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Indian Conjuring

by L. H. (Lionel Hugh) Branson

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Language
EN
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EPUB
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1 MB

Description

"Indian Conjuring" by L. H. Branson provides an in-depth analysis of Indian magic practices and the techniques used by local Jadoo-wallahs. The work examines various conjuring tricks, including the Cups and Balls, Rope Trick, and Dancing Duck, detailing the methods behind these performances. It also compares Indian magic with Western styles, offering insights into the cultural significance and context of these acts. The book combines instructional descriptions with critical commentary, aiming to clarify the mechanics of these performances and dispel misconceptions. Written in the early 20th century, it reflects the period's interest in ethnography and the study of traditional arts within colonial India. The author approaches the subject from an academic perspective, seeking to inform readers about the artistry and cultural importance of Indian conjuring practices.

The text serves as both a guide to magical techniques and a commentary on their cultural context in Indian society during the early 20th century.

From the opening pages

Since the world began Magic and wizardy seem to have held a great fascination for mankind, an example being in the story of the Witch of Endor. That this tendency has in no wise altered is clear from the popularity of conjurors, illusionists, and so called magicians who still, be it East or West, attract an audience so easily and so surely. This little volume is written in the hopes that it may prove of interest to the thousands who reside in India, and those other thousands who, visiting its coral shores from time to time, often discuss in wondering amazement how the Indian conjuror performs his tricks. It is also written to uphold the reputation of the Western conjuror against the spurious ascendancy held by his Eastern confrere. Before describing the many well known tricks that are shewn by the "house to house" Jadoo-wallah, and explaining how they are done, we will compare the average Indian conjuror with his mystic friends in Europe, America and China. Let us for a moment picture in our mind's eye the stage and person of the European or American conjuror. A few small tables with spindle legs (upon them a steel frame or so, transparent and decorative) are exposed to our view. The performer appears with rolled up sleeves in close fitting clothes and by the end of his performance has filled the stage with several large flags, a bouquet of flowers and, may be, a beautiful lady, all, possibly produced from a top hat. His performance is given to the accompaniment of amusing patter and is brightened with the colour of the articles he produces. He may be an illusionist pure and simple and does not indulge in sleight-of-hand at all. In this case the comparison with the Indian Jadoo-wallah is not a fair one, as the latter has not the means to purchase the complicated mechanism necessary for up-to-date illusions as shewn by European magicians. Whether or no his superior education is the reason, the European conjuror gains in skill and shows his inventive genius as time goes on. His effects are studied, and his paraphernalia embraces more and more varied articles. The disappearance of a Christmas tree with all its candles lighted is an excellent example to what he has risen. He takes an interest in his profession or calling and strives to outdo others in neatness or by inventing…

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