The Tribes and Castes of the Central Provinces of India, Volume 4

2. Historical notice of the Mīna tribe

The Mīnas were a famous robber tribe of the country of Mewāt in Rājputāna, comprised in the Alwar and Bharatpur States and the British District of Gurgaon.259 They are also found in large numbers in Jaipur State, which was formerly held by them. The Meos and Mīnas are now considered to be branches of one tribe, the former being at least nominally Muhammadans by religion and the latter Hindus. A favourite story for recitation at their feasts is that of Darya Khān Meo and Sasibādani Mīni, a pair of lovers whose marriage led to a quarrel between the tribes to which they belonged, in the time of Akbar. This dispute caused the cessation of the practice of intermarriage between Meos and Mīnas which had formerly obtained. Both the Meos and Mīnas are divided into twelve large clans called pāl, the word pāl meaning, according to Colonel Tod, ‘a defile in a valley suitable for cultivation or defence.’ In a sandy desert like Rājputāna the valleys of streams might be expected to be the only favourable tracts for settlement, and the name perhaps therefore is a record of the process by which the colonies of Mīnas in these isolated patches of culturable land developed into exogamous clans marrying with each other. The Meos have similarly twelve pāls, and the names of six of these are identical with those of the Mīnas.260 The names of the pāls are taken from those of Rājpūt clans,261 but the recorded lists differ, and there are now many other gots or septs outside the pāls. The Mīnas seem originally to have been an aboriginal or pre-Aryan tribe of Rājputāna, where they are still found in considerable numbers. The Rāja of Jaipur was formerly marked on the forehead with blood taken from the great toe of a Mīna on the occasion of his installation. Colonel Tod records that the Amber or Jaipur State was founded by one Dholesai in A.D. 967 after he had slaughtered large numbers of the Mīnas by treachery. And in his time the Mīnas still possessed large immunities and privileges in the Jaipur State. When the Rājpūts settled in force in Rājputāna, reducing the Mīnas to subjection, illicit connections would naturally arise on a large scale between the invaders and the women of the conquered country. For even when the Rājpūts only came as small isolated parties of adventurers, as into the Central Provinces, we find traces of such connections in the survival of castes or subcastes of mixed descent from them and the indigenous tribes. It follows therefore that where they occupied the country and settled on the soil the process would be still more common. Accordingly it is generally recognised that the Mīnas are a caste of the most mixed and impure descent, and it has sometimes been supposed that they were themselves a branch of the Rājpūts. In the Punjab when one woman accuses another of illicit intercourse she is said ‘Mīna dena,’ or to designate her as a Mīna.262 Further it is stated263 that “The Mīnas are of two classes, the Zamīndāri or agricultural and the Chaukīdāri or watchmen. These Chaukīdāri Mīnas are the famous marauders.” The office of village watchman was commonly held by members of the aboriginal tribes, and these too furnished the criminal classes. Another piece of evidence of the Dravidian origin of the tribe is the fact that there exists even now a group of Dhedia or impure Mīnas who do not refuse to eat cow’s flesh. The Chaukīdāri Mīnas, dispossessed of their land, resorted to the hills, and here they developed into a community of thieves and bandits recruited from all the outcastes of society. Sir A. Lyall wrote264 of the caste as “a Cave of Adullam which has stood open for centuries. With them a captured woman is solemnly admitted by a form of adoption into one circle of affinity, in order that she may be lawfully married into another.” With the conquest of northern India by the Muhammadans, many of the Mīnas, being bound by no ties to Hinduism, might be expected to embrace the new and actively proselytising religion, while their robber bands would receive fugitive Muhammadans as recruits as well as Hindus. Thus probably arose a Musalmān branch of the community, who afterwards became separately designated as the Meos. As already seen, the Meos and Mīnas intermarried for a time, but subsequently ceased to do so. As might be expected, the form of Islām professed by the Meos is of a very bastard order, and Major Powlett’s account of it is reproduced in a short separate notice of that tribe.

3. Their robberies

The crimes and daring of the Mīnas have obtained for them a considerable place in history. A Muhammadan historian, Zia-ud-dīn Bāmi, wrote of the tribe:265 “At night they were accustomed to come prowling into the city of Delhi, giving all kinds of trouble and depriving people of their rest, and they plundered the country houses in the neighbourhood of the city. Their daring was carried to such an extent that the western gates of the city were shut at afternoon prayer and no one dared to leave it after that hour, whether he travelled as a pilgrim or with the display of a king. At afternoon prayer they would often come to the Sarhouy, and assaulting the water-carriers and girls who were fetching water they would strip them and carry off their clothes. In turn they were treated by the Muhammadan rulers with the most merciless cruelty. Some were thrown under the feet of elephants, others were cut in halves with knives, and others again were flayed alive from head to foot.” Regular campaigns against them were undertaken by the Muhammadans,266 as in later times British forces had to be despatched to subdue the Pindāris. Bābar on his arrival at Agra described the Mewāti leader Rāja Hasan Khān as ‘the chief agitator in all these confusions and insurrections’; and Firishta mentions two terrible slaughters of Mewātis in A.D. 1259 and 1265. In 1857 Major Powlett records that in Alwar they assembled and burnt the State ricks and carried off cattle, though they did not succeed in plundering any towns or villages there. In British territory they sacked Firozpur and other villages, and when a British force came to restore order many were hanged. Sir D. Ibbetson wrote of them in the Punjab:267

“The Mīnas are the boldest of our criminal classes. Their headquarters so far as the Punjab is concerned are in the village of Shāhjahānpur, attached to the Gurgaon District but surrounded on all sides by Rājputāna territory. There they until lately defied our police and even resisted them with armed force. Their enterprises are on a large scale, and they are always prepared to use violence if necessary. In Mārwār they are armed with small bows which do considerable execution. They travel great distances in gangs of from twelve to twenty men, practising robbery and dacoity even as far as the Deccan. The gangs usually start off immediately after the Diwāli feast and often remain absent the whole year. They have agents in all the large cities of Rājputāna and the Deccan who give them information, and they are in league with the carrying castes of Mārwār. After a successful foray they offer one-tenth of the proceeds at the shrine of Kāli Devi.”

Like other criminals they were very superstitious, and Colonel Tod records that the partridge and the maloli or wagtail were their chief birds of omen. A partridge clamouring on the left when he commenced a foray was a certain presage of success to a Mīna. Similarly, Mr. Kennedy notes that the finding of a dried goatskin, either whole or in pieces, among the effects of a suspected criminal is said to be an infallible indication of his identity as a Mīna, the flesh of the goat’s tongue being indispensable in connection with the taking of omens. In Jaipur the Mīnas were employed as guards, as a method of protection against their fellows, for whose misdeeds they were held responsible. Rent-free lands were given to them, and they were always employed to escort treasure. Here they became the most faithful and trusted of the Rāja’s servants. It is related that on one occasion a Mīna sentinel at the palace had received charge of a basket of oranges. A friend of the same tribe came to him and asked to be shown the palace, which he had never seen. The sentinel agreed and took him over the palace, but when his back was turned the friend stole one orange from the basket. Subsequently the sentinel counted the oranges and found one short; on this he ran after his friend and taxed him with the theft, which being admitted, the Mīna said that he had been made to betray his trust and had become dishonoured, and drawing his sword cut off his friend’s head. The ancient treasure of Jaipur or Amber was, according to tradition, kept in a secret cave in the hills under a body of Mīna guards who alone knew the hiding-place, and would only permit any part of it to be withdrawn for a great emergency. Nor would they accept the orders of the Rāja alone, but required the consent of the heads of the twelve principal noble families of Amber, branches of the royal house, before they would give up any part of the treasure. The criminal Mīnas are said to inhabit a tract of country about sixty-five miles long and forty broad, stretching from Shāhpur forty miles north of Jaipur to Guraora in Gurgaon on the Rohtak border. The popular idea of the Mīna, Mr. Crooke remarks,268 is quite in accordance with his historical character; his niggardliness is shown in the saying, ‘The Meo will not give his daughter in marriage till he gets a mortar full of silver’; his pugnacity is expressed in, ‘The Meo’s son begins to avenge his feuds when he is twelve years old’; and his toughness in, ‘Never be sure that a Meo is dead till you see the third-day funeral ceremony performed.’

4. The Deswālis of the Central Provinces

As already stated, the Deswālis of the Central Provinces have abandoned the wild life of their ancestors and settled down as respectable cultivators. Only a few particulars about them need be recorded. Girls are usually married before they are twelve years old and boys at sixteen to twenty. A sum of Rs. 24 is commonly paid for the bride, and a higher amount up to Rs. 71 may be given, but this is the maximum, and if the father of the girl takes more he will be fined by the caste and made to refund the balance. A triangle with some wooden models of birds is placed on the marriage-shed and the bridegroom strikes at these with a stick; formerly he fired a gun at them to indicate that he was a hunter by profession. A Brāhman is employed to celebrate the marriage. A widow is usually taken by her late husband’s younger brother, but if there be none the elder brother may marry her, contrary to the general rule among Hindus. The object is to keep the woman in the family, as wives are costly. If she is unwilling to marry her brother-in-law, however, no compulsion is exercised and she may wed another man. Divorce is allowed, and in Rājputāna is very simply effected. If tempers do not assimilate or other causes prompt them to part, the husband tears a shred from his turban which he gives to his wife, and with this simple bill of divorce, placing two jars of water on her head, she takes whatever path she pleases, and the first man who chooses to ease her of her load becomes her future lord. ‘Jehur nikāla,’ ‘Took the jar and went forth,’ is a common saying among the mountaineers of Merwara.269

The dead are cremated, the corpse of a man being wrapped in a white and that of a woman in a coloured cloth. They have no shrāddh ceremony, but mourn for the dead only on the last day of Kārtik (October), when they offer water and burn incense. Deswālis employ the Parsai or village Brāhman to officiate at their ceremonies, but owing to their mixed origin they rank below the cultivating castes, and Brāhmans will not take water from them. In Jaipur, however, Major Powlett says, their position is higher. They are, as already seen, the trusted guards of the palace and treasury, and Rājpūts will accept food and water from their hands. This concession is no doubt due to the familiarity induced by living together for a long period, and parallel instances of it can be given, as that of the Panwārs and Gonds in the Central Provinces. The Deswālis eat flesh and drink liquor, but abstain from fowls and pork. When they are invited to a feast they do not take their own brass vessels with them, but drink out of earthen pots supplied by the host, having the liquor poured on to their hands held to the mouth to avoid actual contact with the vessel. This is a Mārwāri custom and the Jāts also have it. Before the commencement of the feast the guests wait until food has been given to as many beggars as like to attend. In Saugor the food served consists only of rice and pulse without vegetables or other dishes. It is said that a Mīna will not eat salt in the house of another man, because he considers that to do so would establish the bond of Nimak-khai or salt-eating between them, and he would be debarred for ever from robbing that man or breaking into his house. The guests need not sit down together as among other Hindus, but may take their food in batches; so that the necessity of awaiting the arrival of every guest before commencing the feast is avoided. The Deswālis will not kill a black-buck nor eat the flesh of one, but they assign no reason for this and do not now worship the animal. The rule is probably, however, a totemistic survival. The men may be known by their manly gait and harsh tone of voice, as well as by a peculiar method of tying the turban; the women have a special ornament called rākhdi on the forehead and do not wear spangles or toe-rings. They are said also to despise ornaments of the baser metals as brass and pewter. They are tattooed with dots on the face to set off the fair-coloured skin by contrast, in the same manner as patches were carried on the face in Europe in the eighteenth century. A tattoo dot on a fair face is likened by a Hindu poet to a bee sitting on a half-opened mango.

Mirāsi

Mirāsi.—A Muhammadan caste of singers, minstrels and genealogists, of which a few members are found in the Central Provinces. General Cunningham says that they are the bards and singers of the Meos or Mewātis at all their marriages and festivals.270 Mr. Crooke is of opinion that they are undoubtedly an offshoot of the great Dom caste who are little better than sweepers.271 The word Mirāsi is derived from the Arabic mirās, inheritance, and its signification is supposed to be that the Mirāsis are the hereditary bards and singers of the lower castes, as the Bhāt is of the Rājpūts. Mirās as a word may, however, be used of any hereditary right, as that of the village headman or Karnam, or even those of the village watchman or temple dancing-girl, all of whom may have a mirāsi right to fees or perquisites or plots of land held as remuneration for service.272 The Mirāsis are also known as Pakhāwaji, from the pakhāwaj or timbrel which they play; as Kawwāl or one who speaks fluently, that is a professional, story-teller; and as Kalāwant or one possessed of art or skill. The Mirāsis are most numerous in the Punjab, where they number a quarter of a million. Sir D. Ibbetson says of them:273 “The social position of the Mirāsi as of all minstrel castes is exceedingly low, but he attends at weddings and similar occasions to recite genealogies. Moreover there are grades even among Mirāsis. The outcaste tribes have their Mirāsis, who though they do not eat with their clients and merely render their professional services are considered impure by the Mirāsis of the higher castes. The Mirāsi is generally a hereditary servant like the Bhāt, and is notorious for his exactions, which he makes under the threat of lampooning the ancestors of him from whom he demands fees. The Mirāsi is almost always a Muhammadan.” They are said to have been converted to Islām in response to the request of the poet Amīr Khusru, who lived in the reign of Ala-ud-dīn Khilji (A.D. 1295). The Mirāsi has two functions, the men being musicians, storytellers and genealogists, while the women dance and sing, but only before the ladies of the zenāna. Mr. Nesfield274 says that they are sometimes regularly entertained as jesters to help these ladies to kill time and reconcile them to their domestic prisons. As they do not dance before men they are reputed to be chaste, as no woman who is not a prostitute will dance in the presence of men, though singing and playing are not equally condemned. The implements of the Mirāsis are generally the small drum (dholak), the cymbals (majīra) and the gourd lute (kingri).275

Mochi 276

1. General notice

Mochi, Muchi, Jīngar, Jirayat, Jīldgar, Chitrakār, Chitevari, Musabir.—The occupational caste of saddlers and cobblers. In 1911 about 4000 Mochis and 2000 Jīngars were returned from the Central Provinces and Berār, the former residing principally in the Hindustāni and the latter in the Marāthi-speaking Districts. The name is derived from the Sanskrit mochika and the Hindustāni mojna, to fold, and the common name mojah for socks and stockings is from the same root (Platts). By origin the Mochis are no doubt an offshoot of the Chamār caste, but they now generally disclaim the connection. Mr. Nesfield observes277 that, “The industry of tanning is preparatory to and lower than that of cobblery, and hence the caste of Chamār ranks decidedly below that of Mochi. The ordinary Hindu does not consider the touch of a Mochi so impure as that of the Chamār, and there is a Hindu proverb to the effect that ‘Dried or prepared hide is the same thing as cloth,’ whereas the touch of the raw hide before it has been tanned by the Chamār is considered a pollution. The Mochi does not eat carrion like the Chamār, nor does he eat swine’s flesh; nor does his wife ever practise the much-loathed art of midwifery.” In the Central Provinces, as in northern India, the caste may be considered to have two branches, the lower one consisting of the Mochis who make and cobble shoes and are admittedly descended from Chamārs; while the better-class men either make saddles and harness, when they are known as Jīngar; or bind books, when they are called Jīldgar; or paint and make clay idols, when they are given the designation either of Chitrakār, Chitevari or Murtikār. In Berār some Jīngars have taken up the finer kinds of iron-work, such as mending guns, and are known as Jirāyat. All these are at great pains to dissociate themselves from the Chamār caste. They call themselves Thākur or Rājpūt and have exogamous sections the names of which are identical with those of the Rājpūt septs. The same people have assumed the name of Rishi in Bengal, and, according to a story related by Sir H. Risley, claim to be debased Brāhmans; while in the United Provinces Mr. Crooke considers them to be connected with the Srivāstab Kāyasths, with whom they intermarry and agree in manners and customs. The fact that in the three Provinces these workers in leather claim descent from three separate high castes is an interesting instance of the trouble which the lower-class Hindus will take to obtain a slight increase in social consideration; but the very diversity of the accounts given induces the belief that all Mochis were originally sprung from the Chamārs. In Bombay, again, Mr. Enthoven278 writes that the caste prefers to style itself Arya Somavansi Kshatriya or Aryan Kshatriyas of the Moon division; while they have all the regular Brāhmanical gotras as Bhāradwāja, Vasishtha, Gautam and so on.

2. Legends of origin

The following interesting legends as to the origin of the caste adduced by them in support of their Brāhmanical descent are related279 by Sir H. Risley: “One of the Prajā-pati, or mind-born sons of Brahma, was in the habit of providing the flesh of cows and clarified butter as a burnt-offering (Ahuti) to the gods. It was then the custom to eat a portion of the sacrifice, restore the victim to life, and drive it into the forest. On one occasion the Prajā-pati failed to resuscitate the sacrificial animal, owing to his wife, who was pregnant at the time, having clandestinely made away with a portion. Alarmed at this he summoned all the other Prajā-patis, and they sought by divination to discover the cause of the failure. At last they ascertained what had occurred, and as a punishment the wife was cursed and expelled from their society. The child which she bore was the first Mochi or tanner, and from that time forth, mankind being deprived of the power of reanimating cattle slaughtered for food, the pious abandoned the practice of killing kine altogether. Another story is that Muchirām, the ancestor of the caste, was born from the sweat of Brahma while dancing. He chanced to offend the irritable sage Durvāsa, who sent a pretty Brāhman widow to allure him into a breach of chastity. Muchirām accosted the widow as mother, and refused to have anything to do with her; but Durvāsa used the miraculous power he had acquired by penance to render the widow pregnant so that the innocent Muchirām was made an outcaste on suspicion. From her two sons are descended the two main branches of the caste in Bengal.”

3. Art among the Hindus

In the Central Provinces the term Mochi is often used for the whole caste in the northern Districts, and Jīngar in the Marātha country; while the Chitrakārs or painters form a separate group. Though the trades of cobbler and book-binder are now widely separated in civilised countries, the connection between them is apparent since both work in leather. It is not at first sight clear why the painter should be of the same caste, but the reason is perhaps that his brushes are made of the hair of animals, and this is also regarded as impure, as being a part of the hide. If such be the case a senseless caste rule of ceremonial impurity has prevented the art of painting from being cultivated by the Hindus; and the comparatively poor development of their music may perhaps be ascribed to the same cause, since the use of the sinews of animals for stringed instruments would also prevent the educated classes from learning to play them. Thus no stringed instruments are permitted to be used in temples, but only the gong, cymbal, horn and conch-shell. And this rule would greatly discourage the cultivation of music, which art, like all the others, has usually served in its early period as an appanage to religious services. It has been held that instruments were originally employed at temples and shrines in order to scare away evil spirits by their noise while the god was being fed or worshipped, and not for the purpose of calling the worshippers together; since noise is a recognised means of driving away spirits, probably in consequence of its effect in frightening wild animals. It is for the same end that music is essential at weddings, especially during the night when the spirits are more potent; and this is the primary object of the continuous discordant din which the Hindus consider a necessary accompaniment to a wedding.

Except for this ceremonial strictness Hinduism should have been favourable to the development of both painting and sculpture, as being a polytheistic religion. In the early stages of society religion and art are intimately connected, as is shown by the fact that images and paintings are at first nearly always of deities or sacred persons or animals, and it is only after a considerable period of development that secular subjects are treated. Similarly architecture is in its commencement found to be applied solely to sacred buildings, as temples and churches, and is only gradually diverted to secular buildings. The figures sculptured by the Mochis are usually images for temples, and those who practise this art are called Murtikar, from murti, an image or idol; and the pictures of the Chitrakārs were until recently all of deities or divine animals, though secular paintings may now occasionally be met with. And the uneducated believers in a polytheistic religion regularly take the image for the deity himself, at first scarcely conceiving of the one apart from the other. Thus some Bharewas or brass-workers say that they dare not make metal images of the gods, because they are afraid that the badness of their handiwork might arouse the wrath of the gods and move them to take revenge. The surmise might in fact be almost justifiable that the end to which figures of men and animals were first drawn or painted, or modelled in clay or metal was that they might be worshipped as images of the deities, the savage mind not distinguishing at all between an image of the god and the god himself. For this reason monotheistic religions would be severely antagonistic to the arts, and such is in fact the case. Thus the Muhammadan commentary, the Hadith, has a verse: “Woe to him who has painted a living creature! At the day of the last judgment the persons represented by him will come out of the tomb and join themselves to him to demand of him a soul. Then that man, unable to give life to his work, will burn in eternal flames.” And in Judaism the familiar prohibition of the Second Commandment appears to be directed to the same end.