Tihar Jail – Graffiti and Haat, Delhi

“Subah likhti hun, Shaam likhti hun, 

Is Chardiwari mein baithi, bas tera naam likhti hun 

In faaslon mein jo gam ki judai hai, Usi ko har baar likhti hun 

Ye mere shabd nahin, dil ki aawaz hain, 

Khwaish zinda hai, Sochti hun subah kabhi to hogi hi, Har aas mein jeeti hun 

Haan, Subah likhti hun, Shaam likhti hun, 

Is Chardiwari mein baithi, bas tera naam likhti hun” 

(“I write in the morning, I write in the evening, 

Trapped between these four walls, I just write your name 

I continue to write about the sorrow of separation 

These are not my words, but the anguish of my heart, 

My dreams are still alive, I wait for the dawn and continue to live in hope 

I write in the morning, I write in the evening, 

Sitting in this prison, I just write your name”) 

Chaardiwari - Four Walls

An artistic transformation is in progress at Tihar jail. Asia’s largest prison complex now flaunts the country’s largest mural – spread over 968 meters, it is a blend of exquisite artwork and lyrics of a poem painted in the prominent street art textual style executed by extremely skilled artists. It is no secret that hand painted lettering that is symbolic of the subcontinent’s streetscape and a source of livelihood to thousands of painters and artists is dying a slow death at the hands of cheaper machine-printed vinyl and paper posters and text/art panels – an attempt is being made to jolt the lettering style back to life by the Delhi Street Art festival (“St. Art Delhi”) that is a brainchild of painter-artist Haneef Kureshi and envisages introducing the inhabitants of this antique city to the nuances of graffiti and street art. Hauz Khas and Shahpur Jat villages, the renowned hubs of textile designers and uber-expensive restaurants and bars, already display the handiwork of these talented artists, especially “Daku” (“Bandit”) who has left his mark on numerous walls and flyovers of Delhi through his trademark signature executed in the vernacular – but who would have ever thought that Tihar jail, that continues to remain a symbol of oppressive incarceration and inhumane treatment despite several reforms aimed at improving the social and emotional well being of the inmates besides police sensitization, would one day host this splatter of multi-hued and vibrant colors that are indicative of artistic freedom and imaginative abundance.

Tihar's other side

Nonetheless, to augment the mood within the prison walls and in solidarity with the inmates, the designs are largely subdued and depict numerous symbols reminiscent of the imprisonment of these men and women and the reasons thereof. The poem itself, entitled “Chardiwari” ("Four Walls"), has been composed by Seema Raghuvanshi, an inmate of the jail, and strikes an extremely poignant note, especially when read in Hindi (my English translation is horrible!). While the text follows a largely uniform pattern with the monotony being broken by the use of several different colors and shades ranging from vibrant reds to glittering blues and dazzling yellows, it is the artwork accomplished by the artists from the neighboring state of Uttar Pradesh and students of Delhi College of Arts that steals the show with its range of subjects and sketching styles – on a large gray panel is a caricature of a man drowning in a pit of black ink emanating from a pen, perhaps expounding on media trial of the accused and the assumption that a person is guilty before being proved so; another is a tempting collection of three panels painted side-by-side and interspersed by wide white margins depicting three dark angels confined in a space that is too congested for them; a third innovatively utilizes the trunk of a tree growing through the prison wall to depict a cruel, rough face that, in a commentary on the judicial system and law enforcement agencies, holds in its hands a cage and a bird respectively.

Atleast the tree cannot be held by the prison walls - One of my favorite panels

Another art piece, by graffiti artist Yantra, depicts, through a smooth blend of vibrantly colorful swirls and flourishes culminating into several heart shapes nudged in square panels reminiscent of diabolical machineries in cartoon shows, the mentality of a prisoner being transformed by the Tihar jail. Painted, in both Hindi and English, adjacent to one of the entrance/exit gate of the jail is the description – 

“Behind bars, Imprisoned in four walls, 

A set routine to be followed day after day. 

From mechanical conformation 

To a rehabilitated self, This was a jail 

Until it set my heart free.” 

The text is often interspersed by garbled lines looping several times upon themselves and painted in a variety of styles that can be seen so often painted through the city by juvenile graffiti artists. The impressive artwork is definitely worth a stop outside the jail premises, it beckoned me immediately the first time I passed it after it had been completed, yet very few passer-bys and none of the vehicles stop to admire the panels or read the touching words inscribed on the otherwise green-gray monotonous walls and I find it hard to believe that the residents of the city are unable to appreciate the execution of such wonderful artwork by these brilliant artists. 

Some words carried through and others lost in a jumble

I on my part never thought graffiti art could blossom in the country, especially since almost every public surface is considered open space for pasting horrible posters advertising everything from political parties to bakeries – somebody or the other would always cover up a beautiful piece of art with hideous posters (my eyes are on you ABVP and NSUI – shame on you for defacing public infrastructure, this wasn’t expected from students, especially those who claim to be the future of the country). Also graffiti is considered an offence under the West Bengal Prevention of Defacement of Property Act, 1976, which was later extended to other states as well. Section 3(1) of the Act states that whosoever defaces any property in public view by writing or marking with ink, chalk, paint or any other material except for the purpose of indicating the name and address of the owner or occupier of such property, shall be punishable with imprisonment for a term which may extend to one year or with fine which may extend to Rs 50,000, or with both. 

Another particularly scathing commentary - The media and public trials and the assumption of someone being guilty before being proved so.

But before I digress again – a gateway in the kilometer long front face of the prison complex where the graffiti–poetry is inscribed leads to the renowned Tihar Haat, an outlet for everyday FMCG products manufactured in the jail by prisoners. “Most of the prisoners here are victims of outbursts of rage which gripped them unexpectedly and propelled them to commit a crime they didn’t really intend to. Only a very small fraction are hardened criminals” pointed to me the middle-aged soft-spoken man who was running the Haat that day. Though he refused to share his name and the details of the crime he committed, he acknowledged that he was in for life imprisonment and no amount of remorse can alter his past. Delving into his emotions, which weren’t too far from the surface, perhaps owing to lack of people to talk to and his need to share his story, he confided that he misses his family and the prison system is a cruel one where the inmates do not have emotional solace or filial support. Though he didn’t have to live in the prison complex anymore owing to his good behavior and the grant of government accommodation opposite the complex which he shares with other inmates also employed in the Haat, he wasn’t free to do whatever he wanted or roam the city like he used to and it is the luxury of freedom that he missed most. I couldn’t fathom what to say to lessen his grief while he recounted his story but promised that I shall write about the graffiti mural and the Haat. 

Inside Tihar Haat - The furniture and art section

Though photography within the Haat premises is prohibited, I was able to click a few photographs while glancing through the goods shelves – the Haat is divided into several sections – the first one encountered is the pottery section immediately outside the well-ventilated showroom; inside, apart from daily use articles (soaps, oils), food products (pickles, spices, bakery items), jute bags, rugs and incense, the Haat also houses a publication and furniture department – I was introduced to the book “Tinka Tinka Tihar”, a voluminous anthology consisting of poetry and stories penned by the inmates and their photographs, possibly the centerpiece of the Haat given that all copies were wrapped in transparent plastic sheet and displayed prominently on the wall shelves. The furniture, especially the votive alcoves crafted from wood, have been crafted exceptionally skillfully and priced reasonably too. But the most splendid of all the items on sale are the numerous paintings and sketches, created by the inmates as part of psycho-therapeutic sessions, that adorn the entire interior surface of the Haat and mesmerize onlookers with artistic proficiency. Most of the bulkier items however were not for sale since one is required to first place an order for them and, given their worthiness and nominal pricing, they are so much in demand that usually a patron has to wait for a couple of months for delivery. 

Angels, fallen and confined

Apart from the boutique and the FMCG department, the Haat also possesses a small cafeteria and a seating arrangement outside that is enclosed and roofed by fiber glass panels. The inmates, most of them being skilled workers and yet entitled to a meager salary of Rs 74 per day, refuse to be photographed and dejectedly I again feel the terrible pinch of what had just been discussed about guilt and stigma.

"This is not Street Art" (specified near the prison entrance)

Location: Jail Road, near Janakpuri
Nearest Metro Station: Tilak Nagar
Nearest Bus stop: Tihar Jail
How to reach: Buses are available from different parts of the city for Tilak Nagar and Jail Road. One can avail a bus/auto from the Tilak Nagar metro station which is located couple of kilometers from the prison complex.
Open: All days, 10 am - 5 pm

More graffiti abounds here - Pixelated Memories - Hauz Khas complex
Suggested Reading -

1. Blogs.wsj.com - Article "Photo Essay: Delhi’s Street Art Festival" (dated Feb 2, 2014) By Aditi Malhotra and Enrico Fabian
2. Dnaindia.com - Article "Digitising hand-painted lettering" (dated June 26, 2011) by Kareena Gianani
3. Economist.com - Article "Tihar prison in India: More dovecote than jail" (dated March 5, 2012)
4. Expressindia.indianexpress.com - Article "For two Tihar Jail inmates, freedom for seven hours every day" (dated Apr 10, 2012) by Geeta Gupta
5. Thehindu.com - Article "Tihar Jail's brush with colours" (dated March 2, 2014) by Kritika Sharma
6. Tihartj.nic.in (Official website of Tihar Haat)
7. Timesofindia.indiatimes.com - Article "Art, song bring Tihar walls to life" (dated March 20, 2014) by Kim Arora
8. Wikipedia.org - Tihar Jail

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)