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Snake charmer in Jaipur (India) in 2007 Snake charming is the practice of appearing to hypnotize a snake (often a cobra ) by playing and waving around an instrument called a pungi . A typical performance may also include handling the snakes or performing other seemingly dangerous acts, as well as other street performance staples, like juggling ...
The pungi [3] [4] [5] is a Hindu folk music reed pipe instrument [6] that is mostly played by cobra charmers [7] in Sindh and Rajasthan. [8] The instrument is made from a dry hollowed gourd with two bamboo attachments. [9]
In the villages, if a snake inadvertently happened to enter a home, a Kalbelia would be summoned to catch the serpent and to take it away without killing it. Kalbelias have traditionally been a fringe group in the society, living in spaces outside the village where they reside. They live in makeshift camps called deras.
The Snake Charmer (French: La Charmeuse de Serpents) is a 1907 oil-on-canvas painting by French Naïve artist Henri Rousseau (1844–1910). It is a depiction of a woman with glowing eyes playing a flute in the moonlight by the edge of a dark jungle with a snake extending toward her from a nearby tree.
Nala Damajanti was the stage name of a late 19th-century snake charmer who toured with P.T. Barnum's circus and performed at the famed Folies Bergère in Paris. French sources identify her as Emilie Poupon (1861–1944), born in Nantey, Jura Department, France.
A snake-charmer of the Sapera caste - Tashrih al-aqvam (1825) The Sapera are a Hindu caste found in North India. They are also known as Barwa Sampheriya in West Bengal, Sapela in Punjab and Sparera in Madhya Pradesh. [1] [2] [3] A snake charmer in Delhi
This page was last edited on 20 August 2005, at 05:10 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may ...
The Snake Charmer is an oil-on-canvas painting by French artist Jean-Léon Gérôme produced around 1879. [1] After it was used on the cover of Edward Said's book Orientalism in 1978, the work "attained a level of notoriety matched by few Orientalist paintings," [2] as it became a lightning-rod for criticism of Orientalism in general and Orientalist painting in particular, although Said ...