aromas, and “churans” (sweet and spicy preparations composed of several natural products like spices, seeds and flavors, meant to aid digestion and bowel movements). Every state also sets up a food stall that introduces visitors to the cuisine of the state and serves up a variety of local dishes – I tried the Goan pork curry served with bread and shredded onions – in my opinion, very overpriced for the quantity I received and not at all reminiscent of the delicious pork dishes I’ve had – in fact, it rather tasted of eggplant curry more than pork! But disappointment is usually what you savor when you go out on a limb to try another state’s renowned cuisine in your own state. 

Try some sweets

Following lunch, I bought a number of items to adorn my room with besides again embarking on a clicking spree. Before heading back home, don’t forget to visit the tourism and information kiosks set up by various states in the permanent chambers in a corner of the arena – besides looking at the numerous huge information panels and posters, one can also collect brochures detailing the state’s cultural and tourism highlights, cuisine, shopping details and historic legends. Done with the fair, I had really wanted to visit the Surajkund reservoir immediately opposite the entrance gate but half of the massive crowd, perhaps tempted by the sight of chiseled stone steps on which one can rest their tired ass – tired is what you are after spending a day at this cultural fiesta – had had that same idea much before me and the area was so stuffed with people that the lone guard on duty was facing trouble ushering them in. I decided not to increase his already disproportionate trouble, and though I was disappointed as I always am when I see a monument but have to leave without exploring and photographing it, I was happy too since I could go home earlier and dive into the hundreds of photos I clicked and write about this aspect of the city. Satisfied, now I am.

An artist from Rajasthan

How to reach: Surajkund is located in Faridabad, approximately 8 km from south Delhi. Interstate buses and autos ply along the arterial Mathura Road throughout the day - get down at Badhkal and from there take an auto going to Surajkund fair (they only go there while the fair is on). Alternately, if driving from Delhi, one can also access Surajkund from near Tughlaqabad and past the Karni Singh Shooting Range.
Entrance fees: Rs 70/person (Rs 35 for senior citizens and students upon showing photo ID card)

Photography/Video charges: Nil

Time required for sightseeing: 3 hrs

Nearby attractions - Pixelated Memories - Tughlaqabad - Adilabad - Nai-ka-Kot Fortress complex

Related post - Pixelated Memories - Dilli Haat
Suggested reading - 

1. Firstpost.com - Article "Surajkund crafts fair to begin Saturday" (dated Jan 31, 2014)
2. Hindustantimes.com - Article "170 Goan artists to display skills at Surajkund Mela" (dated Jan 28, 2014)

Ravana making in Tatarpur, New Delhi

In continuation with the previous post introducing Dussehra and other associated festivals (Pixelated Memories - Navaratris)

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In the well-tucked heart of the affluent south Delhi sits an unheard of, little urban village literally known as Tatarpur but popularly referred to as Titarpur, whose only claim to fame is the two-month period preceding the advent of Navaratri worship and Dussehra celebrations when it comes alive with brilliant colors, boisterous designs and sparkling glitter – Dussehra, one of the most important festivals of north India, cannot be completed without the ritualistic incineration of the effigies (“put-le”) of the evil lord Ravana and his associates – and it is in this small locality that all the effigies are constructed for supply to almost every part of north India. Not many people are aware of this heritage activity that begins in the narrow lanes and winding alleys and gradually spills out in the major streets and arterial roads around Tagore Garden-Subhash Nagar areas (amongst the most developed and modern places in the entire state – and yet not untouched by religious fervor and colors).

The colors of Tatarpur 

Couple of days before Dussehra, one can spot parts of the effigies – huge heads with glistening teeth set in perpetual grin, gigantic skirts and torsos composed of cardboard, paper and bamboo and adorned with sparkle work and glistening paint – scattered throughout on roofs, streets and pavements in the area. Travelling in the metro during this time of the year is particularly delightful – the overhead view of rows upon rows of large, multi-hued effigy heads and blackened limbs stacked together is heartwarming – and often one comes across unusual scenes, for instance, several feet long, jet black and curved moustaches decked on rooftops, or newly-painted torsos hanging from balconies to dry. The craftsmen start working on the effigies at least two months in advance of the festive season, many leaving their day jobs during the period in order to prepare these exquisite pieces of art. And though money is a factor guiding them to this business, most do it in order to show their faith in Rama, an ideal king-son-husband-warrior-statesman (“Purushottam”) and supposedly an incarnation of Vishnu, the Hindu God of life and nourishment. Nonetheless, the artists feel remorse every time an effigy made by them is “killed and set ablaze” in any part of the country. Confesses Subhash Raavanwala, one of the most prominent master-craftsmen functioning in the area, that though he has been making effigies for the past 30 years, he has never himself set foot in any of the numerous grounds where these symbols of arrogant evil and misdeeds are ritualistically burnt since it pains him to see his efforts go up in fire and smoke. One of his most beautiful works bore on its colossal moustache the legend “I am Ravana. I am evil hence considered worthy of being burnt every year. But if not for me, what of the hundreds of artists and craftsmen who earn their meager livelihood of two square meals only because they create my imitations”.

One of the master craftsmen

Colorful and covered with glistening sheets of myriad-hued paper – blue, orange, green, black, golden, silver, pink, red, yellow – the effigies are certainly a visual treat. Constructed from a skeleton of thin bamboo strips that are tied together to form body-like frames (limbs and torsos that more or less look like tapering cylinders), then pasted over with thin sheets of cloth followed by thick sheets of brown paper and finally repeatedly painted and adorned with patterns and facial features by skilled and experienced painters and craftsmen; final touches are added with slender strips of colored paper, gold and silver foils, sparkle paint decorations and serpentine pattern work in silver paint. Once completed, these parts are left to dry on the pavements and traffic dividers, propped against metro stations and in public parks, before being joined and prepared to be transported on trucks and cars to different parts of the country where these are stuffed with an immense quantity of fireworks and erected in community grounds in anticipation of Dussehra, the tenth and final day of Navaratri worship. Often when the effigies have to be transported over long distances, the patrons prefer to purchase and transport individual parts instead of an entire body put together and have it assembled by a team of laborers in the community ground itself.

Towering amidst apartment buildings - A completed Ravana effigy

Since the effigy and the fireworks are a costly affair and not everyone spares time and money for the same, most of the killing and burning (“Ravana Dehena”) of Ravana and his relatives is accomplished by local drama committees and teams that collect donations from throughout a particular locality for the purpose. Usually, a small ensemble team of actors portray Rama, his brother Lakshmana and the vanaras (simian followers and friends of Rama) – entering the ground on a decorated chariot and firing the symbolic flaming arrows towards the effigies of Meghnaad (Ravana’s son), Kumbhakaran (his brother) and Ravana himself, in that particular order, indicating that the demon lords have been killed and should now be set on fire. On a deeper level, the act of burning the ten-headed Ravana is symbolic of eliminating the ten evils from one's mind (lust, anger, attachment, greed, pride, jealousy, selfishness, injustice, cruelty and ego). Often the residents welfare associations (RWAs) collect the stipulated amount and place orders for the effigies on behalf of the population of the locality under their aegis, and eliminate the whole play-acting and costume-dressing before the incineration by requesting one of the prominent citizens/guests or the RWA president himself to set the effigy/effigies ablaze. What follows is a cacophony, the effigies are burnt in the order mentioned and the crackers blast off with great light and noise often amidst the regular shouts of “Jai Shri Rama” (“Victory to Lord Rama”). Though the massive crowds gathered to watch the fearsome spectacle are kept at bay from these towers of fire by enclosures made of ropes and bamboo poles, there is nothing preventing the onslaught of hundreds of devotees towards the spot where the smoldering ashes and afire bamboo frameworks drop. Belief is that keeping under one’s pillow or suspending over the bedside the ash and remains left over after the annual cremation of Ravana, who also happened to be an extremely learnt sage-philosopher-writer-musician, helps increase one’s knowledge and intelligence. Hence, the rush to gather the ashes. Unbelievable, right?

Now we know why Tatarpur is jocularly referred to as "Lanka" (Ravana's citadel)

The whole Ravana making business started some 50 years ago when a man from Sikandarabad (Uttar Pradesh) migrated to Delhi and set up a small-scale business of funeral and cremation materials. One particular year, when the business was exceptionally slow and the festive season upon him, he used the bamboo logs and fine cloths, that would have been otherwise sold to people for cremation purposes, to make a small effigy. Everyone liked it and it was burnt with a grand ceremony during the Dussehra celebrations – motivated, the man, by now being referred to as “Ravana Baba”, began making effigies every year during the festive season and few years later even started getting up to 10 orders from affluent patrons and festival organizing committees. The local children would sit around him and see him at work and often intern for him too for some quick cash – after his demise, these children took the business forward and now they all are the master craftsmen training new workers and painters under their tutelage. The business has grown to hundreds of effigies manufactured each year, yet the craft is characterized as a dying art since, despite putting in months of back-breaking toil and efforts, the profits are extremely low and most craftsmen/workers do not prefer to have their children in the same business. Harassment by locals and policemen are also a factor, though in recent years many newspapers, blogs and photography clubs have photographed, written about and highlighted this alluring heritage activity. And the saddest thing of all is that nobody, not even the generation of craftsmen-artists whom he trained, remember “Ravana Baba” or know his real identity – though one claim is that his actual name was Ustad Chuttan Lal, but many of the older craftsmen disagree.

Brilliant blue! - Am sure Ravana never looked so amusing!

The effigies can be brought – big or small – depending on your budget from Tatarpur. They are priced according to the skill of the craftsmen who made them and the additional features they sport (light bulbs for eyes, large horns, moustache, snake motifs, weapons and accessories etc). The quoted price is Rs 300/feet, but most artists and craftsmen confess that they are able to sell a 50-feet tall effigy (the most common size available here) at an average of Rs 12,000 only – the total price for making it from scratch pegged somewhere around Rs 8,000. Some patrons order even more magnificent effigies – often measuring over 80 feet and equipped with several features like headgear and weapons – such effigies require 24X7 hard work worth several days and usually fetch relatively heftier profits. But one can also spot miniature effigies, just over a few feet tall with a little head mounted atop, thin as sticks and conical in shape, but layered with lots of glossy paper and decorated with fluorescent sheets and sparkles. These are usually bought by individuals who prefer to celebrate Dussehra at their own home and with only their near family instead of indulging in the community carnival that the festival turns into in the local parks and grounds. The best part, other than the riot of colors, are the long moustaches of the Ravanas – many a times the patrons request the craftsmen to make excessively large moustaches or scribble words on these. The craftsmen, nonetheless, think the demons look “beautiful”. 

Subhash Ravanawalla, with some of the effigy heads he commissioned

Interestingly, amongst the rows upon rows of effigy figures lying around, one can spot the artistic modifications creatively introduced by different artists – foremost amongst these are the facial expressions – while one effigy might be depicted looking sad, others might appear happy, and many even sport an expression of unbridled amusement with their large uneven teeth glistening in the sun, nonetheless all of them seem to be contemplating their “fiery” end and laughing at the human vanity of claiming to burn the mighty Ravana. The vibrance of so many shades of colors and glitter, combined with these hundreds of modifications and the different stages of completion in which several effigies sit next to each other makes for beautiful compositions beckoning enthusiastic photographers and impressed onlookers alike. Over time, this sacred craft tradition too has started sporting modern touches – many organizing committees have started burning four effigies – the last one portraying some relevant social/national issue such as female foeticide or corruption; the effigies are increasingly being composed of natural products and avoiding toxic substances like paints, glues, plastics and metals; the creativity has been further enhanced by inscribing slogans on the moustaches or pasting large stickers of fire-spewing dragons and silver jewelry.

That moustache, those teeth! This one at least is spooky!

The workers toil from early dawn to dusk to make these “art pieces” (that’s what they consider them) more elegant and stunning and the impeccable craftsmanship shows in the form of the decorative designs and motifs added when giving final touches to the effigy, just before being shipped off to its destination. Scores of workers cohabit here under the guidance of the master craftsmen during these few months to create hundreds of effigies in a span of two months, every master craftsman commissioning 30-35 effigies each – obviously, the competition to sell earliest while also cornering some profits is high. Yet often, the craftsmen are forced to indulge in distress-selling to even procure part of their investments; many find themselves unable to sell all their product at the end of the festive season – the effigies are then broken down and their constituent material put to more lasting uses – bamboo is utilized for making chairs and stools while paper and glossy sheets are converted into posters. At the end of their two-month employment, each of the workers/carpenters/artists/painters is paid approximately Rs 6,000/month for the services rendered.

A Ravana and his torso. He seems to be grinning perpetually and stupidly 

Walking through the streets of Tatarpur is a wonderful enriching experience where one gets to witness craftsmen and artisans hard at work, converting seemingly simple pieces of bamboo and thin sheets of paper and cloth into towering effigies and masculine heads with astonishingly large moustaches. But one also observes another side of this labour-intensive business – often small kids, not even ten years old, frail and thin like the bamboo sticks they join, can also be seen working with the elders. Every time I have visited the village to click the work in progress, most of the kids stop in the middle of whatever they are doing to jovially interact and pose for me, only to be scolded by the elders – and it is heartbreaking to see them work and questions like shouldn’t they be studying or playing around bubble up unintentionally. Most of these workers, living impoverished lives and often not earning enough to spend on quality food (leave alone proper education, housing and health), face harassment from locals. Couple of years back, they were especially threatened by biker gangs who had taken to stealing the effigy heads and body parts – nowadays, as a preventive measure, most of the heads are kept tied through the nose to walls/railings by means of long strips of cloth – it eliminates part of the photographic composition, but is definitely a necessary measure. The craftsmen also face an uncooperative police force and are often derided for blocking roads and covering footpaths with these huge effigies – for some people, unappreciative of the toil these artists put in for the sake of their patrons and the people who come to see Ravana Dehena, this entire show turns is a nuisance, and they often argue for the removal of effigies from arterial roads. But for most, viewing these brilliant colors, funky shapes and blinding glitter is simply an ethereal experience. Having so many large heads flaunting strange moustaches and headgear strewn around makes for amusing street furniture and compelling photographic perspectives. Scattered all around are not just some pieces of paper-covered wood, but hard toil of workers worth several months, experience worth several years, and a ritual continuing since several decades!

Two's company, three's crowd? Not at Tatarpur where hundreds of effigies jostle for space everywhere one can see. 

Location: The effigies are lined on all the pavements, road side and flanking parks on the stretch connecting Tagore Garden and Subhash Nagar metro stations.
When: From mid-August till Dussehra (early October). The best period is couple of days before Dussehra when the effigies are near completion.

Suggested timings: Early morning, specifically 6-9 am since later the traffic chokes the main street rendering photography extremely difficult.

Photography/Video charges: Nil

Relevant Link - Pixelated Memories - Navaratris

Suggested reading - 

1. Archive.mid-day.com - Article "Body blow to effigy makers" (dated Sep 30, 2011) by Vatsala Shrangi
2. Indiatoday.intoday.in - Article "Clowning glory" (dated October 28, 2002) by Shefalee Vasudev
3. Retinacharmer.com - Raavan Making in Titarpur, New Delhi
4. Timesofindia.indiatimes.com - Article "The makers of Ravana" (dated Sep 21, 2009) by Neha Pushkarna