.Features in detail
A fair with a tradition

By Balkrishan Prashar

IN Himachal Pradesh at least more than 100 fairs, including tribal and those held at the state level, are organised with gusto every year. Chamba is the only district in the state where two state-level carnivals are organised annually.

Chamba, the land of Lord Shiva with immense natural beauty celebrates the weeklong historic Minjar Fair every year. This year the fair will commence on July 26. The word Minjar has originated from the Sanskrit word Manjari which means shoots of a corn. In Persian, the word Minjar or Manzar stands for a huge spectacle or for a comprehensive presentation.

The exact origins of the fair, however, cannot be established categorically. If we accept the Persian connotation, it would mean that the fair was already in existence and was entitled later on. The author of Manjari Mahotsav has traced the origin of the fair to the 10th century.

Cradled in the bosom of soaring mountains, Chamba has remained unscathed for centuries from external aggressions. Consequently, the erstwhile Chamba state was ruled by the royal dynasty for about 1400 years. The date of the fair falls on the third Sunday of Bikrami Sawan every year, symbolising both the Surajvanshi dynasty and worship of the Sun.

Once, during the regime of King Sahil Verman, Chamba was attacked by the Kangra ruler. Verman’s forces fought back fiercely and emerged victorious. When the king returned from the battlefield, he was accorded a warm welcome by the people of his tiny state. They presented him with cobs of maize and paddy at a bridge over the Ravi.

The presentation of maize and paddy cobs to the victorious king by his subjects reveals that Chamba was an agriculture state in the days gone-by and the people could not afford expensive gifts. It also reflects that the Chamba and Kangra valleys had the potential for paddy and maize cultivation. So, the fair is believed to be held to recount the celebration of the king’s victory. The fair is also held to worship the rain god, Lord Varuna (Khizr Khawaja in local dialect) for providing timely rains and a bumper crop.

On the concluding day, until 1947, a buffalo was pushed into the Ravi river and it was forced to cross it. If the animal returned, it was presumed that some calamity would befall the state. But his tradition of sacrificing a buffalo to propitiate the rain god, has been dispensed with.

Legend too has it that this fair is held to commemorate a saint, who, with his mighty spiritual powers, altered the course of the Ravi. It is believed that earlier the river used to flow between Champavati and Hari Rai temples, which caused a great deal of anxiety and discomfort to the people.

Around the time of the fair, the temples in the town are tastefully decorated and the entire town is aesthetically spruced up. People ornate themselves by fastening minjar (a decorative article) to their shirts. On the concluding day, a colourful pageantry, including dignitaries and local people, emerges from the Akhand Chandi Palace (now degree college) and goes through the main bazaar to the banks of the Ravi where minjars with coconuts are immersed after performing religious rites. Sweets are also distributed on the occasion.

Till some years ago, the fair was organised by the descendants of the royal family but now it is organised by the state government. It makes elaborate arrangements to entertain the public by inviting reputed artistes and sportpersons. But the fair is gradually losing its grandeur for want of coordination between the local people and the administration. However, it has become a tradition with the people of Chamba to visit the fair. Interestingly, even Himachalis living abroad come to visit it.

What is beyond ethinic chic?

By Anita Arora

THE Indian look has often been mistaken for something that is ethnic like the saree or ghagra-choli, with perhaps the usual accessories ranging from the bindi to an armful of bangles.

And of course, there are the mandatory block prints, a heavy mix of various embroidery styles, the cottons and crepes, tie and dye, a free-flowing silhouette... and so on.

In effect, the peculiarities of styling, deeply rooted to the cultural ethos and traditions of every region, are conveniently overlooked. Designers had made it appear that there is one homogeneous style that the nation has to project.

But that is now in the past.

Today, the standard Indian tunics, ghagra-cholis, sarees and salwar-kameezes are being further styled with halter necks, deep side-slits, low backs and waist bands to present a more refreshing look for the Indian woman.

The skirts too are moving away from the flow that is synonymous with the lehenga, creating the neat A-line look that is western in its orientation, yet every bit Indian.

Mona Lamba, who has been experimenting with such changes, justifies the move thus: "The Indian woman wants to look sensuous. She does not want to hide behind that typical, flowing Indian tunic that is tent like and shapeless. She is looking out for excitement!"

Kavita Shiromani is another designer anxious to break out of the beaten track and makes a celebration of "feminine sensuousness" with fabric that creates a peekaboo effect to traditional Indian attire.

Besides, the colour palette moves from vibrant hues to earthy browns, aquamarine greens, English rose and midnight blues for her fitted inners, slit tunics, open shirts, parallel trousers, blouses and the ubiquitous ghagra-cholis and salwar-kameezes.

"My objective is to create styles that are modern in look and Indian at heart," explains Kavita. "It is high time we project our own identity internationally and not stand out as cultural gypsies."

Manju and Bobby Grover, the husband and wife designing duo to be featured in the fashion bible, Colleczoni Donna, have also been working on earthy and muted shades like rust, beige, khaki as well as icy pastels to give a definite international look to Indian wear.

They were the first among Indian designers to deconstruct the saree and blouse combo, besides introducing hand-painted designs on tunics and tights, salwar-kameezes and lehengas.

Currently they are concentrating on creating trousseau garments in stark white and black colours that are considered traditionally inauspicious. For them, this is an exercise at "reinventing the Indian identity" internationally.

Similarly, there is Manju Makhija with her eclectic collection of earth coloured kaftans done up with hand-painted reproductions of cavemen drawings and African totem symbols.

White crepe, georgette and satin are also being used for flowing arboreal garments with a clever use of drape, knots and folds that mark a breakaway from traditional silhouettes. Some are even combining reversible waistcoats with black shorts.

On a more glamorous scale, there’s Raju Somani who has come out with an interesting blend of east and west bridal wear in shades of ruby and gold, lush brocade and silk. Singnificantly, he has done away with embroidery for this line.

Then there’s Krishna Mehta who has moved to striped, chequered and printed cottons and voiles for her jackets and coordinates, but retains the Indian stamp with handmade buttons, top stitching, cord work, pin tucks and pleats with self-coloured threads.

Apart from these individual efforts, fashion houses like Ensemble and Glitterati are fast moving away from projecting a western look and returning to their roots, but with a change.

For instance, Glitterati has just unfolded a collection of free-flowing, double-layered chiffons with light, self-embroidery and woven borders. Sarees with slashes and cuts at strategic corners, add character to the traditional Indian drape.

The Ensemble team has introduced tie-’n’-dye chiffon long-skirts and velvet cholis with a range of streamlined petticoats with slits, fine bandhini tunics, slip dresses in chamois, chikans and swarovski, as well as flouted bodices and flowing georgette drapes.

The Indian stamp is also evident in Arzan’s linear silhouettes accented by mild embroidery and lace. Day wear is limited to pastels, while burgundy, gold and navy add drama to evenings. (MF)