View source for Budubudikē

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This article is an excerpt from<br/>
''' Castes and Tribes of Southern India ''' <br/>
By '' Edgar Thurston, C.I.E., '' <br/>
Superintendent, Madras Government Museum; Correspondant <br/>
Étranger, Société d’Anthropologie de Paris; Socio <br/>
Corrispondante, Societa,Romana di Anthropologia. <br/>
Assisted by ''K. Rangachari, M.A.,'' <br/> 
of the Madras Government Museum. <br/>

Government Press, Madras <br/> 
1909. <br/> 
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[[Category:India|B]]
[[Category:Communities|B]]

=Budubudikē=

The Budubudikē or Budubudukala are described in the Mysore Census Report as being “gipsy beggars and fortune-tellers from the Marāta country, who pretend to consult birds and reptiles to predict future events. They are found in every district of Mysore, but only in small numbers. They use a small kind of double-headed drum, which is sounded by means of the knotted ends of strings attached to each side of it. The operator turns it deftly and quickly from side to side, when a sharp and weird sound is emitted, having a rude resemblance to the warbling of birds. This is done in the mornings, when the charlatan soothsayer pretends to have divined the future fate of the householder by means of the chirping of birds, etc., in the early dawn. They are generally worshippers of Hanumantha.” The name Budubudikē is derived from the hour-glass shaped drum, or budbudki. [394]

For the following account of the Budubudukalas, I am indebted to a recent article113:—“A huge parti-coloured turban, surmounted by a bunch of feathers, a pair of ragged trousers, a loose long coat, which is very often out at elbows, and a capacious wallet underneath his arm, ordinarily constitute the Budubudukala’s dress. Occasionally, if he can afford it, he indulges in the luxury of wearing a tiger or cheetah (leopard) skin, which hangs down his back, and contributes to the dignity of his calling. Add to this an odd assortment of clothes suspended on his left forearm, and the picture is as grotesque as it can be. He is regarded as able to predict the future of human beings by the flight and notes of birds. His predictions are couched in the chant which he recites. The burden of the chant is invariably stereotyped, and purports to have been gleaned from the warble of the feathered songsters of the forest. It prognosticates peace, plenty and prosperity to the house, the birth of a son to the fair, lotus-eyed house-wife, and worldly advancement to the master, whose virtues are as countless as the stars, and have the power to annihilate his enemies. It also holds out a tempting prospect of coming joy in an unknown shape from an unknown quarter, and concludes with an appeal for a cloth. If the appeal is successful, well and good. If not, the Budubudukala has the patience and perseverance to repeat his visit the next day, the day after that, and so on until, in sheer disgust, the householder parts with a cloth. The drum, which has been referred to above as having given the Budubudukala his name, is not devoid of interest. In appearance it is an instrument of diminutive size, and is shaped like an hour-glass, to the middle of which is attached a string with a knot at the end, which [395]serves as the percutient. 

Its origin is enveloped in a myth of which the Budubudukala is naturally very proud, for it tells him of his divine descent, and invests his vocation with the halo of sanctity. According to the legend, the primitive Budubudukala who first adorned the face of the earth was a belated product of the world’s creation. When he was born or rather evolved, the rest of humankind was already in the field, struggling for existence. Practically the whole scheme was complete, and, in the economy of the universe, the Budubudukala found himself one too many. In this quandary, he appealed to his goddess mother Amba Bhavani, who took pity upon him, and presented him with her husband the god Parameswara’s drum with the blessing ‘My son, there is nothing else for you but this. Take it and beg, and you will prosper.’ Among beggars, the Budubudukala has constituted himself a superior beggar, to whom the handful of rice usually doled out is not acceptable. His demand, in which more often than not he succeeds, is for clothes of any description, good, bad or indifferent, new or old, torn or hole. For, in the plenitude of his wisdom, he has realised that a cloth is a marketable commodity, which, when exchanged for money, fetches more than the handful of rice. The Budubudukala is continually on the tramp, and regulates his movements according to the seasons of the year. As a rule, he pays his visit to the rural parts after the harvest is gathered, for it is then that the villagers are at their best, and in a position to handsomely remunerate him for his pains. But, in whatever corner of the province he may be, as the Dusserah approaches, he turns his face towards Vellore in the North Arcot district, where the annual festival in honour of the tribal deity Amba Bhavani is celebrated.” [396]

The insigne of the Budubudikē, as recorded at Conjeeveram, is said114 to be a pearl-oyster. The Oriya equivalent of Budubudikē is stated115 to be Dubaduba.