When Women Horse Around

Image ©: Aurora Marie Jarett-Goldstein

The grayish stone tablet placed on the corner of a Polo ground along the fabled silk route in Gilgit, Pakistan has long epitomized the fascinating game of Polo with a simple inscription: “Let others play at other things. The King of Games is still the Game of Kings.” Patronized by legendary warriors and embraced by kings and nobles for centuries, the fate of Polo has been tied to the cyclic rise and fall of empires. Though the true origins of the game remain a mystery, it is believed to have emerged almost 2500 years ago from modest beginnings in the harsh encampments of nomadic warriors of Central Asia. The sport ever since has stood steadfast through changing time to remain one of the oldest & fastest team sports in the world today. It is also one of the rare sports where both men and women can play on the same team.



Image ©: Aurora Marie Jarett-Goldstein

Over the decades the royal courtyards and grandeur has given way to more humble and ordinary fields for modern polo. While the sport has been mainly dominated by men, the last few years has seen a rise in women taking a keener interest in the sport and making their presence felt. The new era of women’s polo is nowhere more clearly mirrored than in the Polo Girls Society founded in 2009 by a talented group of American women committed to promoting the Game of Kings. The society is taking the game beyond the polo fields to bring people together for events that showcase their passion for the sport as well as benefit society through community polo projects.

The life line of Polo Girls Society is its founder TV Producer and Philanthropist Libby Scripps, whose passion for the game has made her a much-admired international polo player and an inspiration for women in polo. Beautiful and self-assured, there is air of enthusiasm as she discusses Polo Girls Society. Reminiscing the time as a young girl, Libby vividly remembers watching with fascination a Maharaja from India playing polo in Palm Beach, Florida. Spellbound by the sheer energy of clashing mallets, the cantor of hooves and exuding aura of grandeur and royalty, she felt it was a game only for kings. That was until Libby was invited to play in a kid’s tournament at the young age of seven. From then on, Polo was not only her game but an integral part of her life.

However, the hardest part of dreaming is to give it wings and turn it into a reality. Libby and the rest of the women at Polo Girls Society embody the idea that dreams are not mere ambitions alone; but also define a person's aspirations to make a difference. The society’s involvement with a number of charities and organizations to promote the sport and giving back to the community has been commendable. Libby recalls an interesting episode when a 12 year old girl won a lesson with the Polo Girls. She came to the barn with little riding experience, got on the pony and started hitting the ball. Just to see the natural talent this little girl had was amazing for the team. But the feeling to know that she would have never had an opportunity to learn polo had it not been for something like the Polo Girls Society only    strengthened their commitment of having such initiatives in place to promote polo.

Though setting up Polo Girls Society was challenging and far from glamorous for Libby personally, she has found it all worthwhile. It has enabled her to inspire and encourage new players and bring in more spectators to the sport. There have also been obstacles and the biggest Libby amusing points out was Ralph Lauren. After all he trademarked the word polo back in the 70’s and everyone thought polo is simply a brand of clothing, not a sport. But it is not the only one, as Libby points out that there remains a big misconception that Polo is only for elites and you need to know how to ride for years. All of which is not true and adds with her infectious wit that white jeans do not make you look fat and when playing polo you do burn the most calories than any other exercise. Although, the game itself has not seen the masses that she was counting on, but at least people now realize polo is a sport and not just a brand. Therefore, the joy for her lies in the recognition the Polo Girls Society has brought to the sport in competitive zones like the US.



Image ©: Aurora Boyington



Polo is charming game that moves at a swift pace delicately blending artistry and remarkable horsemanship, testing the bond and endurance of both horse and rider to the ultimate. The rules are fairly simple and it is an exciting sport to watch. Libby advice to young inspiring women polo players is to make safety paramount for themselves, their teammates, and opponents. While excellent sportsmanship and horsemanship is essential to excel, Libby cautions to steer clear from the air of snobbery, instead appreciate and enjoy the game without trying to continuously dominate the ball and never to cross the line. She then adds with a smile that it does not hurt to look great in Mallet Hill threads designed by the Polo Girls.  It is all about passion and respect for  the game that is steeped in rich history.

Presently, Polo Girls Society has a growing membership of 55 members and more than 10, 000 fans.  It is not a total women’s affair though, as men too are welcomed and encouraged to join to show their support for women polo players. Libby hopes that more women will be encouraged to take up the sport by joining the Polo Girls Society and in turn they would be able to generate more sponsors to host more women's tournaments worldwide.

Image ©: Aurora Marie Jarett-Goldstein

Margaret Mead once famously wrote "never doubt that a small group of thoughtful, committed, citizens can change the world. Indeed it is the only thing that ever has." Libby Scripps and her team of Polo Girls are not looking to make grand gestures of heroism, simply choosing to make a difference through their passion for Polo. But along the way they have begun to inspire a whole new generation of women polo players making sure to be treated as equals. Enthralling with as much skill, speed and power as men, women are playing hard and are in it to win.  Thus, the legacy of polo lies not in the ancient manuscripts and legends alone but in the devotion of those touched by its mesmerizing aura just like the US based Polo Girls Society.

The Ruins of Golkonda

Hyderabad is a bustling city located in the southern part of India. It is where the echoes of the past still make its presence felt as modern buildings dot the skyline with towering apartment complexes, malls and multiplexes. However, west of Hyderabad approximately 11 km away lies ruins of the ancient city of Golkonda  with stoned walls and impressive citadels. Archaeologists believe that the Kingdom of Golkonda dates as far back as the Chalukya dynasty in 731 AD making it one of the oldest surviving historical sites in Hyderabad.

However, the foundation of the famous Golkonda fort itself was not constructed until the 13th century under the Kakatiya dynasty sometime in 1143. The name ‘Golla conda’ itself which literally means ‘Shephard Hill’ in telugu language with an interesting legend behind it. The story goes that a mud fort was built by the Kakatiya King after an idol was discovered by a shepherd boy.  The Kakatiya dynasty ended with the rise of the Bahmani Sultans. But it was only around the 16th century that Golkonda would rise to prominence as the seat of the Qutb Shahi dynasty until its decline in 1590. During which the simple mud walls would be transformed into a formidable granite fortress.  But then in 1687, the Mughal Emperor Aurangzeb laid seize to the fort for nine months before being able to march through its strong walls.

The beauty of Golkonda lies in its intricate planning and architectural marvel beaming even through its ruins. The Golkonda complex is divided into four well-defined forts with several semicircular bastions along the 10 km outer wall. Some of these bastions still have mounted canons overlooking the landscape that it once protected from invading troops. The ruggedness of the structure is heightened by drawbridges and eight large gateways with sharp iron spikes. A few feet away from the entrance of the gate there are large erected walls that would have acted as a shield in a battle preventing marching elephants and armies to infiltrate the fortress with ease.

The main entrance lies on the Eastern side at Bala Hissar Gate with its intricate ornamentation blending both Hindu – Muslim architecture. The "Fateh Darwaza" (Victory Gate) is where the armies of Emperor Aurangzeb marched triumphantly after the fall of the Shahi dynasty. One of the most interesting aspects of the gate is its finely tuned acoustics. As you clap your hands at the entrance under the dome, the sound echoes roughly a kilometre out at the Bala Hisar gate. But it was an effective warning mechanism used to alert an impending attack.

The austere exterior is further complemented by the more architecturally elaborate royal apartments & halls, tombs of the Qutub Shahi Sultans, gardens, temples and mosques located in and around Golkonda Fort. One such monument is the Toli Masjid built in 1671 built by the royal architect Mir Musa Khan Mahaldar and about 2km away at Karwan. The fort also contained a resourceful water supply system and detailed ventilation adding a unique charm to this historical site.  Also, the diamond mines of Golkonda were as famous as the fort itself with the 185 carats Darya-e Nur diamond (Sea of light), the Hope diamond and Kohinoor once kept in its vault chambers.

Through time, the fort has witnessed the rise and fall of kingdoms and fierce battles across its fields. Once the seat of power, its own fate fallen with the diktats of time. In the remnants of broken walls and desolate silence of history, there is much to discover at Golkonda.

Image ©: Sreedhar Vedlapati

 

The Ancient Art of Thangka

A Thangka is not just a beautiful painting but a religious testament of Buddhist scriptures and teachings. The historic origins of Thangka Paintings can be traced back to as early as 3rd century AD, where Buddhists and Hindu artisans in Nepal not only painted illuminated manuscripts but also began to depict deities and natural scenes in metal works and wall- paintings. The designs of the early Thangka paintings were simple in expression with the deity depicted in the centre surrounded by figures of lesser importance set in subtle colours. Around 621 CE, the beauty of Thangka painting spread to Tibet when Princess Bhrikuti, daughter of King Lichchavi of Nepal married Songtsän Gampo, founder of the Tibetan empire. Being a devout Buddhist, she also brought with her the images of Aryawalokirteshwar and other Nepalese deities. By the 7th century under the reign of King Angshuvarma of Nepal, Mahayana Buddhism spread into Tibet.

However, it was during the reign of Songtsän Gampo many new monasteries began to be constructed across Tibet including the sacred Jokang in Lhasa. As Buddhism spread so did the need for religious icons and Buddhist manuscripts. Artisans along with monks and traders from Nepal soon began to bring metal sculptures and Buddhist manuscripts into Tibet. The King even invited artist from Nepal to paint the murals in the Tsuglagkhang temple, Lhasa. However, by the 9th or 10th Century, Nepali artists to be able to transport the Thangkas from one monastery to another more efficiently began to create the art on cloth. It was a new school of Thangka painting that evolved to as we know it today and greatly popular as it was easy to roll up and carry around.

The colours in the 14th and 15th Century Thangka paintings begin to appear brighter and largely influenced by element from Chinese paintings. The Tibetan artisans were also inspired by the growing significance of the Tantric cult in society which was reflected in the Thangkas through the traditional poses of Shiva and Shakti, Mahakala, Manjushri and other equally popular deities. But given that Tantrism also exemplifies the notion of mysterious power and an assortment of symbols, the female element and sexuality found prominence in the paintings of that period.

Thangka paintings can be divided into two categories:  the illustrative paintings of the deities known as Palas and mystic diagrams paintings of complex text, circles and square each having specific significance known as Mandala. The illustrations in a Thangka are either painted, appliquéd or embroidered on a textile which is usually of silk as well as cotton duct. A Thangka is usually small and around 18 and 30 inches tall or wide. However, the Thangka’s used in religious ceremonies, festivals and monasteries are designed for walls and are as much as 60 feet wide and more than 20 feet long.

The scroll paintings describe scenes from history and retell the legends of the deities within the Buddhist scriptures. But as the ancient art passes from one generation to another, the beauty and religious relevance of the Thangka continues to be preserved through time.

Image © : Pawel Kowalczyk

Etchings from the Past

It is hard to imagine graveyards as being a source of inspiration for any artist. Dark moss laden tombstones standing in stony silence as the sense of loss and grief resonates everywhere. But for artist Fauzia Aziz Minallah, the graveyard in her ancestral village Sirikot in the Gangar mountain region of Pakistan’s Northwest Frontier was a place of fascination. For centuries, the villages here have practiced the ancient craft of ‘Chitarkari’ or slate engravings to decorate tombs.

Fauzia remembers spending hours in graveyards watching slate engravers using a chisel, hammer and purkar (divider) to intricately engrave symbols and geometric patterns on tombstones with meticulous precision. The slate for the tombstones was excavated from the quarries in the mountains and then sold to craftsman in the villages. The difficult and laborious process yielded only a few good slabs with the right leaden tones and surface texture for chiseling. By the 1960s, demand for smoother slabs of slate gave way to newer and less expensive materials such as cement and marble. The engravers that once chiseled timeless pieces of art soon began to turn to other professions as Chitarkari found itself floundering at the edge of extinction.

The delicate slate engraving seemed almost confined to the solitude of the graveyards in the region to be forgotten with time. In 1990, Fauzia sought inspiration for her art by returning to her roots to work with craftsman in the Gangar area and reviving the ancient craft of slate engraving that she had grown up admiring. Initially, she started with simply photographing the tombstones outside the village and gradually took her initiative a step further by making rubbings of the images engraved in order to be able to preserve it. This was just the beginning as Fauzia enthusiastically searched out three engravers and began learning the craft herself. It was not long before Fauzia started commissioning work and building a market for these unique engravings by designing different interior décor pieces including table tops and wall-hangings.

However, Fauzia has been working hard in transforming the ancient craft of Chitarkari into a more contemporary art form. At times, this has led to her artistic endeavors being deemed as craft. But Fauzia remains resolute to bring ‘Chitarkari’ craftsmen to prominence and in turn be inspired to experiment with her own creativity to express her thoughts, feelings and anxieties. Her interpretation of this ancient craft blends the tradition of the past with contemporary art to create works that are both artistic and innovative.

The initiative made by Fauzia to popularize slate engraving and bring it into the realm of art has been complemented with the efforts of other artisans such as late Said Rehman, and Late Feroz din to successfully revive the traditions of Chitarkari. It is no longer significant whether one sees it as an art or craft, for this century old tradition has begun to be appreciated beyond the graveyards of villages to be admired in homes as interior design elements from tables to wall hangings.

Images©: Fauzia Aziz Minallah