PHAD
The ancient tradition of scroll painting survives in Rajasthan as Phad. A phad is a long rectangular cloth painting that tells of the adventures and travails of Pabuji, a local hero or other epic heroes. Usually about five metres by one and a half metres in size, 5feet x 15 feet long. The phad is painted in bold colours and is rolled on two shafts of bamboo, thus making it easy to carry. Painted by the Joshis of SHAHPURA 311404 , they have been used for centuries as a backdrop by Bhopas or the bards of Rajasthan who go from village to village singing about the exploits of legendary heroes. Scrolls of classical subjects like
The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Rawanhatta
Rawanhathha Probably the earliest instrument played with a bow, and this humble instrument could well be the precursor of the violin. It has two main strings and a variable number of supporting strings, with a belly of half coconut shell and a body of bamboo. The bow has ghungroos (bells) attached to it. The music is staccato and accompanied by the syncopated singing of the Bhopa and the Bhopan.The Jogis of Abu Road area use a smaller version of the Rawanhathha which has its two main strings tuned to the 'Sa' of the Indian octave and a third of steel to 'Pa'. The Langas use the Sindhi sarangi. It is made up of four main wires, seven jharas and seventeen tarafs. Others members of the family are the Gujratan, Jogia and Dhani sarangis. The Surinda, favourite of the Manganiyars, is a small sarangi. The Chikara, used by the Meos and Jogis of Mewat is a replica of the Sarangi.
With the painting rolled up on two shafts of bamboo, the bhopa travels from village to village with the intent of singing the liturgical epic of the life and death of the hero god. This performance is the principal ritual of the cult of Pabuji (and Devnarayan). There are only two temples actually dedicated to Pabuji, which are located in his native village of Kolu. So rather than the worshipers coming to the temple to honor their deity, the bringing of the par paintings to the villages represents, in a sense, the temple coming to the worshippers.
Vijay Joshi
