The haveli next door


Lal ghat is perhaps the most tourist-y area of Udaipur, filled with havelis-turned hotels. Most of the hotels and cafes in the areas now boast of roof-top dining, and we explored as many as we could. One particular one, though, stood out. Jaiwana haveli was highly rated on Trip Advisor, and we headed straight there after our visit to the Monsoon Palace.

“Is the roof-top cafe open?” I asked at the reception. “Yes, it is! And if you’d like to use the washroom, then it’s on the ground floor—there isn’t any upstairs!” The man at the reception smiled and answered. We thanked him and then climbed up the narrow and steep staircase to the open-air dining area. It was around eight o’clock,and it appears that we were the early birds that night. The tables were all empty, and we took the best seat in the house—the corner table, with a splendid view of Lake Pichola and its illuminated islands. We picked our menu, and then immersed ourselves in the soft sounds of the waves of the lake and pleasant rain washed air. We could see portions of the City Palace in front of us, and all the heritage hotels—which were once palaces—on the opposite side of the ghat. Below us, were a few anchored boats, and other rooftop cafes, and way off in the distance, was the hill we had just visited. And then, out of nowhere, came a loud noise, startling us.

We looked around. There was an elderly lady seated behind us, and having recognized our searching glances, she offered an answer. “That’s the cultural program at Bagore ki haveli. It takes place every evening.” In the darkness of the candle-lit night, we couldn’t see her face clearly, but something in her voice sounded gentle and elegant. We continued to talk, and asked her about the other items on our list of things to do, and how might we plan them.

Shortly after, our delicious dinner arrived, and we noticed the lady giving instructions to some of the waiters. That’s when we realised, she was probably part of the management of the hotel, if not the owner.

The staff treated us so beautifully, it was hard to believe, especially after the harrowing time we had experienced at another famous tourist destination (more on that in a separate post). They thanked us multiple times and asked us to review them on Trip Advisor. This sweet hospitality, we later realised was common to all the cafes we visited. We made a mental note of the service, and decided that we’d visit again.

As we were winding up, other tourists began trickling in, and the moment we got up, one staff member placed a placard on our table. It was marked “Reserved”.

Bagore ki haveli Panorama
Bagore ki haveli with Tripolia gate, along Gangaur ghat

Before we visited Udaipur, our itinerary included the sound and light show at City Palace. Having heard the cheers of the crowd, and the recommendation by the lady at Jaiwana haveli, we decided to skip that and attend the cultural programme instead—a decision we are very thankful for!

The next morning, we visited the museum at Bagore ki haveli, and returned in the evening for the cultural show.

While my phone wasn’t able to capture the beautiful ambience atop Jaiwana at night, here are some pictures atop the haveli next door—Bagore.

Lake Pichola Panorama
Panoramic view of Lake Pichola atop Bagore ki haveli
View from a window of Bagore ki haveli
View from one of the windows of the haveli
The Chhatri in water
The chhatri in the water

Photos taken with a Moto G3. Click/tap to enter my Flickr Photostream


This is post #22 in this year’s NaBloPoMo, or as Ra calls it Nano Poblano

NaBloPoMo = National Blog Posting Month = Thirty straight days of blogging

Puppets


One of the exhibits at Bagore ki haveli, is a hall filled with puppets—of colourful Rajasthani men, women and animals. I’ll let the puppets introduce themselves:

The Durbar
Recreating the Durbar

We are only puppets, our strings are being pulled by unknown forces.
― Georg Büchner

The Dancer
The dancer
The Queen
The Queen

“Sometimes when I’m writing, I wonder if the words have a mind of their own, and if they’re really just using me as a puppet to manifest themselves.”
― Travis J. Dahnke


Photos taken with a Moto G3, edited with Befunky. Click/tap to enter my Flickr Photostream


This is post #21 in this year’s NaBloPoMo, or as Ra calls it Nano Poblano

NaBloPoMo = National Blog Posting Month = Thirty straight days of blogging

Pots of fire


“I don’t think we’ll be able to catch the dance show. They’ll probably cancel it with this much of rain.” Sitting on a bench around a tree in the courtyard of the City Palace, two umbrellas and the narrow roof above us couldn’t prevent us from getting wet.

Earlier that day we had visited Bagore ki haveli and had seen the venue of the cultural program conducted every evening—an openair theatre assembled in the courtyard of the heritage building with a shamiana for a roof.

The stage
The Stage

Eventually, the clouds decided to pause the shower. We left the Palace and walked towards Gangaur Ghat. We stopped for coffee and a cinnamon roll at one of the cafes to recharge our (and my phone’s) batteries and then walked over to the haveli.

Tripolia
Tripolia—three tiered gate of Bagore ki haveli. Just beyond the gate is Gangaur Ghat

We looked at the ominous clouds and asked the guard about the program. “Oh! Don’t worry about the rain! We have all the provisions here. The show is definitely on.”

We bought our tickets as soon as the counter opened and then proceeded towards the theatre. The key to getting a good seat is being the first to enter. We weren’t the first, so the best we could manage was the second row at the mattresses laid out in front of the stage, barely a few feet from the stage.

7 pm. The musicians began performing the rather cliched Rajasthani folk song ‘Kesariya balam’. Soon after, the emcee walked out and welcomed the audience. The stage was ready for some very colourful peformances. First up, Chari dance.

Chari dance is a folk dance performed traditionally by ladies from the Gujjar community of Rajasthan. Living in the desert, ladies often travelled for miles to collect water in a ‘chari’. It is the celebration of this ritual of collecting water that is depicted in this folk dance.

Pots of fire
The ‘Chari’ waiting to be lit for the programme

Just as the emcee finished explaining the significance of the dance, the show began—on the stage in front of us, and from the heavens above.

In walked the ladies, dressed in colourful traditional attire, balancing pots of fire on their heads. Down came the shower of raindrops, applauding their entrance. The shamiana held up rather well.

The ladies clapped and swayed, moved around in circles and spun more times than my head could count. Out they walked to thunderous applause, drowned under the sound of the downpour.

Spinning
Spinning with a pot of fire on her head!

There were more dances, followed by the puppet show. Traditionally, it is the puppets who take centre stage, and the puppeteer stays behind a screen. But at this show, the puppeteer takes centre stage, revealing his craft.

The most thrilling performance came, quite fittingly at the end. A lady entered, balancing two pots on her head. Dancing gracefully, she made her way to the table kept at the back of the stage. She placed her hand on the raised floor behind the table, and then placed her palm on her forehead—a salutation to the stage.

She climbed up the table, still balancing the pots. And sat down. She bent forward, and picked up a kerchief placed on the table, with her lips.

The crowd applauded.

She climbed down, an assistant came and placed more pots on her head. In the meanwhile, another assistant unrolled a cloth package on the table. Out came shards of glass. She went back to the stage. She made the saluting gesture, and climbed above the table again.

We may have been seated on the floor, but we felt edgy. More than once my hands clutched my face. If the pots on the head and the shards of glass were not enough, the shamiana overhead was threatening to give way under the weight of the rain. A few drops of water were beginning to trickle down.

We all gasped in silence. I was too nervous to take any more pictures, my palms pressed against each other, in front of my face, praying with the dancer, as she walked on the table and began thumping her feet on the glass.

Dancing on glass
Pots on her head, glass beneath her feet

We all collectively heaved a sigh of relief and applauded for the marvelous performance.

The assistant climbed up a chair, and we assumed it was to help her unload. But no. There were more pots coming.

Eight! The crowd cheered, and the applause didn’t stop. Nine! We all went crazy.

And then the musicians began singing that classic song, “Dama dum mast kalandar”. Ten! The crowd went wild. We were certain the cheers of the crowd could be heard a few blocks away—we knew because we had heard the loud cheers of the audience the day before!

As the emcee walked out to wrap up the show, the crowd still applauding the performance, he announced something even more bewildering. The lady who had just captured our imagination was a ripe seventy years old!

If you visit Udaipur, be sure to catch the cultural show, and please buy the tickets for the camera. Most of the arts on display are on the verge of extinction, and the proceeds of the tickets are the only way these arts can be sustained.


Photo taken with a Moto G3, edited with Image Composite Editor and Befunky. Click/tap to enter my Flickr Photostream


This is post #15 in this year’s NaBloPoMo, or as Ra calls it Nano Poblano

NaBloPoMo = National Blog Posting Month = Thirty straight days of blogging

To reveal, or not to reveal?


A prominent feature of Rajasthani architecture are the windows with their characteristic floral silhouette. When visiting monuments in the region, it is hard to resist the temptation of framing the magnificent views with the window. Ah, what a feeling it must have been, living in those palaces!

Alas, for women, not a very good one. The queens and princesses had their share of riches and maids and all luxuries that a royal household could provide. But freedom? Trapped in a tower, looking out of the window was the only freedom they had. Called jharokhas, the beautiful latticed windows were built to allow women to look at the world outside, without themselves being seen.

Here is one such window at Bagore ki Haveli, Udaipur. I wonder what must be visible through those tiny windows within the main window.

Latticed glass window
“What a wonderful world”

My previous posts of the Jag Niwas Island Palace and the Monsoon Palace were my favourite (and best) shots of windows with great views.

So this week, when the Daily Post asked us to show windows, I felt cheated. But considering what it must have been like for the women who looked out of these tiny windows, I don’t have any reason to complain.