Winds of Change rock the Marginalised Lambani Community in Karnataka | Veerendra Kumar & Thippeswamy N

The Lambani community is known by various names such as Banjara, Gormati, Vanjara, Gor, and Sukali. The British categorised them as gypsies. Within Karnataka, they are recognised by names like Banjara, Lambani, Lambada, Lambadi, Lamani, Sugali, and Sukali. Constituting a semi-nomadic group, the Lambani community has been an integral component of the Indian societal fabric for long. Exhibiting a vibrant and flamboyant way of existence, these individuals possess a profound connection to their cultural legacy. Originating from Afghanistan and subsequently migrating to Rajasthan, the Lambanis gradually dispersed across regions such as Karnataka, Madhya Pradesh, Gujarat, Andhra Pradesh, and Maharashtra. Are the winds of change affecting the community; are their ways of life and livelihood becoming obsolete? This study is an attempt to place on record a vulnerable, underprivileged community before their socio-cultural practices change immeasurably. Primary data is acquired through various methods, including interviews with elders, the Naiks of the Thandas and Karbaries of the Thandas. Most of the data was obtained through random sampling techniques from Lambani respondents.

ACCORDING TO THE 2001 census data, approximately six crore Lambanis reside in India. Ehnographic researcher Rama Singh Bhanavath says, a significant number of Lambani individuals have established settlements in twenty-six different countries. Geographically, the Lambanis are distributed across the nation from the north to the south, constituting a diverse and vibrant scheduled caste residing in the various districts of Karnataka, majority of them in Gulbarga. Their distinctive customs and traditions are firmly entrenched in their cultural ethos. The community identifies its own members as Gor, while referring to others as Kor. The customs and traditions of the Lambani community encapsulate intricately detailed depictions of their day-to-day lives. Their language, religious practices, and attire choices serve as pivotal elements in fostering a sense of unity among them. The diverse nature of the Lambani community can be attributed to their residence in isolated enclaves known as Thandas, which separate them from mainstream societies. In addition, they have established their own systems for governance and legal adjudication.

In the wake of modern influences, the Lambani community is undergoing notable transformations in their customary practices, attire preferences, traditional rituals, and ceremonial proceedings. Typically, they live in small, secluded clusters, situated a short distance away from towns or villages. Owing to their seclusion in remote areas, a large proportion of them lack formal education and are not affluent. A Thanda is identified by terms such as Palya, Gumpu, or Samooha (Venkata Subhaiah 1975: 404). In a Thanda, the residents exclusively belong to the Lambani Community.

The Lambanis communicate in Gor Boli, also referred to as Lambadi, which falls under the Indo-Aryan language group and lacks a script. The community’s origins can be traced through mythological and historical narratives, with claims of Rajput descent and a connection to Prithviraj Chauhan’s lineage (Census of India, 1961). Collaborating with the Mughal army upon their migration to southern India, the Lambanis from western and northern regions eventually resettled in the southern States. There are many discussions about the origin of these Banjaras. Some scholars have opined that they must be of Aryan origin while others say that the Banjaras are of Dravidian origin. (della Porta, 2022)

Historically, they were impoverished and engaged in manual labour. The Lambanis provided sustenance to armies during wartime without facing harm, leading many researchers to suggest that their migration to the Deccan region coincided with the movement of Mughal forces (Raghavaiah, 1968). Their historical identity and migratory patterns have led to their classification as the Gypsies of India. Prior to the introduction of railways, they traveled in groups across States, transporting war supplies on bullock carts (Kanitkar S R, History of India). H L Nagegowda documented the organized procession of Banjara bullocks in his work Pravasi Kanda India.
The colonial enactment of the Criminal Tribes Act caused them difficulties, as they were unjustly labeled as a criminal tribe.

Customs and Traditions in the Lambani Community: A society or community cannot exist devoid of customs and traditions, as they are integral components of the social life of the community. he Lambani community boasts a wealth of customs and traditions.

Clothing Style: The attire and accessories of the Lambanis exhibit a vivid array of colours. The distinct identity of the Lambanis is closely linked to their clothing. Lambani women are renowned for their vibrant and intricate garments, often embellished with detailed embroidery, mirrors, and colorful textiles. Their attire serves as a symbol of their Lambani heritage. Nanjudaiah and Iyer (1928:197) provide insights into the Lambani attire and physical characteristics, stating that, ‘The Banjaras typically display a tall stature and a fair complexion. They tend to have an oval face shape, with dark or brown eyes, long silky hair, and a straight nose. Both male and female members of the community are robust and resilient, demonstrating great endurance. The women’s clothing is particularly distinctive, comprising a gown known as the Phetiya (skirt) and a blouse referred to as the Kanchali. Their arms are generously adorned with ornaments and rings crafted from materials such as bones, brass, and other rudimentary substances. These accessories include Baliya (bangles), Karautiya (anklets), Hassli (necklaces made of coins), Buriya (nose rings), and Kolda (ankle rings). Men typically don dhotis (the Indian wraparound) and turbans. The traditional Lambani garments are primarily worn during wedding ceremonies and festive occasions.

Language: Language serves as a medium for individuals to articulate their ideas. Referred to as Gor Boli by the Lambanis, their language boasts an antiquity comparable to other Indian linguistic systems. Despite the absence of a codified written form, Gor Boli has persevered through the oral tradition of the Lambani community. It has managed to preserve its distinct identity despite the influence of local dialects. Presently, many Lambanis exhibit bilingual or multilingual capabilities by also embracing the prevailing languages in their respective environments.

Sir George Abraham Grierson, in the 1921 census, meticulously documented 197 languages and 544 dialects across India. When examining the languages spoken by hill tribes, Grierson observed a trend where many Lambani communities had forsaken their native dialects in favour of the languages spoken by the non-Lambani populace in their settlement areas. However, in their core habitation areas, the Lambani people have effectively safeguarded their language (1968: 228). The potential adoption of Devanagari script for these Lambani dialects is a prospect that remains viable (Lamani 1976: 5). Prominent Lambani scholar Y Rupla Nayak has advocated the use of Devanagari script, citing its scientific, aesthetically pleasing, and user-friendly attributes that align well with the Banjara dialects’ accents and pronunciations.

In his examination of the Lambani language in north Karnataka, Thurston noted that Lambanis in the region have preserved their distinct dialects, enriched with linguistic borrowings from Marwari, Urdu, Gujarati, Marathi, and Kannada, reflecting their multilingual adaptability (1909: 208).

Art and Craft: Lambani art encompasses a wide array of artistic expressions, ranging from performance arts like dance and music to traditional crafts such as rangoli, textile embroidery, and painting. The art of Lambani embroidery and tattooing holds a special significance, playing a key role in defining the Lambani cultural identity. Particularly, Lambani women excel in lepo embroidery, a technique that involves embellishing garments with mirrors, beads, and coins. One distinctive form of textile embroidery specific to the Sandur Lambani tribe in the Bellary district is the Sandur Lambani embroidery, which has been granted a Geographical Indication (GI) tag. These artistic traditions are often handed down from one generation to the next, serving as a cornerstone of their heritage. In his commentary on Lambani art, Fisher highlights the recent surge of global interest in Indian craftsmanship, which has brought newfound appreciation for the intricate embroidery skills of the Banjara community. This has led to an increased demand for vintage Banjara embroideries among collectors and enthusiasts, both in India and abroad (1990:6).

Dance and Music: Music and dance hold a significant position within Lambani culture, with Lambani dance being commonly referred to as the Banjara dance. This form of dance, vibrant and full of energy, is a customary practice among the Lambani community in Karnataka. The dance is characterised by rhythmic footwork, elegant hand movements, and intricate formations. Traditionally, Lambani dance sessions entail communal gatherings, often outdoors, accompanied by music from instruments such as the Nangara drum. These sessions are dedicated to perfecting choreographed routines, ensuring synchronisation, and conveying cultural narratives through dance movements. Lambani dance and music performances are typically showcased at festivals like Diwali, Holi and Teej. During these events, men typically play the Nangara while women engage in group dances, adorned in their traditional attire. The Lambani community boasts a range of unique traditional dances accompanied by traditional musical instruments like the dholak, manira, and harmonium.

Folk Songs in Lambani: Folk songs are creations that stem from collective efforts rather than individual endeavors. Within the Lambani community, a variety of folk songs are performed during different milestones in life, spanning from birth to death. Deity songs are sung by Lambanis during festivals, while ritual songs take center stage during wedding ceremonies. A plethora of songs are sung, especially during weddings, marking a significant occasion. Lambani folk song genres are for specific ritual, religious occasions, dance, fun, seasonal and romantic songs. Through their songs, Lambanis possess the ability to convey both sorrow and joy. Specific songs like ‘Dhond karero geed’ during birthdays, ‘Valayira geed’ during the groom’s farewell, and ‘Sagayira kadi’ during engagement farewells are part of their traditions. These songs, often referred to as ‘kadi’, are sung to commemorate various special moments and celebrations. Within the Lambani community, individuals with a professional singing background are known as Dhadis.

Alcohol Consumption: It is important to approach discussions about cultural practices with sensitivity and respect for the diversity within each community. The Lambani community has diverse approaches to alcohol. Alcohol consumption within the Lambani community can vary based on regional customs, social norms, and individual preferences. Some Lambani groups may have traditional alcoholic beverages as part of their cultural rituals or ceremonies, while others may obtain alcohol altogether due to religious or personal reasons.

Marriage Customs and Traditions: Although the wedding customs of the Lambanis bear resemblance to those observed by other Indian communities, they possess unique characteristics. These traditions are distinctly identified with the Lambani culture, and as modernisation and societal shifts progress, Lambani marriage ceremonies are also undergoing changes. However, in rural areas, the Lambanis continue to adhere to age-old customs and rituals.

Within the Lambani society, in cases where a woman is unable to bear children, it is not uncommon for the husband to enter into a second marriage. While sororal polygyny is practiced in certain rural communities, contemporary laws on marriage have prohibited polygamy. Widows in the Lambani community partake in a marriage known as ‘Dhasanighalero’, where they are allowed to marry the brother of their deceased husband or another individual in a ceremony referred to as ‘Kudavalli marriage’. Typically, these unions involve a widow and widower. A widower seeking to marry a widow or divorcee is required to pay a sum of Rs 125, while a widow must pay Rs 150, a discriminatory higher amount. This payment, known as ‘Dhanda-Tholda Yero’, is typically made to the legal successor of the dead husband. In cases, where an extra-marital relationship is proven between a man and a woman, a fine of Rs 65 must be paid to the Thanda.

In his discussion on marriage, Malinowski (1951:35) emphasises the significance of understanding Lambani marriage practices. The Lambani community is segmented into four groups: Rathod, Pamhar, Chowhan, and Vadatya, each of which is exogamous and comprised of various sub-castes. Marriages between a Lambani individual and the daughter of a paternal uncle or maternal aunt are deemed incestuous. Additionally, within the Lambani community, there are two prominent gotras, namely Jath and Bhukya, and marriages between individuals belonging to the same gotra are prohibited.

Festivals among Lambani Community: The Lambani community celebrates a variety of festivals that are closely related to nature. Ugadi, Holi, Teej, Diwali, Dasara, Nammi (Krishna Jayanti), and several other festivals centered on Goddesses are important among the Lambanis of Karnataka. In certain regions of Karnataka, particularly in Challakere taluk of Chitradurga District, Lambanis participate in the celebration of the Muslim festival Mohram.

Ugadi holds significance as the New Year celebration within the Lambani community. The term ‘Ugadi’ originates from ‘Uga’ and ‘Aadi’, where ‘Uga’ refers to the era and aadi signifies beginning, thus Ugadi denotes the commencement of a new era. Known as ‘atom’ in the Lambani community, Ugadi involves exchanging greetings and blessings among members. Homes are adorned with mango leaves; individuals take oil baths and prepare delicacies like neem and jaggery snacks (Beevu-Bella). This neem and jaggery symbolises the blend of sorrow and joy in life. The festival concludes with the ritual observation of the new moon followed by a dinner featuring meat and liquor.

Teej is a distinctive festival among the Lambanis, characterised by the ritualistic act of planting wheat grains in baskets filled with soil and fertilisers by unmarried women. This act is conducted with utmost care to nurture the wheat sprig in reverence to Santa Sevalal. Celebrated by unmarried women, Teej marks a joyous occasion if the rain and crops thrive. The festival typically spans around ten days, during which unmarried girls, after bathing, don new clothes and visit the chief’s residence with wheat-growing baskets to seek blessings. Forbidden foods are consumed during this period, accompanied by singing, dancing, and the offering of sweets to the deities. A sheep is brought for sacrifice, and based on its reaction, it is believed to signify either a divine omen or guilt among the people.

Known as Dasari in the Lambani community, the Dasara festival involves collective planning and resource collection among Lambani families. A sheep is ceremonially sacrificed by the men of Thanda, and deities such as Shakti, Durgi, and Sevabhaya are revered. Various dishes are prepared using sacrificial meat, followed by the distribution of sacred food to all attendees, each receiving a bone fragment as a token.

The Diwali festival symbolises the celebration of illumination. The Lambanis refer to this occasion as Dawali. The leader of the Thanda summons the elders for a discourse regarding the festival. Monetary contributions are gathered for each household of the Thanda to cover the festival expenses. Subsequently, they procure a sheep or goat to be sacrificed in front of the temple. The meat from the sacrificial animal is equitably distributed among all families. The Naik, Karbari, and Dhav individuals receive two portions each.

They proceed to cook the meat with spices and share it with the community. This practice is identified as ‘Saloyi Vetero’. Following this, the gathered individuals retreat to their residences carrying their portion of the meat. During the Kalimas festival, offerings of cooked meat, toddy, or arrack are presented to the family’s ancestral spirits and the Thanda deity. In the evening, unmarried girls conduct a prayer ceremony. These girls, holding lamps, visit the residence of Thanda Naik, who then illuminates the lamps. Subsequently, they visit all Thanda families before concluding the ritual at the temple. Prayers are offered to God and ancestors, extending well wishes to all family members. This ritual during Diwali is referred to as ‘Mera’ and involves a song recital:Varser Dawali, Kor Dawali/Dawali Yadi, Thona Mera/Varser Dawali Kor Dawali/ Mantral, Thona Mere.

The community is expected to provide gifts or monetary donations to the girls. The girls engage in singing and dancing while performing Mera. On the subsequent day, unmarried girls venture to the hills to collect flowers. They joyfully return to the Thanda, singing and dancing along the way. On that same day, the Lambanis execute a ritual to honor ancestral spirits, known as ‘Dabukar Dero’.

Tattooing Practices among the Lambani: Tattooing is a prevalent custom within the Lambani society. The act of tattooing serves as a representation of one’s way of life, sense of self, and connection to the community. Within this practice, there exists a belief system aimed at warding off sickness and misfortune. The art of tattooing holds great significance among the Lambani population, carrying deep cultural and symbolic meanings.

Historically, Lambani women have embraced this tradition by adorning themselves with elaborate tattoos that often depict symbols associated with fertility, prosperity, protection, and cultural identity. These tattoos are typically created using natural pigments and needles, with the process symbolizing a transitional phase for women within the society. The specific designs of the tattoos can vary based on geographical location and may represent aspects such as familial heritage, marital status, or personal convictions. Furthermore, the act of tattooing within the Lambani community serves as a mechanism for both preserving and commemorating their diverse cultural legacy.

The Political system: It is ironic that the Lambanis, who previously served as soldiers for kings and provided rations for soldiers, have now chosen to reside in the forest. Maintaining distance from urban society and upholding their unique social structure, the Lambanis have established a rigorous, new nyaya panchayat inspired by the modern Indian grama panchayat, called Gor Panchayat.

The Lambani Gor Panchayat structure comprises a Nayak (Head Man), Karbhari (Secretary), Davasana, and Panchas. Moreover, Dhaliya, Dhadi, and Naavi play significant roles in the organisation of the Gor Panchayat. This panchayat serves as a platform for the Lambanis to address societal issues internally. They adeptly handle conflicts such as Nasab (strife), Hassab (property disputes), and the Thanda’s internal and regional challenges (Malavo). The Lambanis are renowned for delivering fair judgments, with the decisions of key leaders gaining widespread approval in the region. Their ability to solve intricate problems effortlessly using riddles and proverbs is unparalleled (Sanna Rama 1982: 11). The Gor Panchayat exhibits no hesitation in imposing fines on wrongdoers, backed by a structured system of punishments proportional to the offense, typically falling into three categories: monetary fines, public humiliation, and temporary social exclusion (Rathod 1983: 213). Even in the contemporary era, the Gram Panchayat of the Lambani community retains a significant role.

Religious Practices: The Lambanis exhibit profound reverence and apprehension towards divinity and religious beliefs. Typically, they demonstrate devotion to deities associated with Shakthi. Their worship is directed towards Shakthi figures such as Mariyamma, Mantrali Bhavani, Durgamma, Kankali, Choudi, Wagjay, Thulja Bhavani, Sheetla Bhavani, Honna Satti, Seva Bhaya, Kasanji, Hanuman, Meetu Bhukya, Balaji, and others. The dominance of goddesss worship shows the continuity of ancient practices. Furthermore, they engage in the veneration of ancestors.

It is imperative to revisit the historical context of the Lambani community. Numerous folk tales, songs, traditions, and practices exist within this community. There is a requirement for scientific investigation to determine the genesis of the Lambani language. The festivals celebrated by the Lambani community hold particular importance. The inclusion of alcohol consumption is evident among their various cultural practices. The marginalised status of this community, even in the twenty-first century, predominantly residing in marginalised geographies, raises various questions.

(Authors: Dr. Veerendra Kumar is Assistant Professor, Department of Studies in Sociology, Vijayanagara Sri Krishnadevaraya University; Thippeswamy is Research Scholar, Department of Studies in Sociology, Vijayanagara Sri Krishnadevaraya University)

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