Showing posts with label culture. Show all posts
Showing posts with label culture. Show all posts

Tuesday, 29 January 2019

Food For Thought


One day, I saw two tiny, fair-skinned piglets running ahead of my car and thought: ‘By god! They really can sprint. They’re super-fast!’ They scuttled into a by-lane and I turned into my apartment complex and forgot about them.
 
 A couple of evenings later while returning home, I saw a woman walking her pigs. I stopped the car and approached them, wanting to take some photos. It was the stick in her hand and the way she was hovering in their vicinity that made me ask if the pigs belonged to her. Her name was Jennifer and I learned that she is a neighbour of mine. Lives in the same Wado or village.
 
 
Jennifer’s affirmative answer led to a conversation about them. I asked if she reared them, if she had a pig farm. She said she just had these two pigs – one male and the other female. She added that the sow, which is three or four years old, and had given birth to seven piglets, two of whom were on the street as we spoke,  would soon be meat which she would sell. The male, their father, was not quite a year old and the piglets were just two months old. I asked if she named them. Very matter-of-factly, in the most deadpan manner I’d ever seen, she uttered, “No”.
 
 
I have to admit that something turned in my stomach. I was now acquainted with this sow, with her drooping udders and hungry snorting, who would soon be inside Jennifer’s stomach and, who knows, even mine! The next time I have a hankering for bacon and eggs, I’ll be unable to eat, wanting to know whose pig it was, whether we have met or not. I was confused by the encounter and started probing my own food choices. But, taking my cue from Jennifer’s matter-of-factness, I clicked my photos and drove on home. 
 
 
I didn’t have far to go, but it wasn’t a comfortable ride home. I had questions. I needed to understand my own dietary choices. Re-think them, yet again. But this time with a whole new set of ideas and ethics.
 
Alighting from my car, walking towards the gate, I met a neighbour and we decided to drive down to Morjhim Beach for a quick walk. On the way there, I narrated this pig incident. He mentioned seeing her walking them every day and, like me, couldn’t  fathom how people did it -- rear them and then kill them. He said that he was grateful, for these very reasons, that he didn’t eat pork and chicken. My immediate neighbours, who don’t live in the Riviera complex but with whom we share a common boundary wall, raise chickens, who crow at the crack of dawn and often drop in for a wander in the Sapphire gardens. I’ve never asked but now assume that they probably eat them at some point too. I assume they farm the eggs for personal consumption because when they are particularly noisy, which is at relatively frequent intervals, my maid remarks that they must be laying eggs today.
 
 
It seems standard practice in these parts, in the relative rural environs of Goa, to rear the meat and eat it. Jennifer’s pigs are fed from the stuff she and her husband collect from hotel left-overs and their walk through the lanes of Bammon Wado, where we live, foraging for food. My maid who also lives in the same village revealed that these pigs are expensive to rear and that her family also used to breed and sell pigs when they were ready to eat. She stated, as an aside, that Jennifer was quite indiscriminate with regard to where her pigs fed. Often desecrating the gardens of her neighbours and inviting much wrath, but that she is aggressive and continues without care.  When Jennifer and her family cut a pig, they do so at home, themselves, and sell it on Wednesdays at the Siolim Parish Bazaar. A social acquaintance, someone I’ve only recently met, declared that this was probably the best meat to buy as it is fresh. But I would rather go into a store and pick up something I hadn’t seen alive and made acquaintance with. I’m squeamish about this whole idea of knowing the being I am eating, however brief the acquaintance. 
 
 
 
I’ve grown up on a non-vegetarian diet. There were no restrictions on what we ate except beef but even that was overcome while I studied in London primarily because, in the hostel I stayed in, not eating beef meant I would get an omelette on an average of three to four times a week. I’d complain and Linda Washington, a cynical fellow hosteller, fed up with the frequent groans, goaded me to try it,  insisting it was the Jersey cow therefore my devout grandmother, a Krishna bhakt, would have no qualms. Through her taunts, I interrogated my belief and realised that I didn’t know why we revered the cow and when I didn’t find adequate answers elsewhere, I decided to give it a try.  It was okay then but I no longer eat it as I find it very heavy to digest. But that is a personal choice and not because it is taboo or from any other inhibiting factors.
 
Aside from this, I eat pretty much everything, even though the preference at home is to be mostly vegetarian.  But because of my rather involved yoga, meditation and healing practice, I often face the query: “You still eat meat?” And to this, I’ve never had qualms in responding that indeed I do because a wise man once told me that I must learn to ‘manage’ all kinds of energy. And that is what I do. Depending on my engagement with the world, whether it is a lot of external doing and less contemplation for the day or week, or the other way around, my food is based on the kind of energy that I need. And this includes regular fasting too.
 
That very day, when I met Jennifer walking her pigs,  a friend shared, on our school WhatsApp group, an incident of how Asha Bhonsle, who had acute lower spinal cord pain and couldn’t bend, was at the Golden Temple in Amritsar, where she prayed to be healed. She was instantly cured of her ailment, for right there and then, is said to have bent down spontaneously.  Ideas of faith and miracles did the rounds in the group, but while Faith is indeed part of it, the purity of energy plays a huge role. As a healer, I am familiar with how relevant it is that there is this element which must be present in the asking, the receiver and also of the environment the healing is asked in. Here the humility of Asha in pain, and the sacredness with which people visiting the golden temple imbue its sanctorum, created the perfect synergy.
 
 
However, there is a tendency to believe that the human being who doesn’t eat meat is purer than those who do. The Sikhs are known to be ardent meat eaters and many I know can’t go without their daily dose of tandoori chicken. Yet their temple precincts, as per this story, were the epitome of pure energy. And within the context of our conversation, my neighbour who doesn’t eat chicken and pork but chooses to be fish-eggetarian, was stumped by this anecdote because like many others he too believes that there is an element of purity in his diet, which isn’t possible in those who are heavy meat eaters. The issue of purity is another one altogether and a discussion for another occasion, but it is pertinent to ask ourselves what we mean by it in the first place. To my mind, purity simply is the honesty of intent, without rancour or guilt. An unconditional, non-judgemental, reverential acceptance of one’s being, its needs and desires, which creates a sacred connect with the divine forces of being. A sublime state that is dependent on integrity and faith -- not meat or fish or vegetables -- but one’s energetic capacity achieved through it or despite it.
 
Therefore the discipline lies not in my diet, but in administrating it. However, despite the lack of inhibition regarding meat in my diet, the dilemma of eating what is reared to kill creates another kind of question, adding a whole new twist to the very concept of eating compounded by the numerous popular diets doing the rounds which make eating itself a big issue. One diet recommends you eat according your blood type. Because I’m O+ and this is supposedly the oldest blood type, from an era where there was hunting but no farming, the genetic type of O+ accepts meat but wheat is taboo.
 
I recall, when I was around 10-12 years old and shikaar was still legal, relishing the teetar and bataer my maternal uncle would share with us, from his catch. We’ve also watched him fish in the rivers in Kashmir and eaten freshly caught trout. One no longer hunts for food so rearing and slaughtering the animals is the way things are done today, because killing is the only way that we do eat the meat.  Many friends speak of the idea behind eating fish as being less cruel in the kill -- but is it?  I do wonder because the oysters and clams are picked off the rocks they have adhered to in order to protect their spawn from drowning or getting swept with the tide. There are fisheries that rear prawns. And, how is putting out a net to catch  live and struggling fish any less violent than putting a knife to a pig’s throat?
 
Recent research also reveals that when we eat plants and fruits that have seeds, the plant poison secreted to protect the seed (which the plant deems essential for procreation and therefore aids survival of its species) can be harmful to ingest. Over time, this substance is believed to create a residue of poison in the stomach lining. And this is being linked to various stomach disorders and diseases that plague our generation. All this does make one have to think about the ethics of what we call food, doesn’t it? And also the systems of eating.
 
It’s no longer possible to take the traditional food-chain for granted and unquestioningly sing along with the popular 19th century jingle “To market, to market, to buy a fat pig. Home again, home again, jiggety-jig.” Animal activism has brought in a whole new dimension to food ethics which makes food and eating a rather perplexing issue.
 
 
I have a couple of favourite stories culled from traditional lore that speak of issues of natural selection and citing that it’s all the same matter whose form is a manifestation of the mind. Swami Ram, in  his travels with the Himalayan Masters, wrote of an interesting experience of meeting with a famed Aghori Baba. The Baba, on seeing how hungry Swami Ram and the Pandits accompanying him were, suggested they cut and bring the remains of a dead body lying on the river bank below while he got a fire going. The astonished threesome was stunned but compelled by some inexplicable force to do as he asked. The Baba then turned what could have been a cannibalistic act for staunch vegetarians, shattering their dharma, into a delightfully illuminating narrative on the question of energy which pervades all matter. He turned the bones into tasty rasagullas, highlighting the idea that we are all made of the same energy, in differing degrees of density, and it is a question of realising this and turning it into  whatever one chooses or needs. Aghori Baba was a self-realised master who was able to convert even the dense energetic matter of human bones into a vegetarian sweet dish - a feat that most of us cannot achieve. However, another way of looking at this reiterates the discernment, as mentioned earlier, of managing energy according to one’s needs.
 
Smiling Aghori Baba with long hair,
 ash on face wearing human bones
,rudraksha bead
 
 In another story, this time about Shiv Nag the cobra and the irrepressible Narada Muni of yore, tells us how the snake that eschews the natural order of things in learning to meditate and become a yogi creates havocs in the fields. This causes the rats to urge the cobra to return to foraging their kin because absence of the natural survival of the fittest and fastest was leading to an unprecedented rise in rodent population and to farmers losing their crops. Inspired by Narada and his wisdom, the Nag eschewed his otherwise violent stinging of children who trampled the temple precincts that the King cobra and his family lived in.  Unafraid of this now measly snake, the once cowering kids took to throwing stones at the pliant reptile, compelling Narada Muni, who visited him a year after the sermon, to say, “I didn’t tell you not to hiss!” There is also the much quoted logic of Krishna at the cusp of the mother of all battles when he says that the world is nothing but an illusion, echoing the mastery that Aghori Baba is said to have displayed.  Nothing exists  - not the killer nor killed -- but dharma must prevail.
 


 My question is: what’s the dharma in this instance? To my mind, it raises a similar dilemma: to eat or not to eat, or what to eat. So, if the human dharma is our own survival, which does necessitate some intake of food, is there any other ethic that must be involved in our decision making? Other than eating what we need as we need it? Eating for survival and not greed, managing the energy according to necessity, is that the mantra we should apply?




Thursday, 2 March 2017

Exploring My Textile Obsession with Eri Silk of Meghalaya, Guest Post by Anna-Louise Meynell



5 generations of women and girls from a weaving family















Working with textiles, as I have done for the past fifteen years, is often a passport to genuine experiences and interactions with rural artisans. Each time I visit an artisan village on ‘work’ I leave feeling truly blessed to be able to overcome language barriers, by communicating through the language of textiles – its warp and weft – a mutual understanding of the craft of weaving.

Working with the weavers

I was trained as a weaver in Scotland, where I also grew up. I moved to Bangalore in 2005, and my relationship with Indian textiles and traditional artisans grew with each year I spent there. With such a rich textile heritage, it is easy to develop many textile obsessions, but there is one fabric that captured my attention from the moment I came across it. Eri silk. The soft handle, the rustic and slubby texture of the yarn, the matt sheen of this unusual silk, the weight and drape of the cloth and the subtle shades of natural dyes drew me in and found a place in my mind. I was fascinated by the fabric and the place where it was produced - North East India.

Family collection of traditional Khasi pieces


When people talk of textiles of North East India, it is rarely textiles of Meghalaya that will be first brought into the conversation. Bold tribal textiles of Nagaland, Eri and Muga silk with figurative motifs of tribal Assam are well established on the textile map. Some may know of the fine and compact Phanek embroidery and the Wangkhei Phee textiles of Manipur (using the same technique of jamdani from West Bengal and Bangladesh), while textiles from Meghalaya are barely given a mention. What a treat for me then, to be invited into the villages on a textile consultancy with NESFAS, a Shillong-based NGO, to assess the potential and production constraints of the Eri silk weavers, spinners and dyers and work with them to expand their markets. I found that while Meghalaya is a state more or less off the well-trodden textile trails of India it has a rich, sincere and humble textile history.

From Mustoh to the plains of Bangladesh,

As a Scottish weaver I have received a very warm welcome in Meghalaya. Each person I meet reminds me that Meghalaya was affectionately named ‘Scotland of the East’ by the British. I (try to) respond with equal enthusiasm every time as I talk of the similarities with Scotland; the rolling hills, the deep gorges, pine forests and clean fresh rivers. To talk of Meghalaya or equally of Scotland and not to mention the rain is impossible. Rain shapes a land, gives life, fertility and endless shades of the colour green. I have always found an affinity with people who come from rainy places and Meghalaya is no exception - though the rain here is on a completely different scale to my homeland. Officially known as ‘the rainiest place on the planet’ the people have come to accept and understand how to live with the rain, enjoying the dynamic seasons, never leaving the house without an umbrella. One particularly poignant moment for me was in Mustoh, a village in the hills bordering Bangladesh. Looking down on the flooding Bangladeshi plains while being pummelled with torrential rain (over several days) gave me real experience of the forces of nature that impact the lives of so many people.

Eri silk fibre and thread

But back to the weavers, and the indigenous craft culture of Meghalaya. While Eri silk is best known for its production in Assam, it also has a long history with the people of Meghalaya. The main hub of Eri silk weaving in Meghalaya is the Ri Bhoi District, an area on the border of Assam, halfway between Guwahati and Shillong. It is a lush, fertile area where literally anything will take root and flourish. The self-sufficient and naturally sustainable communities of Ri Bhoj are primarily agriculture based, their main produce being innumerable varieties of rice, ginger, turmeric, and a range of delicious seasonal vegetables such as pumpkin, spinach, radish, squash, brinjal, tree tomato, beans and many more. In most villages farming responsibilities come first, with the whole village working on planting and harvesting of rice. Traditionally weaving activities are integrated into village life in the moments when agriculture is less demanding. When women get together in the community it is not rare to see them spinning eri silk with the takli or drop spindle, as they share anecdotes from their family life. Understanding the relationship between Eri silk production and the rhythm of the agricultural seasons is the first step towards understanding the weaving communities in the Ri Bhoi District.

Studying the Khad Ar Lyngdoh designs

Village life in the Ri Bhoi District

Eri silk in Meghalaya has always been cultivated domestically, and still is today.  The silk worms feed on the leaves of a number of plants, most commonly the castor plant, and grow fat and green in the shelter of the rearing house - generally a purpose built bamboo shed in the compound of the home. For those of you reading this blog post who do not know about Eri silk, it is also known as ‘ahimsa silk’, ‘peace silk’ or ‘non-violent silk’ due to the non-violent method of extracting the silk from the cocoon. The cocoon is spun of short fibres, making it impossible to reel the silk from the cocoon. The majority of the world’s silk is reeled, whereby the cocoon is boiled with the worm still inside to loosen the silk filament before reeling. The Eri silk worm however is either taken out by breaking open the cocoon, or the worm is allowed to eat its way out through the cocoon to emerge as a moth and continue the cycle. As Eri silk is hand-spun, it is of no matter that the cocoon has been broken open, thus saving the worm of being boiled alive. The amusing irony that I have observed with this reference for Eri silk (‘ahimsa silk’), is that once out of the cocoon the majority of the worms will be served up for dinner or turned into pickle! Ultimately the worm is not harmed in production of the silk, but being a great source of protein, it is not wasted. You can often see large bamboo trays of these worms being sold in the market, and in fact they can fetch as high a price as the silk cocoon itself.

Eri silk worm

Cocoons are washed, hand-spun and the yarn is dyed with natural dyes. Traditionally the colours used in Meghalaya were stick lac red, turmeric yellow and black from iron ore. Today, with training and support from government and NGO’s, the artisans have greatly increased their repertoire of colours, experimenting with all kinds of leaves, flowers, roots and fruits in and around the forests. Amongst many other plants, they are now experimenting with hibiscus (china rose), ananto fruit, marigold flowers, guava leaves and teak leaves. The colours they create depend on the season, the availability of these wild natural resources and even how old the plant is.

Eri silk worms
Eri silk from Meghalaya is a tangible reflection of the rural communities it is produced in. The quality of the silk depends on the quality of the leaves the worm feeds on, the texture of the thread is dictated by the hand of the spinner, the natural dyes come from the wild produce of the land, and finally the weaver working with a floor loom made of local bamboo brings her own creativity to the design and construction of the cloth.

Preparing the warp for the traditional Khasi check shawl

My current work in Meghalaya is research for my doctoral studies, through the Centre for Sustainable Fashion, University of the Arts London. I have been undertaking an ethnographic documentation of the socio-cultural context of Eri silk production in the Ri Bhoi District, and a technical analysis of the weaving process, recording their skills as new technology is introduced to their current practices. I have spent much time staying with the weavers, observing their rhythm of working, delving into their tribal history, and studying the textiles in their family collections.

Eri silk woven on the floor loom. Turmeric dyed warp and twisted turmeric and lac red weft

I am happy to say that there is a deep and meaningful history of Eri silk textiles in Meghalaya, closely linked to the social history of the communities. I have found sophisticated supplementary weft designs that were woven on simple floor looms. These textiles were once used by traditional dancers as a waistband with long sashes. With the widespread conversion to Christianity many of the traditional celebrations died out, and with it the need for dancers, or indeed their stunning waistbands! These skills are not lost however, and I have found contemporary versions in acrylic or cotton being woven in some villages. On the trail of the supplementary weft technique I have come across interesting indications of tribal assimilation reflected in the textiles. The Assamese and the Karbi textiles are woven with highly figurative motifs of flowers or mythical animals, which are also found in the Ri Bhoi district.  The Khasi Bhoi people have very clear geometric patterns, yet use the same technique of supplementary weft. Khasis elsewhere in Meghalaya do not use this technique, nor do they have the intricate ‘dancers waistband’ in their traditional dress, indicating that the close interaction between the Karbi and the Khasi people of the Ri Bhoi District may have led to exchange of ideas and techniques in textiles. When one delves into the tribal history of the area it becomes clear that this is really a rich land of many layers.

Natural dyes


Mist and rain in Mustoh
In some villages there is a noticeable shift in the approach to weaving. In Umden, the ‘model village’ of eri silk production, weaving has become a thriving commercial business. Weavers work full time and some do not work in the field at all. Many are structuring their workshops to be able to accommodate larger orders. The frame loom, and fly shuttle loom is now widely used, millspun yarn is available which they use in the warp, and you can see far more experimentation in design moving away from the traditional textiles. 
Traditional dress of the Khad Ar Lyngdoh communities,
Khasi Bhoi ethnic group
None of this research is possible without building relationships with the weavers over several cups of tea, followed by endless chewing of kwai  (a large chunk of beetlenut, beetle leaf and lime) to give you that special village high! On occasions going into certain villages, my Khasi assistant and I have been warned not to drink any tea or eat food, if offered, due to the practice of black magic in the village. It is said the excrement of the silkworm, when crushed and sprinkled on food as black magic would bring bad luck, ill health and possibly lead to the death of the person who consumed it. Today they do not use the powder, though black magic powers are still respected or feared. One family we visited in Umkon, (the Ri Bhoi District) did not offer us any tea at all, which is very unusual in Meghalaya. Knowing that they have a reputation of practicing black magic, they do not offer guests tea to avoid an awkward situation. This was followed by a visit to another family in the same village, who told us tales of their grandfather transforming into a tiger, while we drank tea and ate pomelo fruit mixed with salt and black sesame and carambola from their garden. Our hosts’ grandfather was one of the few villagers who did not convert to Christianity in colonial times, a fierce defender of the indigenous Khasi religion. The tiger often appears in Khasi folklore and such stories are common even today. Though I cannot understand Khasi, watching her narrate the stories of her grandfather with such animation I could almost sense the tiger in her. Kong Kumari who had accompanied us to the village insisted we consume a tangy tasting powder as soon as we left, as a precautionary antidote to black magic. We took it on her insistence but as Vianney, my assistant, rightly said: “the food was given with such love, straight from the heart, it can only be received with warmth and gratitude.”



Floor loom weaving
My own interest in textiles has led me into deep discussions on tribal culture, the matrilineal system of the Khasis and role of women in Meghalaya, community systems of authority, the relationship with colonial settlers, the mass conversions to Christianity, the list goes on. What began as a search for indigenous textiles has opened-up doors to explore a rich cultural tapestry, building lasting friendships with people from such different backgrounds.

120 year old dancers waistband from the Khasi Bhoi communities,
Eri silk, exquisite supplementary weft designs







Anna-Louise Meynell is a designer of woven textiles from Scotland who has been living and working in Asia for 12 years. Her consultancy work in handwoven textiles takes her to inspiring communities in India, Laos, Cambodia and Myanmar. With so much travel and textiles in her life she describes herself as a ‘nomadic weaver’!


Anna-Louise has been working in Meghalaya since 2014, and is currently based in Shillong, doing research on the traditional Eri silk textiles of Meghalaya. The North East of India has captured Anna-Louise’s heart, mind and textile imagination and she may well be there some time longer!











Saturday, 19 September 2015

Tea and Tales from Tawang

Sela Pass
The cup of tea on the table in front of me is quite repulsive, to say the least. The container is squat, made of greyish, flimsy (possibly toxic) plastic that wobbles when held in the hand, threatening to spill out its contents. The tea, thick, dark brown and glutinous, is forming a crinkly skin on the top. It’s 7 am and I’ve just bought this brew at the Guwahati airport.

I’m seated on a large brown faux leather sofa in the VIP lounge. On another sofa, across me, Mr Nitin Gadkari, BJP ideologue and current minister for roads, is reading aloud a joke about the Congress on his cell phone and giggling happily along with his retinue. He is waiting for a helicopter to take him to district Zero in Arunachal Pradesh. I too am waiting for a chopper to get me to Tawang. 
 
A Stream by the Road
I drink the tea. It is hot, sweet and thick, as is all tea you might get at an airport – and nothing like the milk-less light Lipton Green Label I’m used to. I feel it travelling down my food pipe in a mass and hit the stomach. Instead of jerking me awake, as I had hoped (I’ve been up since 2 am to travel), it has a strangely soporific affect – and I fall immediately and deeply asleep. The next thing I know, I am being shaken awake: “Madam, the helicopter is ready, it’s 10 o’clock.” This is a commercial flight run by the state government and I go through the security check again and soon find myself on the tarmac, near the helicopter. Mr Gadkari and his group fly by overhead in a couple of Army copters. 
 
The Road to Twang, from the helicopter

The only other passenger in our chopper is a Washington Post journalist who is worried about altitude sickness in Tawang – the town is located 10,000 feet above sea level. Since I had not thought about this, I too begin to worry but not for long. Our helicopter takes off and soon we are engrossed in the visual delights outside our windows. We are travelling over hills clad in thick virgin forest, the green broken only by the pale thin ribbon of a road winding up and down endlessly. The road trip from Guwahati to Tawang takes about sixteen hours and the chopper ride a little over an hour. However, the latter is dependent on weather conditions and quite erratic.
 
White Tara at Lumla

We soon arrive at Lumla, and hover almost eye level with a huge, beautiful statue of White Tara, seated atop a hill. At the helipad, my host, the district commissioner of Tawang, has sent a Jeep and driver to meet me and soon we are on our way to Tawang Township. The air is crisp and cold, the temperature hovering around 12 degrees centigrade. The journey is an hour-and-a-half long over very bad road. Small waterfalls and streams trickling down the hillside, fields of brilliant yellow flowers, an occasional flowering rhododendron tree, a yak grazing in a meadow, prayer flags fluttering gaily from poles and rooftops, and people busy with their daily lives in the small village we pass are some sights that keep me visually engrossed and cushioned from bumps. 
 
Monpa women dancing
Tawang district is also known as the Land of the Monpa. The Monpa are an ancient tribe that migrated to Tawang and adjacent West Kameng district from Tibet and Bhutan over time. They are followers of Buddhism; in fact, the only Dalai Lama – the sixth – to be born in India took birth in Tawang in 1683. There are many myths and stories about his life as a child, his journey to Tibet and his eventual mysterious disappearance. In the mists of time, Tibet held sovereignty over Tawang and later China became involved. The McMohan line demarcated Tawang as Indian Territory in 1914, but China still lays claim to the area. In fact, Chinese troops over-ran the place in the 1962 Indo-Chinese war and later retreated when peace was signed. The bravery of the Indian soldiers in this war is commemorated through the War Memorial in Tawang and the Jaswantgarh War Memorial close by.
 
White Rhododendron

Tawang’s other claims to fame are the Tawang Monastery, said to be the largest in Asia, and the fact that when the current (14th) Dalai Lama fled Tibet in 1953, he entered India through Tawang. I can see the sprawling Tawang Monastery’s buildings with their whiter than white walls and vibrant yellow roofs from the Circuit House where I am staying. The structure dominates the town which is built on the spines of a couple of green hills – and the entire vista is really as pretty as a picture.

Having arrived at the Circuit House, I proceed to ask Yadavji, the 
Monpa men with Yak dance costume
general factotum, for ‘separate’ tea which means that the hot water and tea leaves arrive in a tea pot accompanied by milk and sugar in separate containers as opposed to the thick curry-like masala chai which is a near universal favourite. The tea arrives on a tin tray with the three containers on it. But…. the teapot contains the hated masala chai, with additional sugar and milk in case I felt like making it sweeter or milkier! I swallow my disappointment and the tea, and head out to see the sights of Tawang.

There’s a fair amount to see within the small radius in and around town. 
 
Tawang Monastery




Tawang Monastery
 
 
 
 
 
 
 
 
 
 
 
The first stop, of course, is Tawang Monastery. We enter the ancient building into a courtyard that plays host to the annual Torgya monastic festival every winter. Up front is the assembly hall that is home to the 25-foot beautiful gilded statue of the Buddha. The room is festooned with banners, the floor has prayer mats on it and the walls are richly decorated with intricate murals and thangkas. Other buildings around the courtyard include a museum, an impressive library, storage for provisions and a cook house. Beyond are buildings that are home to the male monks and novices; every Monpa households sends one son here at a young age to learn the scriptures. 

Tawang Monastery
We then wind our way downhill to the modest Urgelling Monastery. It has some antique thangkas of the sixth Dalai Lama, prayer wheels, lamps for lighting, and other accoutrements of faith. On the first floor, in the hall, we find a priest and his family. I light the lamp at the altar and am invited to share tea with them. The Monpa butter tea or sueja is salty and made from jari or crude tea leaves that are churned together with a little milk, butter and salt in a long cylindrical churn made of bamboo or jan dhong. The sueja is served warm. The taste, though unlike the tea we’re used to, is pleasant and soothing; a certain sense of contentment falls upon me, brought on by the place and the tea.

Mentally shaking myself, I take my leave and we make our way further down to yet another monastery, Khinmey. This is a beautiful structure that has been renovated recently at the behest of the current dynamic Rinpoche. Inside, apart from the statues of deities and saints, the walls are covered with tantric (fairly erotic) paintings showing life in all its stages, especially the fate that awaits the wicked and the sinful.


Khinmey Monastery

By now it’s late in the evening and the temperature has dipped further. I decide to head back and turn in for the evening. Along the streets, especially in the market, the local people are busy transacting daily business. The Monpa are a good looking people. The young men and women sport the latest haircuts and clothing:  jeans, boots, jackets and scarves. I think that if you were to transfer them to, say, Bangkok or KL, they’d be quite at home. Not many wear the traditional gear - which uses a stunning combination of brick red and cobalt blue – everyday; it is usually reserved for festive occasions. 
 
Pond by the roadside

The driver informs me that yaks can sense the weather change and know it’s going to snow higher up so they rush downhill.


Yaks running downhill
 



The yaks are right. Weather rapidly deteriorates and it is raining in earnest by the time we hit Tawang. There’s a cultural festival on – the reason for my visit to Tawang -- and I leave my driver at the parking lot and walk down to the grounds where the festivities are organised. Luckily, it’s stopped raining but the ground is full of slush.
 
PT Tso Lake

Regardless, the place is bursting with activity. People from different tribes across Arunachal in their traditional, colourful costumes and beads, wearing exotic headgear and masks; men roaming around in the yak dance costumes or dance masks; musicians tuning their instruments; young and old monks; and the town people excitedly talking – it’s a scene that fills the senses. I cannot but help marvel at India and her diversity.  The governor of the state arrives and we witness local dances performed by five or six different tribes. My cup quite spills over with excitement and happiness.The yaks are right. Weather rapidly deteriorates and it is raining in.


PT Tso Lake
 
The only fly in the cup is the telecommunication in Tawang; it belongs to the dark ages. The Airtel service comes on for a few seconds then vanishes for hours. I can’t make contact with the driver, so I eventually hitch a ride with two young monks in a bright red Maruti 800 back to the Circuit House. 
 
Twang Monastery from the Circuit House
Much as I don’t want to, I have to think about getting to Delhi. Since there is no chance of the helicopter taking off in this weather, I prepare to embark on the sixteen-hour journey to Guwahati. Next morning, my host sees me off in a taxi at around 11 am. Leaving town, we descend and then ascent up to the snow covered Sela Lake and Pass at 13,500 feet altitude. Again I get that sense of the majesty of nature and our smallness in its face.
 
Yak Dancers
We drive steadily through virgin jungle along the road that I had seen from the helicopter. There is hardly any traffic and the road is seriously bad in several patches. I get the opportunity to feast my eyes of lush green, unspoilt forests that we are passing interspersed by valleys of incredible beauty. We reach Bhalukpong in Assam by 7.30 in the evening and start again at 6 am next morning, reaching Guwahati airport by about 11, well in time for my 1.40 pm flight back to Delhi.
 
A young Lama
Ever the optimist about tea, this time I go to the slightly upmarket restaurant at the airport so that I can try some excellent Assam tea. The ‘separate’ tea arrives. But a bag of Taj Mahal masala tea dangles in hot water in the pot. The waiter assures me that this is the only Assam tea he knows of. I give up! And console myself that home just a few hours away. The first thing I’ll do on reaching will be to make myself a cup of tea the way I like it.




Urgelling Monastery   






Ananda Swaroop is a itinerant traveller. An editor by profession, she edits corporate publications and is also the editor of garam masala chai. A watercolour enthusiast and practitioner, she works with the realist genre. Ananda lives and works in New Delhi, India.