By Nandini Velho and Shradha Rathod
‘Esi Tabu’s Venom’, an animated film supported by the Wellcome Trust India Alliance, created by Canopy Collective and the Institute of Public Health Bengaluru tells the tale of an ancient feud between Esi Tabu, the Checkered Keelback, and Barta, the Kaulback’s lance-headed pit viper, based on Nyishi folklore.
In western Arunachal Pradesh, Pakke Tiger Reserve (PTR) has become a key site for human-snake interactions. The Forest Department team we work with, now trained in human-snake management, regularly reports snake sightings. Though king cobras Ophiophagus hannah are rare, rescuer Hage Taposh recounts encounters with them in unusual places such as poultry sheds, kitchen gardens, and even bedrooms. Other common species include the Burmese python Python bivittatus, monocellate cobra Naja kaouthia, and of particular interest to us, the checkered keelback Fowlea piscator, or Esi Tabu – the central character of the film ‘Esi Tabu’s Venom’.
These encounters highlight a broader reality in Pakke and many other regions: the deep connections between human well-being, wildlife, culture, and health – what researchers call the One Health approach. This concept underscores the interdependence of human, animal, and environmental health. By engaging public health workers, forestry officials, veterinarians, and local communities, our goal is to create practical, grassroots solutions that improve health outcomes for all. Yet, the real challenge lies in making these connections relatable and actionable on the ground, where tradition and ecology intersect.
The cultural significance of snakes is evident in Snakes of Pakke Tiger Reserve (co-authored by Shradha Rathod), where local names and observations reveal a deep-rooted relationship with the region’s 46 snake species. In Aka, for example, Byutshi Wetshi refers to snakes with red markings, such as the Red-necked Keelback. The Checkered Keelback, known as Hu Byu, reflects its aquatic nature, as ‘Hu’ means water. Names by the Indigenous Miji tribe, such as Lujeh Khichtan – one wearing the sun’s rays as a scarf – for the Macclelland’s coral snake, poetically describe these creatures. These traditional names also capture snake behaviors, with Nah Boo in Miji used for non-venomous snakes.
Recognising the cultural and ecological significance of snakes has guided our work, including a focus on snakebite management, which is a serious issue in many rural areas. We recently launched a downloadable guide to raise awareness about snakebite care. But alongside this, it’s equally important to tell stories that present snakes as more than just threats, reflecting their cultural symbolism and roles in local ecosystems.
Our journey into this narrative began when we met Dr. Tana Takam, a medical doctor studying snakebites in fringe villages around Pakke Kessang. His research, which utilised Snakes of Pakke, opened our eyes to the untapped knowledge and stories about human-snake relationships. Contributions from Tallo Dibo, Range Forest Officer at Rillo, further shaped our vision for an animated film that would explore these themes.
The result is ‘Esi Tabu’s Venom’, an animated film supported by the Wellcome Trust India Alliance, created by Canopy Collective and the Institute of Public Health Bengaluru. It tells the tale of an ancient feud between Esi Tabu, the Checkered Keelback, and Barta, the Kaulback’s lance-headed pit viper, based on Nyishi folklore.
As Professor E.J. Milner-Gulland noted in the journal Oryx, "a rainbow of approaches is needed, dependent on scale, location, and circumstances" for effective conservation. This idea resonates deeply with us, as we explore the vast and diverse stories that snakes embody in different cultures. For instance, in Scale, Slither, and Hop: A Brief Introduction to Northeast India’s Herpetology (2024), the section ‘Coiled in Culture’ highlights folklore where snakes are not just feared creatures but hold mystical roles – such as the snake that uses the rainbow to climb to the heavens, or another that shapes rivers such as Tirap and Dihing. These stories remind us that conservation efforts, like the rainbow itself, must be varied and multifaceted. ‘Esi Tabu’s Venom’ is one example of how we can bring these rich, layered stories to life.
Film Credits