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An Archaeological As Well As Social Anthropological Expedition at Bandha-II, Kaimur Range, Bihar

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An Archaeological As Well As Social Anthropological Expedition at Bandha-II, Kaimur Range, Bihar An Archaeological as well as Social Anthropological Expedition at Bandha-II, Kaimur Range, Bihar Sachin Kr. Tiwary1 1. Department of Ancient Indian History Culture and Archaeology, Faculty of Arts, Banaras Hindu University, Varanasi - 221005, Uttar Pradesh, India (Email: [email protected]) Received: 01 September 2016; Accepted: 30 September 2016; Revised: 28 October 2016 Heritage: Journal of Multidisciplinary Studies in Archaeology 4 (2016): 793-805 Abstract: The paper is based on the recent expedition on the border of Kaimur and Ghadhawa districts. While expedition author stayed at the village Bandha-II which is inhabited by the Kharwar tribe. Paper is specially focused on the rock art sites which are abundantly found near that village. The main purpose of the paper is to highlight the rich wealth of the rock art site on the left bank of river Son near Bandha-II. Meanwhile the paper is focusing the rituals and traditional games among the tribes on special occasion. Keywords: Bandha II, Kaimur Range, Archaeology, Anthropology, Expedition, Rock Art, Dance Introduction Between 7th-10th December of 2013 author explored the Bandha-II. The range of the Kaimur as well as the entire area of the south of the Middle Ganga seems to be in the state of terra-incognita that is seeking help of the massive efforts of archaeologists, historians, anthropologists, geologists and other relative discipline. And the present attempt to make an archaeological as well as social anthropological study (Tiwary 2013:1-16) of the Kaimurian (those tribes and live person who evolved and developed in this region only, also they did artistic work in the caves and shelter, which is still live) rock art reveals great potentialities in respect from the prehistoric times to the present times. No systematic research has been made so far regarding the entire Kaimur region as well as the plain area, so here archaeological and social anthropological field work will pay a rich dividend. Location and Approach The village Bandha-II (24 35’09.62”N. 8339’25.32”E) is located about 19 kms east of the Adhaura block (Tiwary 2013:1-16) headquarter of the Kaimur district in Bihar on the boarder of the Rohtas and Kaimur districts at an elevation of 92 mts MSL (Fig.1). The nearest river of this region is Son about 500 m south of the Bandha-II. The site is easily approachable by car and motor bike from the Bhabhua city. ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 4: 2016 Figure 1: Map of the surveyed area, Bandha-II, Adhaura block, Kaimur, Bihar Rock Art Sites The rock art of Kaimur is already known to the publication (Tiwary 2013; 2011-12:201- 212; 2015:8-9; 2010:38-44; 2012:64-69; 2013:99-102) and academic forum. But this research is not even earlier noticed nor even hinted by author or any prior rock art researcher of this region. Rock art of Kaimur (Tiwary 2015:275-286) is well known from Chand (Tiwary 2015:535-538), Rampur, Bhagwanpur (Tiwary 2014:810‐829), Chainpur and Adhuara blocks (Tiwary 2013:9-23; 2014: 144-146) of the Kaimur district and Rohtas district (Tiwary 2013:86-91). But the most important and the old pictographs are mainly reported from Adhaura range which is close to Mesolithic and having its geographical distinction from rest of the blocks. The region Adhaura is close to Jharkhand and the chain of rock shelters along the river Son is unique. The landscape of this particular region is quite different. The rock art of this region and the other regional rock art are very much similar in landscape context whereas the content of the rock art varied (Tiwary 2012-13:181-191). As cited in the abstract the paper is mainly focused on the rock art discovery of Bandha-II region. The group of shelter viz. Bandha-II (BND), Chanain-Manain (CMN), Daldaliya Pahadi (DLP), Banshi Khoh (BSK), Karam Chabutara (KCB) and Sarodaag (BSD) at Barohi village. These shelters and caves are located on or near seasonal streams and perennial river channels. The shelters are situated at different level with the minimum and maximum height varying between 100 ft. to 1490 ft. The shelters are generally in clusters but sometimes even single. The facades of these shelters vary as per their landscape (Fig.2) and physiognomic setting. 794 Tiwary 2016: 793-805 Figure 2: Landscape of the rock art site, Bandha-II The way of execution on the rock surface of the Bandha-II can be categorised under three broad groups viz. Pictograms (human figures and the nature of their stylistic variations, weapons and other emblems), Ideograms (abstract symbols and painted dots) and Psychograms (the execution having some meaning behind it, cross in the circle (Tiwary 2013: 381-388), painted dots, association lines, lines and graphics that suggest particular modifications of human figures or scene and symbolic representation of the symbol). The rock art sites spread across the region in about 3 kms. The nomenclature of the sites are derived either from the nearest village or name of the hill or locally known landscape of the area. The description of each caves and shelters are given in tabular form (Table 1). Festivals Performed by the Local Kharwar Tribe The Kharwar living in Bihar have matrimonial relations with the Kharwar of Jharkhand and of West Bengal (Narayan 1988). Their folklore, folk art, folk tales, folk songs and folk music are very rich (Narayan 2002). Tribes of Bihar including the Kharwar generally belong to the Mongoloid racial group and have their own dialects with Devanagari as script. This is the tribe from where the living Nari-Uttana-Hastha- Pada a kind of Lajjagauri, here called Charkhopadaine (Tiwary 2011) has been noticed by the author. The observed ritual, festivals and traditional games are as such: Karma festival and Dance This folk dance Karma is performed during the worship of the god of fate which is known as Karam Devta (Tribhuwan 2003:203, 96, 159, 145). The Karma dance is a tribal community dance performed by the Binjahal, Kharia, Kol, Kisan and specially Oraon tribe which is noticed in this part of Kaimur region during the Karma festival. With this 795 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 4: 2016 796 Tiwary 2016: 793-805 797 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 4: 2016 information it is important to notice some of the shelter nearby which are painted with group dance performed by the ancient inhabitants. We can not only compare the mode of dance, we can also understand the purpose behind the depiction or execution of dance scene and the way of ritual at the time of festivals in the shelter or caves. Karma dance is a tribal dance which is profusely painted (Fig.3) in all the shelters of Central and Eastern India. Figure 3: A. & B. Group dance in front of a tree is depicted in the wall of the Raghubirgarh shelter. C & D. Oraon people are dancing in front of the Karma tree on the occasion of Karma festival, Badalgarh/Rohtas fort, Rohtas Sarhul The local farmers pray to the deity for good harvest of their crops by worshipping their equipments. Anthropologists who have studied the culture of Kharwar in Bihar and Jharkhand have noted that the Sarhul puja was performed by collectively. “As this puja is performed for the prosperity of all the inhabitants, its expenditure was shared by all”, writes Hari Mohan in his book-The Chero: A study of Acculturation. The priest who was called Pahan or Baiga performs the rituals. As per the personal interview with the village head man called Sarpanch, a goat is sacrificed or a red fowl is offered to the deity by the priest. In addition, flour cakes and liquor too are given to the deity by the priest. Pidiya The name is derived from its way of execution, i.e. by making fingers together and drawn the circles and dotted design over the wall (Fig.4). This is done by a lady only. 798 Tiwary 2016: 793-805 This is used to be performed for the son, daughter and husband. The preparation and the material for making those days decoration by way of colour is very interesting. Powder of rice, Milk, Gud, Fruits of Sem, Vermillion and Ghee are the material for making colour by way of mixing and grinding together. The same is not prevalent among the tribes only but it is also practiced by the Brahmana families of the area in the same manner. It has great similarity with the rock art. The author is of the opinion that in all over India the pastoral people did mostly the artwork in the shelter and cave. From the data available today, over 5% of all known rock art was produced by hunting and gathering societies while less than 95% is the work of pastoralists and agriculturalists in Kaimur. Figure 4: General view of the pidiya ritual festival celebration and its drawing on the wall prepared by a Kharwar woman Play and Festivals Kathail Kathail is the local name of a wood. This is traditional game performed by the young boys of the Kharwar in every month of the year in suitable climate. The number of members in this game is not fixed. It does all depend upon the availability of person. The three things are important in this game i.e. a circular thick disc with hole at centre, 799 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 4: 2016 one long tough wooden stick about human leg size long and a long pointed stick attached on the ground, all are made of wood which is locally available.
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