For the paintings, they prepare a primer with dung, water and clay to which light or dark yellow ochre is added. After a few days of drying, the liming is now ready. To paint, they use a section of a date palm leaf’s midrib (khajur) which works as a reservoir as it is fibrous.

Perched on a hillock, it is a densely built up area and houses adapt themselves to uneven grounds by spreading harmoniously their volumes on different levels. Alignments, projections and recesses allow glimpses of terraces overlooking other open spaces. This is how I notice freshly painted mandana.

After visiting other villages and the homes of Mona Kadela, Retha, Sanju and, Saritha, my stay comes to an end and I return to Jodhpur.

The vision fades away with the approach of a dusty cloud which instantly shrinks the trail. Yet I distinguish very clearly the rhythmical jolts of jingle bells attached to the bow of the ravanhatta.