Castes and Tribes of Southern India/Kuruvikkāran
Kuruvikkāran.— The Kuruvikkārans are a class of Marāthi-speaking bird-catchers and beggars, who hunt jackals, make bags out of the skin, and eat the flesh thereof. By Telugu people they are called Nakkalavāndlu (jackal people), and by Tamilians Kuruvikkāran (bird-catchers). They are also called Jāngal Jāti and Kāttu Mahrāti. Among themselves they are known as Vagiri or Vagirivala. They are further known as Yeddu Marigē Vētagāndlu, or hunters who hide behind a bullock. In decoying birds, they conceal themselves behind a bullock, and imitate the cries of birds in a most perfect manner. They are said to be called in Hindustani Paradhi and Mīr Shikāri.
As regards their origin, there is a legend that there were once upon a time three brothers, one of whom ran away to the mountains, and, mixing with Kanna Kuruvans, became degraded. His descendants are now represented by the Dommaras. The descendants of the second brother are the Lambādis, and those of the third Kuruvikkārans. The lowly position of these three classes is attributed to the fact that the three brothers, when wandering about, came across Sīta, the wife of Rāma, about whose personal charms they made remarks, and laughed. This made Sīta angry, and she uttered the following curse: — " Mālitho shikar, naitho bhikar," i.e., if (birds) are found, huntsmen; if not, beggars. According to a variant of the legend,*[1] many years ago in Rājputāna there lived two brothers, the elder of whom was dull, and the younger smart. One day they happened to be driving a bullock along a path by the side of a pool of water, when they surprised Sīta bathing. The younger brother hid behind his bullock, but the elder was too stupid to conceal himself, and so both were observed by the goddess, who was much annoyed, and banished them to Southern India. The elder she ordered to live by carrying goods about the country on pack-bullocks, and the younger to catch birds by means of two snares, which she obligingly formed from hair plucked from under her arm. Consequently the Vagirivalas never shave that portion of the body.
The Kuruvikkārans are nomadic, and keep pack-bullocks, which convey their huts and domestic utensils from place to place. Some earn their living by collecting firewood, and others by acting as watchmen in fields and gardens. Women and children go about the streets begging, and singing songs, which are very popular, and imitated by Hindu women. They further earn a livelihood by hawking needles and glass beads, which they may be seen in the evening purchasing from Kayalans (Muhammadan merchants) in the Madras bazar.
One of the occupations of the Kuruvikkārans is the manufacture and sale of spurious jackal horns, known as narikompu. To catch the jackals, they make an enclosure of a net, inside which a man seats himself, armed with a big stick. He then proceeds to execute a perfect imitation of the jackal's cry, on hearing which the jackals come running to see what is the matter, and are beaten down. A Kuruvikkāran, whom the Rev. E. Loventhal interviewed, howled like a jackal, to show his skill as a mimic. The cry was quite perfect, and no jackal would have doubted that he belonged to their class. Sometimes the entire jackal's head is sold, skin and all. The process of manufacture of the horn is as follows. After the brain has been removed, the skin is stripped off a limited area of the skull, and the bone at the place of junction of the sagittal and lambdoid sutures above the occipital foramen is filed away, so that only a point, like a bony outgrowth, is left. The skin is then brought back, and pressed over the little horn, which pierces it. The horn is also said to be made out of the molar tooth of a dog or jackal, introduced through a small hole in a piece of jackal's skin, round which a little blood or turmeric paste is smeared, to make it look more natural. In most cases only the horn, with a small piece of skull and skin, is sold. Sometimes, instead of the skin from the part where the horn is made, a piece of skin is taken from the snout, where the long black hairs are. The horn then appears surrounded by long black bushy hairs. The Kuruvikkārans explain that, when they see a jackal with such long hairs on the top of its head, they know that it possesses a horn. A horn-vendor, whom I interviewed, assured me that the possessor of a horn is a small jackal, which comes out of its hiding place on full-moon nights to drink the dew. According to another version, the horn is only possessed by the leader of a pack of jackals. The Sinhalese and Tamils alike regard the horn " as a talisman,and believe that its fortunate possessor can command the realisation of every wish. Those who have jewels to conceal rest in perfect security if, along with them, they can deposit a narricomboo."*[2] The ayah (nurse) of a friend who possessed such a talisman remarked " Master going into any law-court, sure to win the case." This, as has been pointed out, does not show much faith in the British administration of justice, if a so-called jackal's horn can turn the scale. Two spurious horns, which I possessed, were promptly stolen from my study table, to bring luck to some Tamil member of my establishment. Some Kuruvikkārans carry suspended from their turban or body-cloth a small whistle, with which they imitate the song of birds, and attract them. Young boys often have with them a bundle of small sticks strung together, and with a horse-hair noose attached to them. The sticks are driven into the ground, and grain is strewn around to entice birds, which get caught in the noose.
The women wear a petticoat and an ill-fitting bodice.Among other classes " Wearing the bodice like a Kuruvikkāran woman " is used as a taunt. The petticoat may never be taken off till it is tattered and torn, and replaced by a new one; and, when a woman bathes, she has to do so with the garment on. Anything which has come in contact with the petticoat, or rice husked with a woman's feet, is polluted, and may not be used by men. Women adorn themselves with necklaces of beads and cowry shells, or sometimes, like the Lambādis, wear shell bracelets. Both men and women stain their teeth with a preparation of myrabolams. Acacia arabica pods, and sulphates of copper and iron. Females may not blacken their teeth, or wear a necklace of black beads before marriage.
A young married woman, wherever she may be during the daytime, must rejoin her husband at night. If she fails to do so, she has to go through the ordeal of grasping a red-hot iron bar or sickle, and carrying it sixteen paces without dropping it. Another form of ordeal is dipping the hands in a pot containing boiling cowdung water, and picking out therefrom a quarter-anna piece. If the woman is innocent, she is able to husk a small quantity of paddy (rice) by rubbing it between her hands immediately after the immersion in the liquid. If a man has to submit to trial by ordeal, seven arka (Calotropis gigantea) leaves are tied to his palm, and a piece of red-hot iron placed thereon. His innocence is established if he is able to carry it while he takes seven long strides.
The Kuruvikkārans have exogamous septs, of which Rānaratōd seems to be an important one, taking a high place in the social scale. Males usually add the title Sing as a suffix to their names.
Marriage is always between adults, and the celebration, including the betrothal ceremony, extends over five days, during which meat is avoided, and the bride keeps her face concealed by throwing her cloth over it. Sometimes she continues to thus veil herself for a short time after marriage. On the first day, after the exchange of betel, the father of the bride says " Are you ready to receive my daughter as your daughter-in-law into your house? I am giving her to your son. Take care of her. Do not beat her when she is ill. If she cannot carry water, you should help her. If you beat her, or ill-treat her in any way, she will come back to us." The future father-in-law having promised that the girl will be kindly treated, the bridegroom says " I am true, and have not touched any other woman. I have not smiled at any girl whom I have seen. Your daughter should not smile at any man whom she sees. If she does so, I shall drive her back to your house." In the course of the marriage ceremonies, the bride is taken to the home of her mother-in-law, to whom she makes a present of a new cloth. The Nyavya (headman) hands a string of black beads to the mother-in-law, who ties it round the bride's neck, while the assembled women sing. At a marriage of the first daughter of a member of the Rānaratōd sept, a Brāhman purōhit is invited to be present, and give his blessing, as it is believed that a Gujarāti Brāhman was originally employed for the marriage celebration. The principal tribal deity of the Kuruvikkārans is Kāli or Durga, and each sept possesses a small plate with a figure of the goddess engraved on it, which is usually kept in the custody of the headman. It is, however, frequently pledged, and money-lenders give considerable sums on the security of the idol, as the Kuruvikkārans would on no account fail to redeem it. When the time for the annual festival of the goddess draws nigh, the headman or an elder piles up Vigna Catiang seeds in five small heaps. He then decides in his mind whether there is an odd or even number of seeds in the majority of heaps. If, when the seeds are counted, the result agrees with his forecast, it is taken as a sign of the approval of the goddess, and arrangements are made for the festival. Otherwise it is abandoned for the year. On the day of the festival, nine goats and a buffalo are sacrificed. While some cakes are being cooked in oil, a member of the tribe prays that the goddess will descend on him, and, taking some of the cakes out of the boiling liquid, with his palm rubs the oil on his head. He is then questioned by those assembled, to whom he gives oracular replies, after sucking the blood from the cut throat of a goat. It is noted in the North Arcot Manual that the Vagirivalas assemble two or three times in the year at Varadāreddipalli for worship. The objects of this are three saktis called Mahan Kāli, Chāmundi, and Mahammāyi, represented by small silver figures, which are mortgaged to a Reddi of the village, and lent by him during the few days of the festival.