Archives

Uncategorized

মায়াবী কোরাপুট

পাহাড় ঘেরা, ঝর্না, নদী, আদিবাসী মানুষের নাচ গান। এটাই কোরাপুট, যেখানে পাহাড় কথা বলে, ঝর্না গায় গান, আর বিভিন্ন জনজাতির ইতিহাস লুকিয়ে আছে বিভিন্ন গ্রামে। মাঝে মাঝেই বৃষ্টি হয় অকারণ। অজান্তে এক গুচ্ছ মেঘ এসে ঢেকে দেয়, শুরু হয় বৃষ্টি।
অঙ্ক মেলে না এখানে। যখন মনে হয় এই বুঝি পথ শেষ, আর একটা পথ শুরু হয়। কোমরে হাত দিয়ে রমণীরা গায় জীবনের গান, পুরুষ বাজায় নানান রকমের যন্ত্র। জঙ্গল থেকে বিভিন্ন শাক, কচু জোগাড় করে আনে, সেটাই তাদের মূল খাদ্যাভ্যাস। সঙ্গে থাকে সলপ, মহুয়ার মত, এখানকার মানুষের দুঃখ ভুলে থাকার পানীয়। বছরে একবার তারা শিকারে যায়। পুরো গ্রাম তখন মেতে ওঠে আনন্দে। এক সপ্তাহ শিকারের পর পুরো গ্রাম মিলে সেই খাবার উপভোগ করে। জীবন যাত্রা বেশ কঠিন। পথ খুজতে খুজতে তুমি পথ হারিয়ে যেতে পারো। বিশাল বনাঞ্চলের মাঝে তাদের বাস। ছোট ছোট বাড়ি, মাটি দিয়ে লেপা, মাঝে উঠোন, মাটির কড়াই, হাড়ি, উনন। মাটির দ্রব্য হাট থেকে কেনা। সব গ্রামের আসেপাশে কুমরদের গ্রাম আছে। তারা মাটির বিভিন্ন দৈনন্দিন কাজের দরকারি দ্রব্য বানায়। আর হাটে গিয়ে বেঁচে দেয়। হাটে দরকারি সব জিনিস পাওয়া যায়। জামা কাপড়, শাড়ি, চুড়ি, জুতো, আলতা, সবজি, ফল, মাছ, মাংস, বাঁশের দ্রব্য, হাঁস, আরও কত কি।। যা লাগবে তাই পাবে। আর একদিকে কোনায় কিছু পুরুষ পান করে মহুয়া, সলপ আর সঙ্গে পাবে ছোলা সেদ্ধ। এমন এক হাট অনুকাডেলি হাট, দুদুমা জলপ্রপাত থেকে কিছুটা দূরে অবস্থিত। এখানে বন্ডা উপজাতির মানুষ বাজার করতে আসে । তাদের সারা শরীরে গয়না। গলায় হার, বিভিন্ন রঙের। আগেকার দিনে তারা কাপড় পড়তো না, গয়না দিয়েই ঢাকা থাকতো শরীর। আর তারা পড়তো কেরাং গাছের ছাল থেকে তৈরি শরীরের অপরের অংশের জন্য এক টুকরো কাপড়। কেরাং গাদাবা জনজাতির লোকেরাও পড়ে। তাদের কাপড়ের রং আলাদা, আলাদা তাদের দৈর্ঘ্য ও প্রস্থ।
গাডাবা জনজাতি মুখে ট্যাটু করতো। তাদের কথায় আগেকার দিনে সুন্দরীদের রাজাদের অত্যাচারের শিকার হতে হত। তাই ট্যাটু করে তারা তাদের রূপ লুকিয়ে রাখতে। গাদাবা জনজাতি গোদাভরির তীরে বাস করতো, তাই তাদের নাম গাডাবা বা গদাবা। দুরুয়া আর এক জনজাতি ছত্তিশগড় থেকে এসছিল বলে শোনা যায়। সবরী নদীর এক পারে কোরাপুট আর অন্যদিকে ছত্তিশগড়। অনেক রকমের ধান চাষ হয় এখানকার মাটিতে, সাথে বেশ প্রসিদ্ধ মিলেট, আর কফি। অনেক রকমের গল্প লুকিয়ে আছে এক এক আদিবাসীর জীবন যাত্রায়। খুব কম বয়সেই মেয়েদের বিয়ের চল এখানে। পরিবার দেখে দেবার চল যেমন আছে, পালিয়ে গিয়ে বিয়ের চল ও আছে। তবে মেয়েদের এখানে প্রাধান্য বেশি। ছেলের পক্ষ মেয়ে পক্ষকে তত্ত্ব দেয়। বিধবা হলে বিয়ের সম্মতি আছে। এখানকার মানুষের সরল জীবন। কোনো বাধা নেই।
তবে বেশিরভাগ মানুষের পরিসর খুব ছোট। গ্রাম, হাট, আশপাশের পরিবার, বড়জোর হলে কাছের টাউন। ট্রেনে চড়ে প্রথমবার যখন গ্রামের মেয়েরা তাদের শিল্প সংস্কৃতি দেখাতে বাইরে বেড়োয় তখন অবাক চোখে দেখে এক নতুন পৃথিবী। প্রথমবার ট্রেন, শহরের রাস্তা। ঝকঝকে মলে তারা হারিয়ে যায়। এস্কেলেটর দেখে ভয় পায়। তবে তাদের নাচ গান শুরু হলে মানুষের মন নেচে ওঠে। বৃষ্টির গান, চাষের গান, জীবন যাত্রার গান। বাংলানাটক ডট কম কোরাপুটের বিভিন্ন গ্রামে কাজ করে চলেছে। পুরোনো দিনের গান গুলো নতুন প্রজন্মদের শেখার জন্য যখন প্রশিক্ষণ শিবির আয়োজন করি তখন কুমার জানি গেয়ে ওঠে এক নাবালিকার যন্ত্রণার ব্যাখ্যা। যখন তার জীবনের শখ পূর্ণ হয়নি, তখন তাকে বিয়ের পিঁড়িতে বসিয়ে দেওয়া হয়। আজকাল মানুষ বুঝতে পেরেছে হয়তো কম বয়সে মেয়ের বিয়ে দিলে সে কি কষ্টের মধ্যে দিয়ে যায়। সবাই মিলে এক সন্ধ্যায় গান গাইছিলো, ফুলের গান। কথিত আছে মহিলারা বিভিন্ন ফুলের গুনগান করে। আর সেই ফুলের গন্ধ ঘিরে ধরে কোনো এক রমণীকে। সেই গন্ধের ভরে অচৈতন্য হয়ে যায় মেয়েটি।
কন্ধাদের সাথে দেখা হলো খেজুরিপুট গ্রামে। এটা জানা যায় এখানে এককালে অনেক খেজুর গাছ ছিল। কন্ধাদের বিয়ের প্রথা বেশ অন্যরকম। ছেলেরা মেয়ে দেখতে আসে। ডুমডুমি বাজিয়ে গান হয়। একটি ডুমডুমি দিতে হয় মেয়ের বাড়িতে। যদি মেয়ের পছন্দ হয় তালে ডুমডুমি গ্রহণ করা হয়, আর না পছন্দ হলে ডুমডুমি ফেরত দিয়ে দেওয়া হয়। ডুমডুমি একটি এক তারের যন্ত্র, লাউয়ের খোল দিয়ে বানানো হয়। এরম কত গল্প লুকিয়ে আছে। গাডাবারা যখন গোদাবরী তীর থেকে এসে লম্পটাপুট অঞ্চলে প্রথম থাকতে শুরু করে তখন চার জন বিভিন্ন গ্রামে থাকতে শুরু করে। তারপর কথিত আছে তারা প্রচণ্ড ভূতের ভয়ে একসাথে থাকতে শুরু করে।।এবং ধীরে ধীরে তাদের সংসার বিস্তার করে। আবার গাডাবা জাতি এখন একটা নতুন ধর্ম পালন করে। যাকে বলে আলেখ ধর্ম। সেখানে সবাই খায় নিরামিষ খাবার। এটাই এক অদ্ভুত সহবাস। তবে সব জনজাতির প্রধান দেবী হুন্ডি মাতা। তারা পুজো করে প্রকৃতিকে। দুরুয়াদের গ্রাম কেন্ডুগুদা। কেন্দু গাছের সারি এই গ্রামে। সেখান থেকেই নাম কেন্দুগুদা। তাদের নাচের নাম বিরলি নাচ। এখানে কাঠি ব্যবহার করে এক এক জন এক একজনের সাথে কাঠীর আঘাত আদান প্রদান করে ঘুরে ঘুরে। আমি ঘুরে বেড়িয়েছি বিভিন্ন গ্রামে।
কোটপাড ছোট টাউন। এখানে মিরগান সম্প্রদায়ের মানুষ প্রধানত বুনন করে শাড়ি, দুপাট্টা, আর থান। টাউন এর লোকেরা ছাড়াও আশপাশের ছড়িয়ে ছিটিয়ে থাকা গ্রাম যেমন ভানসুলি, ডংরিগুডায় তৈরি হয় কোটপাড শাড়ি নামে প্রচলিত কাপড়। এই কাপড়ের উল্লেখযোগ্য বৈশিষ্ঠ তাদের ভেষজ রং করার পদ্ধতি। আল গাছের ছাল থেকে তৈরি হয় খয়েরী এবং লাল রং। হিরাকাশি বা ফেরাস সালফেট-এর সাথে লাল রং মেশালে হয় কালো। বাকি অন্য রঙের সুতো তারা বাজার থেকে কিনে আনে। এখানকার শিল্পী পদ্মশ্রী গোবর্ধন পানিকা তার কাজের জন্য পদ্মশ্রী সম্মান পেয়েছেন।
সুবাই নামে এক ছোট্ট গ্রাম। সেখানে পাওয়া গেছে পঞ্চম শতাব্দীর জৈনদের মন্দির। পাঁচটি মন্দির এখানে অবস্থান করে। মন্দির বলতে এখানে প্রসিদ্ধ শিব মন্দির, গুপ্তেশ্বর মন্দির। বইপাড়িগুডায় অবস্থিত ন্যাচারাল লাইমস্টোন দিয়ে তৈরি গুহা এবং শিবলিঙ্গ। কথিত আছে রাম তার বনবাসের সময় এক শিবলিঙ্গ খুঁজে পায়। রাম অবশ্য বনবাস জীবন বোধহয় ভারতের সব প্রান্তেই কাটিয়েছিলেন। পাশেই সবরি নদী এবং তার অন্যদিকে ছত্তিশগড়। মানুষ এখানে বেড়াতে আসে খুব কম। শীতকালে কিছু মানুষ আসে। পরব নামে এখানে বিশাল মেলা হয় নভেম্বরে। সেই সময়ে অনেক মানুষ আসে ওডিশার বিভিন্ন প্রান্ত থেকে। শীতেও মানুষ আসে। তবে এখনও বিশাল হোটেল দিয়ে জায়গার সৌন্দর্য নষ্ট হয়নি। প্রকৃতি বেঁচে আছে, পাখি গান গায়, দেওমালি পাহাড়ের চূড়ায় নিস্তব্ধতা, ডুডুমার ঝর্নার শব্দ শোনা যায় অনেক দূর থেকে। কে যেন বাঁশী বাজায়। বাঁশি এখানকার আদিবাসীদের তাল ও ছন্দের যন্ত্র। এখানে বলে মোহুড়ি। তালবাদ্য অনেক রকমের, ঢোল, তিরিবিড়ি, ধাপ এর মধ্যে প্রধান। কাকরিগুমায় এক দল মানুষ তালবদ্য বানায়। সেখান থেকেই বিভিন্ন নাচ গান দলের শিল্পীরা কিনে নিয়ে যায়। আর তাদের গ্রাম থেকে একটু দূরেই আছে পুঞ্জাসিল জলপ্রপাত, তেলিমাটিং জলপ্রপাত। একটা বিকেল ঝর্নার ধারে বসে কাটানোর ইচ্ছে আছে। যেখানে কবিতারা ভেসে আসে অবলীলায়। এক রমণী, তার পা ডুবিয়ে বসে থাকে, স্বপ্ন দেখে বিদেশ পারি দেওয়ার।
দিশারী আছে সব গ্রামে। অল্পবিস্তর অসুখ হলে তারাই ওষুধ দেয়। গাছের শিকড়, ছাল, শাখা, পাতা, ফুল থেকে তৈরি হয় সে ওষুধ। বংশপরম্পরায় এই ওষুধ বানানোর শিক্ষা এক জন্ম থেকে আর এক জন্মে পৌঁছে যায় অনায়াসে। পৌষ পার্বণ, চৈত্র উৎসবে এরা বেশ আনন্দে মেতে ওঠে। পৌষ পার্বণকে এরা পুষপুনি বলে থাকে। এই সময় নাচ গান, ভালো মন্দ খাওয়া, সুরা পান চলতে থাকে গ্রামে গ্রামে। বিভিন্ন রকমের সাজে মানুষ বেরিয়ে পড়ে। কেউ রাজা, কেউ রাবণ, কেউ রাম সাজে। কেউ কেউ বিভিন্ন জন্তুর সাজেও বেরোয়। একটি শোভাযাত্রা বেরোয়, বাজনা বাজে, গ্রামের মানুষ একত্রিত হয়।
বাড়ি বানানোর আদল এক এক জনজাতির এক এক রকম। দুরুয়াদের বাড়ির চারিধারে কাঠের পাটাতন দিয়ে ঘেরা থাকে। কিছু জনজাতির বাড়ি চৌকো আকারের, কারো বা গোলাকার। মাটির বাড়ির ছাঁদ বেশির ভাগ আসবেস্টাসের, কিছু বাড়ির টাইলস দেওয়া। কন্ধাদের বাড়িগুলো সারী দিয়ে একের পর এক। আর প্রত্যেক বাড়ির দেওয়ালের রং আলাদা। এক অদ্ভুত রঙের মেলা দেখা যায়। প্রত্যেক জনজাতির মেয়েরা বিভিন্ন ফলের বীজ দিয়ে তৈরি করে বিভিন্ন ধরনের গয়না। দুরুয়ারা সিয়ালি গাছের ফল থেকে তৈরি করে মালা। এরম ব্যবহার হয় আরও অনেক গাছের বীজ, বেশিরভাগ জঙ্গলি গাছ। তারা যখন বিভিন্ন রঙের শাড়ী পড়ে দলবদ্ধ হয়ে নাচে বাদ্যযন্ত্রের তালে তখন তৈরি হয় এক অনন্য পরিবেশ। নাকে তাদের বিশাল নোলক, কানে দুল, পায়ে হাতে বালা, সব মিলিয়ে এক অসম্ভব সুন্দর দৃশ্য। অনেকবার কোরাপুট গেছি, প্রতিবার নতুন কিছু দেয় এখানকার প্রকৃতি, মানুষ, আর জনজাতির সংস্কৃতি। ভিজিয়ানগরম বা বিশাখাপটনাম অব্দি ট্রেনএ এসে সেখান থেকে গাড়ি নিয়ে পৌঁছে যাওয়া যায় সহজেই বা সোজা হাওড়া থেকে ট্রেনে কোরাপুট। একবার ঘুরে যান মায়াবী কোরাপুট।।
Author : Siddhanjan Ray Chaudhuri
Uncategorized

Culture at a Click

Leave a comment

Culture at a Click: Banglanatak dot com in partnership with Google Arts & Culture launches online exhibits on Bengal Patachitra and Purulia Chau.

We are a social enterprise working for the safeguarding and revitalization of traditional art forms for more than 15 years. Our flagship initiative Art for Life (AFL) builds sustainable eco systems for community led safeguarding of Intangible Cultural Heritage. AFL promotes Village, Artist, and Art together and has evolved the process of art and culture led rural development.

Our repository has images, videos and well researched stories of performing art and craft traditions across India. We are partnering with Google Arts & Culture to share about the intangible cultural heritage of diverse communities across India with over 250 visuals on the crafts and performing arts of Bengal from our archives that can be viewed online by people around the world. And there can be no better partner than Google Arts & Culture for this virtual exhibition.

Google Arts & Culture is the online platform to explore art, history and the wonders of the world in an immersive manner, all with just a click on your phone or computer. They develop technologies that help preserve and share culture and allow curators to create engaging exhibitions online and offline, inside museums. The Google Arts & Culture app is free and available online for iOS and Android.

Short summaries of our stories

Goddess Kali: The Transcendent Deity

https://artsandculture.google.com/story/1QXhmksCMSHqpA?hl=en

Goddess Kali is widely worshipped during Diwali in the Eastern region of India. Kali has been diversely represented in the different art forms of India; the diverse representation reminds us of the myriad socio-cultural fabric of our country. Sometimes Kali is represented as a fierce warrior and sometimes as a loving mother. Alongside being the Goddess of darkness, destruction, and death, Kali is also a symbol of Mother Nature because she is believed to be timeless and formless, representing the creation of life and the universe as well. Through our exhibit on Kali we have tried to capture this depiction of Kali and also the iconography behind the images. The iconography has been presented with significance of the images of Kali- the dark skin, weapons in her hand, her tongue sticking out, her mount-fox. The rituals involving Goddess Kali in art forms like Gomira and Sholacraft of Dinajpur districts in West Bengal have also been lucidly incorporated to make the story more informative and appealing.

Diwali: Celebration of Light and Hope

https://artsandculture.google.com/story/6wURs_CpTpbeGg?hl=en

The exhibit on Diwali perfectly captures the festive mood. Goddess Lakshmi, the Goddess of wealth and prosperity is worshipped on Diwali and that has been beautifully portrayed in the story with art forms like Patachitra, Dokra and Wooden Doll of Bengal. Lighting up homes and hearts of Indians, Diwali is a celebration of the triumph of light over darkness and is known for heralding positive beginnings. To symbolize the victory of light over darkness, good over evil and knowledge over ignorance, lighting of lamps is a common practice in Diwali.That makes it a festival of lights, and beautiful handcrafted lamps adorn Indian homes during this time. The exhibit shows some of the intricately handcrafted diyar by the Dokra artists of Bikna. One can also find eco-friendly options of lights like Terracotta, Sholacraft which are not only beautiful but also environment conscious option.

Durga in Bengal Patachitra

https://artsandculture.google.com/story/GwWRMLuOLSz37Q?hl=en

Patachitra is a unique storytelling tradition of Bengal where the artists known as  Patuas paint stories on long scrolls and narrate these stories in the form of a song. Goddess Durga, the most popular local deity is an important subject of their composition. The exhibit showcases how Patuas of Naya village of Paschim Medinipur district of West Bengal depict the story of Goddess Durga. In the exhibit one can see some beautiful Patachitra paintings of Durga as represented by the Patuas. It is interesting to notice the diverse representation of Durga by the artists, some portray Durga as a Goddess combatting the evil forces and some depict the Goddess as a loving mother.

Patachitra in Durga Puja Festival

https://artsandculture.google.com/story/rAVxYXl3CHiYow?hl=en

This exhibit gives an overview of how the unique storytelling tradition of Bengal Patachitra has merged with the celebration of Durga Puja in Kolkata. Here one can see the beautiful artworks of Patachitra adorning pandals, as well as the idol. Each pandal becomes a public art installation. The exhibit showcases Patachitra art on Durga idol, pandal, as well as celebration of the festival itself through paintings.

Experiencing Purulia Chau

https://artsandculture.google.com/story/dQVx1xL9etTmUw?hl=en

This exhibit introduces the various facets of the Purulia Chau dance – the dance form, the palas or dance dramas, the steps, the artists and the musical instruments. The folk-art form is a brilliant combination of acrobatic dance, ornate masks and costumes along with Jhumur song and rhythmic beats. The exhibit provides an immersive experience of the land of red lateritic soils, the vibrant dance, soundscapes of unique instruments and the craft of mask-making that will transport you to the rustic land of Purulia. This exhibit is the perfect combination of information and entertainment that gives an overview of the traditional art form that has gained popularity among international audiences for its larger than life presence.

Explore the Living Heritage of Purulia

https://artsandculture.google.com/story/PQUxONV4ui7iMw?hl=en

Purulia, a district in West Bengal is the perfect amalgamation of nature and culture. Red roads of lateritic soil cutting through dense forests, rivers and dams, hills and tiny villages paint the perfect frame and Chau dance adds the final touch to it. This exhibit gives a complete overview of Purulia, the various cultural activities and the community festivals that one can take part in or to plan your perfect getaway for the coming winter months. Get a glimpse of the quaint village of Chau mask makers, Charida too.

Through these immersive virtual exhibits, we intend to share with the world interesting stories, anecdotes, never-seen-before high resolution images of the rich cultural heritage, the visual, oral and performing arts traditions of West Bengal. Here’s to hoping that the audience will appreciate the various facets of the art form and also learn something new, something interesting about them.

Chadar Badar – Santhal Storytelling Tradition

https://artsandculture.google.com/story/4QWxZXsL60vBlg

This exhibit brings together oral traditions, songs, handicrafts and performing art skills as part of the unique indigenous puppetry of the Santhals, one of the largest indigenous communities of India, in their age-old story-telling tradition of Chadar Badar. The exhibit, launched on the International Mother Language Day, has been specially curated for commemorating this day to highlight the wealth of indigenous language and culture of the Santhals, and to emphasize that indigenous languages in all regions of the world need to be protected as they face the threat of extinction, exacerbated by globalization and the rise of a small number of culturally dominant languages. With this exhibit, Banglanatak dot com brings together its experience of working with, and reviving Chadar Badar as a hallmark intangible cultural heritage of the Santhals.

Biodiversity in Folk Art

https://artsandculture.google.com/story/2wWhiA_khzAvpw

The story is based on unique representations of the animal kingdom in folk paintings, folktales, crafts, theatre, and art of various folk artists of Bengal. The virtual exhibition showcases the integral relationship of man with nature and how creative representations of our biodiversity have continued through age-old traditions.  In the story, the Royal Bengal Tiger and its various manifestations in different types of art forms is surely very interesting. The gorgeous and ferocious feline has been and continues to be an inspiration for artists. The story talks about different species of wildlife and their significance in folk culture – the tiger, the lion, the peacock, the elephant, the owl, the horse, birds and reptiles. The exhibit demonstrates the ethos of nature and wildlife conservation that have been cardinal to the lifestyles and traditional practices of indigenous communities through generations. In times when climate change, and extinction of our flora and fauna are becoming issues of major concern, the exhibit reminds the viewer of the different ways in which biodiversity merges with human life through a natural reciprocity between the two.

Indigenous Tea Makers of India

https://artsandculture.google.com/story/rgXBXxjVOWEHFw

This story is about the original tea makers of India – the Singpho and the Tangsa communities of eastern Arunachal Pradesh. The exhibit introduces the readers to the traditional tea making process of these indigenous communities, and how native tea was introduced to the British by the Singphos. It narrates the history of indigenous tea, the cultural and natural landscape of the Tangsas and Singphos, practice of indigenous tea making by the Singpho and Tangsa communities, much before the British introduced industrial tea for trading, association of tea with Buddhism and its folklore, and how indigenous tea making inside bamboo tubes is still actively practiced by these native communities. The exhibit also showcases the unique process of making smoked bamboo tea from native tea plants that can be preserved and used for many years and their tradition of drinking bamboo tea even today. Previously, the native tea used to grow wild in their hilly forest regions and they drank tea as a medicinal drink. Today, they have organized household level tea gardens from where they pluck the leaves and process to make tea. While India is world famous for its tea and has a huge share in tea business both domestic and export, it is fascinating to learn about tea in India before the British.

Exotic Weaves of Arunachal Pradesh

https://artsandculture.google.com/story/eQWBPC2C4immUw

This story, launched on the National Handloom Day, is about the women weavers of Arunachal Pradesh, celebrating their cultural heritage of loin loom weaving across different ethnicities of the state. The story showcases the indigenous knowledge, skills, and practices of such weaving by the women that is thriving even today; the process of loin loom weaving; and the different types and styles of textiles that these communities wear. Every household has one or more loin looms that are fixed in their balconies and can be folded and put away when not in use. The women, both old and young, know weaving and make their own textiles, bags, scarves, etc. The diversity of motifs, designs, and colours is quite fascinating and they distinguish one community from another, and upholds the inherent self-sufficiency and creativity of these communities.

The Land of Biodivinity

https://artsandculture.google.com/story/oQVBLDKOqd112w

Launched on the International Day of the World’s Indigenous Peoples, this exhibit showcases the lifestyles and cultures of the indigenous communities of Arunachal Pradesh – the lesser known traditions of the people who live as one with nature, venerate nature, and nurture an inherent custodianship of local biodiversity through their daily living! The story narrates how divinity in nature is a way of life of the indigenous peoples of Arunachal Pradesh and introduces the readers to the architecture, food, dress, handicrafts, faith and conservation practices of these communities that showcase their unique knowledge, and interdependency on natural resources and their local biodiversity. Arunachal is endowed with rich natural and cultural heritage embedded in the centuries old traditions of the ethnic peoples, which uniquely connect their lifestyles and spirituality with nature that can be termed as, ‘Biodivinity’. The exhibit showcases the coexistence of these communities with nature, how they nurture the richness of their natural habitats, and how their minimalist lifestyle is manifested through their indigenous architecture, technology, agriculture, food including delicacies, weaving, bamboo crafts, rituals and festivals. Although the communities featured in the story have continued to protect and preserve their indigenous knowledge and practices for generations, some cultural heritage elements are dying.

Tapestry Tales in Handlooms

https://artsandculture.google.com/story/8gWBGFhiqlDmZw

Tapestry weaving is an important cultural tradition followed in the western and eastern parts of India. This exhibit focuses on traditional weaving of natural grass, jute and cotton, as a way of life of rural communities and how simple, rudimentary handlooms are used for it. The story delves into the weaving of Madur in Midnapore districts and Dhokra in Dinajpur districts from Bengal and Durrie weaving from western Rajasthan.

Magic of Bengal Handlooms

https://artsandculture.google.com/story/HAUhYTKEkONaLg

Bengal is known for its fine and exquisite weaves. The legendary finesse of handloom textiles derived from the specialized traditional knowledge and skills of the rural weavers, have generated awe across the world for centuries. It is an elaborate and entirely handmade process that makes such textiles precious. The exhibit gives a detailed description of the techniques used for weaving and also the step-by step process followed by the communities who weave magic from yarns. The story gives a vivid narration of some of the famous weaves from Bengal like Baluchari, Tangail, weaves from Shantipur, Phulia and Kenjakura.

Exploring the Unknown

https://artsandculture.google.com/story/OAXxfh8OlPdw-A

Launched on the World Tourism Day, this exhibit showcases the lesser known or unknown offerings of cultural tourism in Arunachal Pradesh. It presents the diversity and richness of indigenous cultures of Arunachal, and introduces the readers to the actual tradition bearers, who are also the host communities (such as the Tangsas, Singphos, Khamptis, Miju and Idu Mishmis, Galos, Apatanis, Buguns, Monpas, Membas and others) managing community led tourism in rural Arunachal. The story spotlights some of the very interesting cultural experiences that a visitor can have across the state including indigenous food and beverages, smoked bamboo tea, traditional architecture, folk songs and dances, handicrafts, festivals, and the beautiful village lifestyles of the communities.

Desert Music: Soul of Western Rajasthan

https://artsandculture.google.com/story/twUBeELO1jFemw

The districts of Barmer, Jaisalmer, Jodhpur, and Bikaner of western Rajasthan are known for their deserts, forts and palaces and also for the indigenous folk music of the Langas, Manganiyars and Mirs. The exhibit, launched on World Music Day, depicts stories of these unique caste musicians by providing an informative presentation of their history, traditions, musical themes, community legends, and repertoire of their songs. The Langas and Manganiyars follow and revere their traditional Jajmani (patronage) system. Through generations they sing for their patron families and in return receive grains, animals and money. This tradition of music as a hereditary profession enriches their musical practices and repertoire. The lesser-known Mir musicians have also been included in the exhibit.

Strums and Beats of Desert Music
https://artsandculture.google.com/story/YAUxHbfg_k0gNA

This exhibit was launched on the occasion of World Music Day. The Langas and Manganiyars use traditional musical instruments that are unique to these communities and range from chordophonic (string instrument), aerophonic (wind instrument) to percussion instruments. The exhibit brings together all their traditional musical instruments (Sindhi Sarangi, Kamaicha, Khartal, Algoza, Dhol, Morchang and Murli), and information about them. One gets an opportunity to hear the musicians play the tunes and beats of the iconic instruments and learn about their cultural significance to these hereditary musicians. The story also narrates interesting anecdotes about different musicians and the instruments.

Meet the Music Progenies of the Desert Music Tradition!

https://artsandculture.google.com/story/qQUhGSu2_iR1fA

Music is something that the children of the Langa and Manganiyar communities are born with. This exhibit, launched on World Music Day, portrays how the children have an inherent sense of tunes and beats that are further developed through a Guru Shishya (master disciple) parampara embedded in their family traditions. The oral tradition is passed down informally as the children grow up listening to, and learning from their grandfathers, father, uncles and neighbours practising music. The story throws light on how the children are also passionate about learning their traditional music. One can enjoy the soulful voices of the children from the Langa and Manganiyar communities, and snippets of Guru-Sishya training in this exhibit.

Women Masland Weavers of West Bengal

https://artsandculture.google.com/story/bgUxrTu7bg_6eg

Masland or Mataranchi, made from a locally grown grass called Madurkathi is an exclusive and fine handwoven variety of Madur (mats) traditionally made by women of Medinipur region of West Bengal. The exhibit showcases the arduous process of weaving the mats and how the women are socio-economically empowered as weaver collectives and entrepreneurs. The exhibit also throws light on the intricately woven designs of Masland as well as diversified lifestyle products like table mats, bags
which are sustainable and eco-friendly. The story narrates some of the success stories of women Masland weavers, and also spotlights the intricate process of making super fine Masland from locally grown grass.

Women Painters of Rural Bengal

https://artsandculture.google.com/story/wgWhWYEU-H_prw

Patachitra is a unique folk tradition of visual storytelling accompanied by songs. In Patachitra, stories are painted as frames on long scrolls and the Patuas (the painters) gradually unfurl them while presenting the story through their songs. The exhibit shares the story of how women Patuas have painted their road to empowerment. Traditionally the men used to go around the villages singing and sharing the stories, while the women stayed at home and assisted in painting. Today the women Patuas have made their individual identities as artists, travelling nationally and internationally to showcase and sell their art. They are role models for many women in and around their village. Launched on International Women’s Day, the story narrates the journey of the women Patuas of Pingla creating their identity as artists.

Story of Goddess Manasa
https://artsandculture.google.com/story/ewXxxyq4sezQew

The story of Manasa Mangal Kavya reflects how gender constructs are challenged in folklore. Manasa is an indigenous Goddess, worshipped mainly for protection against the perils of snakebite. This exhibit beautifully narrates the story of two powerful women – Manasa, a Goddess, and Behula, a commoner. Manasa is seen as a Goddess taking vengeance to negotiate respect from a powerful merchant, whereas fearless Behula embarks on uncharted journeys to resuscitate her dead husband.  Traditional craftsmanship and folklore are closely associated in community narratives. The exhibit showcases the representation of Manasa Mangal Kavya on Patachitra scroll painting, and the use of Terracotta and Shola craft in ritualistic practices of worshipping Manasa.

Fish Wedding Story in Bengal Patachitra
https://artsandculture.google.com/story/ZAWBnNOlbmMb8A

This exhibit, launched on the occasion of World Art Day, narrates the popular folklore of a fish wedding that the Patachitra artists, aka Patuas, of Pingla beautifully depict through their scroll paintings, songs and diverse products. The fish motif is commonly used in Patachitra paintings. This fish motif comes from the folklore of the Fish Wedding (maacher biye). Patachitra artists typically paint on various subjects – mythology, folklore, social issues but Fish Wedding story is one of their favourites. The story is about the wedding of a Dariya fish, where all the fish have been invited. The narration starts with their merry-making and feasting. Amidst all this the fishes don’t realise that danger is looming large. The Boal fish, known as a monster fish, pops up and swallows everyone because he was not invited to the wedding.The story is also interesting for its metaphorical representation of power based societal divides. The exhibit also showcases the popularity of the fish motif through its depiction on different products such as saris and home decor, as well as the GI (Geographical Indication) logo of the art form.

Holi: The Festival of Colours
https://artsandculture.google.com/story/oQXB0ggTs0eutw

This exhibit, launched on the occasion of Holi, tells stories of the different cultural aspects of this traditional festival of colours that is manifested in songs, dance, architecture and craft. The festival of Holi is celebrated across India by every region in their own unique ways. Similarly the Rarh region of Bengal (Birbhum, Bankura, Bardhaman, Medinipur, etc) is known for its different manifestations of Holi festival through folk songs, dances, rituals, and local crafts. The story highlights art forms like- Jhumur, Baul, Patachitra, Wooden dolls of Natungram, and Terracotta. It showcases the different myths and legends especially of Lord Krishna that are associated with the celebration of Holi in the Rarh region and how that has found an outlet in the cultural fabric of the region.

Discover more on Google Arts & Culture: https://artsandculture.google.com/partner/banglanatak

Uncategorized

Darjeeling and Kalimpong Folk Festivals: Celebrating Hills’ Heritage

Leave a comment

Tucked away in a green, serene, and often surreal, surrounding on the lap of the Eastern Himalayan Range, Darjeeling is not only a requiem for tired urban souls, and the undisputed Queen of the Hills, but much more… To begin with, it is home to 14 indigenous communities who make up an amazing mosaic of pristine traditions, rituals and folk cultures that have, unfortunately, remained virtually undiscovered by the world outside.It was with this long-felt need to showcase the rich intangible cultural heritage (ICH) of the Hills that the Rural Craft and Cultural Hubs (RCCH) project of the Government of West Bengal hosted its first editions of Darjeeling and Kalimpong folk festivals in April and May 2017, respectively. Around 200 local artists participated in the event at Chowrasta Mall in Darjeeling on 5 and 6 April, while over 400 local artists and craft persons took part in the festival at the Mela Ground in Kalimpong on 27 and 28 May. An exhibition on Darjeeling Himalayan Railway, which has been conferred UNESCO’s World Heritage status, was another attraction at the Darjeeling event. Stalls of traditional handicrafts, dresses and cuisine were also a big hit among tourists and locals.

Senior officials of development boards set up for the 15 communities also graced the occasions. Both print and television media extended cooperation with extensive coverage of the festivals.

Padmashri awardee, veteran folk musician-composer-lyricist, Mr Sonam Tshering Lepcha (pic below) inaugurated the Darjeeling Folk Festival. A soldier-turned-musician born in Kalimpong in 1928, he was the first from his Lepcha community to sing for All India Radio. He received the Sangeet Natak Akademi Award in 1995 and the Tagore Akademi Ratna Award in 2011. Mr Sonam Tshering Lepcha is also the founder of a museum that is a virtual mine of rare Hills artifacts, indigenous musical instruments, ancient weapons, and manuscripts.

The spectrum of performances was a wide one, right from the captivating Chyabrung dance of the Limbus, to the colorful and amazing Dhimal, Snow Lion and Balun dances, to soul-stirring opera songs of the Tibetan and Tamang communities and the extraordinary Naumati Baja, an ensemble of nine traditional instruments played by members of the Damai community. There was also the aesthetically poignant Lakhe dance of the Newars and the lively traditional dance of the Gurungs.

There were three folk dances with songs presented by the Gurung community. Of them, Ghatu Naach is one that is traditionally performed during Lossar and Buddha Purnima, while Rodhi is one performed by men and women together (pix below) , and Satighatu Naach is a ritualistic dance performed after someone’s death in the community. The music instruments used during the performances included Murchunga, flute and Chong Merdong.

Members of the Tamang community showcased two dances accompanied with songs. These were Sang Shergem, which is actually part of a ritual performed during Lossar and weddings, and Gurki Wai, a romantic song and dance done by men and women together. Their music instruments included Damphu and flute.

Five dances were presented by the Dhimals, each accompanied by a song (pix below). Deradir Puja was one of them. It is performed to worship goddess Lakshmi. Another was Poyanpoka Le Hiyaka. It is essentially a dance performed before people go for fishing. Then there was Um Cheka Le, a traditional harvest song, and Shikarkhaka Le Hiyaka, a song and dance performed while people go to hunt in the jungles. Mandachaka Le Hiyaka, a romantic dance, stole many a heart at both the festivals. The music instruments used included Murchunga, flute and Chong Merdong.

The Mangar community’s troupes presented three dances with songs. Of them, Hurra is one for harvest and weddings (pic below), while Koura Naach is a romantic song and dance performed by men and women together, and Maruni Naach is a wooden mask dance by men and women. The music instruments used for these presentations included Madal, flute, Murchunga and Sarengi.

The Tibetan troupes also presented three dances accompanied with songs. The most striking was Ngonpai Dhon, a ritual hunting dance (pic below). There was also Sharchok Potala, performed in praise of Buddhism and the Potala Palace. And, finally, there was Snow Lion Dance (pic below), a combination of dream, fantasy and the mythical creature called Snow Lion that mesmerized the audience, especially children. The musical instruments at work included drums and cymbals.

The Rai community showcased two dances, presented with songs. While Sakela Sili or Sakewa Sili was a sowing and harvest dance by men and women together, Chowan Sili was a traditional dance that stood out for its elegance. The music instruments played with the two included Yele, Binayo, Murchunga, Dhol and Jhyamta.

This Limbus presented four dances with songs. These were Manglang Dance, also called Yuma worship, Ke Lang, a traditional dance accompanied by Chyabrung drums, Ye Lang, a harvest dance performed by men and women together, and Mama Lang, another dance accompanied by Chyabrung drums with a catchy rhythm. The main music instrument was Chyabrung.

Members of Khas community presented two dances with songs, Sangini (pic beow), a romantic one, and Balun (pic below), based on the Ramayana.

Three teams of the Sherpas presented three dances with songs. One was Sherpa Dance, performed to please the groom and his family during weddings. Another was Nadin, performed on auspicious occasions, while the third one was Sileba, which is a dance to welcome guests (pic below).

The audiences also got to catch a glimpse of three dances of the Lepchas, each presented with a song. Naamban and Namaal Geet was one of them. It is performed to celebrate New Year. Chyu Rum Faat Alak was another. It is a traditional dance performed to show people’s respect to the Himalayas. Padam Baino was the other one. It is a traditional dance with an earthy touch.

Bhutias showcased five dance forms. Pow or Lappay Dance, performed to welcome guests, was one of them. There were also Dukpa Kazokpa, a traditional song and dance for weddings and other happy occasions, Lungpa Chung Zung, a traditional dance performed only by men, Gosa Dho Dho, another traditional dance, and Dukpa, a traditional dance marked for its colorful presentation.

Two troupes of the Newar community presented two dances with songs. One was Lakhe Pnyakho or Lakhe (pic below), a vigorous mask dance performed during Indrayatra, while the other was Kathi Pnyakho, performed at weddings and other such happy occasions.

The Kami community, better known for making the traditional weapon called Khukhri, presented their own folk dance, Maruni.

The Damai community’s unique music genre, Naumati Baja, captivated the audience. It was an ensemble of nine traditional musical instruments. The artists first performed Dabling, which was followed by Mangaldhun and Kheyali.

Swaying to the rhythms of these earthy tunes and tapping their feet in sync with the dance steps, tourists and locals alike lost themselves for a few hours and cherished the presentations. Both the festivals were a grand success. But more than that, both the events will be remembered for their zest for life and a rediscovery of the Hills communities’ ethnic roots and cultural moorings.

A glimpse of the audiences at the two festivals:

 

Uncategorized

Cultural Industry and the Pandemic: Needs and Challenges

Leave a comment

by Anindita Patra

“In these unstable and uncertain times, we need to look to the things that unite us – the things that show us the world in all of its variations – and for that, we need artists” – Audrey Azoulay, UNESCO Director-General.

We turn to art when we are joyful: we turn to art when we grieve. And in times of uncertainty and despair, we turn to art again for sustaining our hopes. This is especially true of now when the pandemic continues to disrupt and alter our lives. More now than ever, art must remind us of the human capacity to endure, re-imagine and create.  While billions of people around the world turn to culture as a source of comfort and connection, the impact of COVID-19 has not spared the cultural sector threatening the livelihoods of the local communities and cultural professionals. This has impacted not only revenues but also sense of community and cultural lives of people. Artists across the world are struggling to make ends meet. In India, the crafts sector that is largely self-employed involving a large number of people has been facing a severe crisis. Similarly living traditions such as festive events that form an important part of people’s lives have had to be paused. Today, we are experiencing a cultural emergency.

Keeping these challenges in mind UNESCO New Delhi in collaboration with banglanatak dot com organized two webinars on‘Building Resilient Communities Practicing Intangible Cultural Heritage’ and ‘New Paradigms in Rural Cultural Industries’ on June 10 and June 18, respectively.  The objectives of the webinar was to raise awareness about the impact of COVID-19 on cultural and creative sector based on heritage skills in art and crafts including cultural tourism, to identify needs and challenges to be addressed through development of policies, programs and financial mechanisms aimed at empowering artists  and to share voices of ICH communities and experiences from different countries. The webinars were part of the larger global movement called ResiliArt started by UNESCO on the 15th of April 2020 which aimed at mobilizing solidarity among artists and cultural professionals.

Speakers

The webinar had panelists representing government, creative and cultural sectors, art council, tourism, and technology providers. Eric Falt, Director and UNESCO Representative to Bhutan, India, Maldives and Sri Lanka and Junhi Han, Programme Specialist and Chief of Culture Sector, UNESCO New Delhi shared about ResiliArt initiative.

‘Building Resilient Communities Practicing Intangible Cultural Heritage’

  • Sreya Guha, IAS, erstwhile Principal Secretary Art & Culture and Tourism, Government of Rajasthan
  • Johannes Theurer, Senior producer, Radio Berlin & Secretary, World Music Chart Europe
  • Dr. Sunil Chitrakar, CEO, Mahaguthi Craft with Conscience, Nepal
  • Shahid Hussain Shamim, Senior Vice President, Handicrafts Manufacturers and Exporter Association of Bangladesh – BANGLACRAFT
  • Gopinath Parayil, Founder, The Blue Yonder offering cultural experience intimately connected to local communities

New Paradigms in Rural Cultural Industries

  • Tarun Bansal, CEO, Arya Niwas Hotel Chain, Rajasthan
  • Mr. Pankaj Manchanda, Founder and CEO, Augtraveler offering augmented reality based multimedia solutions offering heritage tourism experience
  • Dr.Debanjan Chakrabarti, Director, Eastern and North Eastern India, British Council India
  • Ms. Neelam Chhiber, Co-founder and Managing Trustee, Industree Foundation organizing creative manufacturing ecosystem for micro entrepreneurs
  • Mr. Sanjoy Roy, Co-founder and Managing Director, Teamwork Arts developing festivals across the globe.

The panelists discussed various problems that the artist communities are facing due to the pandemic. The social and economic impact on culture and creative industries will be severe and these sectors, like many others, will need support across their respective ecosystems and supply chains. The crafts sector in India, one of the largest employment sectors after agriculture in rural India, is in a severe crisis affecting livelihoods of millions of craftspeople in rural areas and thousands of craft enterprises. Similarly, the arts sector is also under huge pressure being informally organized with artists and professionals working on temporary contracts, lack of funding and lack of adequate protection of artists’ works especially in the digital sphere. Creative industries like craft collectives, village tourism, cultural festivals which support the tradition bearers and practitioners are threatened with challenges of decline in demand owing to factors like decline in tourist flows, less disposable income of consumers and restrictions in cultural and social gatherings.

But as they say, there is light at the end of the tunnel. The panelists agreed that we need to find ways to keep cultural professionals doing their work safely and to be able to monetize their work we need to build solid cultural policies to give artists, creators and cultural enterprises the means to move forward. One of the big challenges facing the creative sector in the developing countries as we emerge from this pandemic will be the restructuring of the cultural sector. Regenerative economy is the need of the hour and instead of calling this sector craft we call it creative manufacturing as it is about production, competitiveness. Craft should not be limited to a curio item but treated as a production model or rather participatory ownership model.

The discussion emphasized the importance of solidarity for artists and creators. If we try looking at the ‘oh so little’ bright things of the otherwise dark crisis we will see that it has the potential to bring together the cultural industry, to start a dialogue, to collaborate and exchange, to create a rock solid networking platform. Hand holding amongst the stakeholders of the creative industry will be really helpful in such times.

A particular concern raised by the panelists was the rapid trend toward the digitization of cultural content which is indeed a good means for the artists to reach out to the audience. But a lot of the rural artists are not equipped to quickly jump into the online world, because of the remoteness, insufficient access to digital technologies and language issues. The importance of vigilance and stronger regulation amidst the current push for digitization cultural content was particularly stressed. The fact that so much is moving online and artists are sharing their work for free brings challenges as well.

When emerging from this crisis, ways to maintain diverse, sustainable and dynamic cultural ecosystems must be identified and reinforced. Panelists underscored that the ramifications of the crisis will be felt long after it ends, and called for the protection of artists and for fair remuneration of their work both now and in the long term.

The discourse that we read and see in the media understandably focuses on the negative impact but there are positive opportunities as well– opportunities for contributing and collaborating and ones which may lead to new innovations. Sustainable business models during and after the initial crisis are vital for the sector’s survival. The current challenge is to design public supports that assuage the negative impacts in the short term and help identify new opportunities in the medium term for different public, private and non-profit actors engaged in cultural and creative production and not to forget initiatives that ultimately benefit the communities. The discussion reflected the need to re-imagine the cultural sector as it adapts to the new normal brought about by the crisis.

We realize that during these times projects will need fresh modes of thinking, creating and presenting the arts as well as new imaginations of engagement with audiences and communities.

Uncategorized

Culture as an Influencer

Leave a comment

 Role of Social Media Influencers in Promoting Cultural Products

by Anindita Patra

Today social media platforms have become an important tool to promote products and services. Social media marketing is inexpensive when compared to the traditional ways of advertisement, reaches out to a wider audience and is fast in its response. By using social media, brands have the chance to create a strong media presence by interacting with customers online, this can also help to strengthen brand perception by communicating core values to a wider audience.

With social media platforms taking the centre stage in the world of marketing we often hear the term ‘social media influencers’. So, who are these influencers? An influencer is someone with the power to affect the purchasing decisions of others because of his or her ‘authority, knowledge, position, or relationship with his or her audience’. An influencer has a digital following in a distinct niche, with whom he or she actively engages.  Over the last decade, we have seen social media grow rapidly in importance. According to the January 2019 We Are Social report, 3.484 billion people actively use social media – that’s 45% of the world’s population. Inevitably these people look up to influencers in social media to guide them with their decision making.

Over the years we have seen these influencers create campaigns for fashion, beauty, travel, lifestyle. With the world becoming more aware about sustainability we find a lot influencers promoting sustainable living, home grown products, small local businesses. Keeping these in mind as a part of the HIPAMS project we decided to take the plunge of involving social media influencers with a little push from our colleague and marketing expert Dr. Diego Rinallo from Kedge Business School, France in order to promote Bengal Patachitra.

Promotion of cultural products by social media influencers is not a common sight especially in India.   Mapping a strategy to involve influencers rather the ‘correct’ influencers with a campaign that would not only try to sell the craft products but at the same time create awareness about the art form, the artists, their rights, the heritage aspects of the art form was a challenge.

We had to be extra careful while choosing the influencers we wanted to work with, keeping in mind our target audience. After much research we reached out to influencers who promoted sustainable fashion, home décor with traditional art pieces, small businesses, cultural products, rural tourism on their respective pages. Influencers with different followership were approached though focus was more on the micro influencers with followers less than 10k. Micro influencers with their less followership have higher engagement, niche audience and is cost effective.

Other factors like deciding on the storyline of the promotion, the timeline of the posts, type of content, scope of enganement with the audience had to be kept in mind as well. Diwali is an important festival in India where people buy new clothes and gifts, clean and redo their houses. So, we launched our social media campaign during Diwali in the year 2020 with the message to rethink fashion and gifting choices and support local artists going with the trending #vocalforlocal, #supportart, #supportartist campaigns that were already doing the rounds in the country. The influencers posted on how to drape a Patachitra saree for Diwali parties or how to decorate the house with Patachitra pieces like kettles and coasters. 84 Bongully, an Instagram creator beautifully adorned garments with Patachitra motifs to create festive looks for their follwers whereas influencer Sharmistha Guha Chowdhury made a video on how one can use Patachitra products to add a festive touch to their house décor. An young fashion influencer sported Tshirt with Patachitra motifs and gave out the message to her millennial followers on how to make traditional art look ‘cool’.We kept in mind to not only promote the products but also the artist, the process and the place where it came from. So along with every post the influencers mentioned about the art form, the artist who painted it and about his/her village. The campaign was a success as the Patachitra artists received orders from people who came across the Instagram posts of Patachitra by the influencers.

The second phase of the campaign was held during World Heritage Week in November, 2020 and focussed on creating awareness about the heritage aspects of the traditional art form. For this phase of the promotion influencers like art photographers, policy advocates, environmentalists were utilized. For example, the ace photographer Upahar Biswas made a video explaining why it is important to mention the name of the art form and artist while sharing photos of Patachitra products. The heritage aspects of Patachitra like Pater Gaan (songs accompanying the scroll paintings), natural colour making process were shared along with information on GI (Geographical Indication) registration, Craftmark, the village as a cultural hub, community museum. The audience engagement during this phase of the promotion was very encouraging.

During the month-long promotion three short videos, 22 posts and around 30 stories were shared by the influencers on their respective pages. The videos have received around 3000 views; each post on average had received 350 likes. The influencers who worked with us on the promotion of Bengal Patachitra were happy about the campaign and the response they received. They said that cultural products have a huge market out there and it just requires the correct branding to reach the customers.

Do visit our Instagram page to get glimpses of the beautiful campaigns: https://www.instagram.com/hipams.india/

 

 

Name of Influencer Social media handle No of followers Area of Expertise
Sreenanda Ganguli sreenanda.ganguli 4k Lifestyle
Roshni Sen & Paushali Majumdar 84bongully 26.8k Art, textile, craft
Upahar Biswas upaharbiswas 9k Art photographer
Rishika Das Roy themillenialsguidetothegalaxy 7k Climate Change and Policy
Sharmistha Roy Choudhury nomadicwardrobe 18.9k Sustainable fashion and home decor
Mandira Paul M A N D I R A 5k Fashion
Debarati Ghosh debaratighosh 5k Fashion
Uncategorized

Sustainable development and Intellectual Property Rights: The case of Patachitra and GI

Leave a comment

Author: Prof. Avv. Benedetta Ubertazzi 

‘Green GI’ and Sustainable Development

Intellectual property rights (‘IPRs’), particularly geographical indications (‘GIs’), can be an excellent tool for encouraging environmentally friendly practices. The emergence of “Green GIs”, which are both environmentally friendly and compatible with the maintenance of biodiversity and landscape, reflects the utility of using IPRs on traditionally produced goods. These GIs are considered capable of providing prospects for new forms of rural development, community autonomy, preservation of cultural traditions, and even conservation of biological diversity. This is particularly the case when the production of goods encourages the stewardship rather than the depletion of the natural resources from which they are made.

 

 

GIs have the capacity to recognise and, in line with the nature of the GI itself, protect positive environmental practices. As a point of illGIs have the capacity to recognise and, in line with the nature of the GI itself, protect positive environmental practices. As a point of illustration, the ‘Green’ EU GI specification of jersey royal potatoes indicates that the majority of crop is planted by hand. While artificial fertilisers are used, locally collected seaweed, an excellent source of organic fertilizer and flavour enhancer, is used extensively. Similar examples include the EU GI specification of Arroz de Valencia and Diepholz Moor Lamb. Indeed, other IPRs, including the regulation of collective trademarks for instance, are equally capable of recognizing and protecting environmentally sustainable practices.ustration, the ‘Green’ EU GI specification of jersey royal potatoes indicates that the majority of crop is planted by hand. While artificial fertilisers are used, locally collected seaweed, an excellent source of organic fertilizer and flavour enhancer, is used extensively. Similar examples include the EU GI specification of Arroz de Valencia and Diepholz Moor Lamb. Indeed, other IPRs, including the regulation of collective trademarks for instance, are equally capable of recognizing and protecting environmentally sustainable practices.

Recognition, Knowledge, Resilience

The Operational Directives for the Implementation of the Convention for the Safeguarding of the Intangible Cultural Heritage were first adopted in June 2008. In particular, the Directives contained in Chapter 6 establish a framework related to ‘environmental sustainability’ which is relevant for the adoption of IPRs on intangible cultural heritage (‘ICH’). The framework consists of three pillars (UNESCO 2018):

Recognition: The first theme is the recognition by States Parties of ‘environmental impacts in the safeguarding of intangible cultural heritage’.

Knowledge: The second theme, ‘knowledge and practices concerning nature and the universe’, encourages the recognition of ‘communities, groups and individuals as the bearers of knowledge about nature and the universe and as essential actors in sustaining the environment.’

Resilience: The third and final ‘pillar’ of this framework relates to ‘community-based resilience to natural disasters and climate change’, according to which States Parties should ‘fully integrate communities, groups and individuals who are bearers of such knowledge into systems and programmes of disaster risk reduction, disaster recovery and climate change adaptation and mitigation.’

 

The first pillar of the IPR on ICH framework is twofold. States should: a) encourage environmentally friendly practices, and b) mitigate any possible harmful impacts (UNESCO 2018). An example of an intellectual property (‘IP’) strategy that encourages good practice and recognizes environmental impact relates to Coorg Orange.In the case of this crop, local producers have successfully used IP, creating positive impacts on the landscape and its associated biodiversity.

The second pillar recognises the community as bearers of knowledge about nature and essential actors in sustaining the environment. To illustrate, the Indian GI specification of Coorg Arabica Coffee indicates that the modern method of Coorg coffee cultivation serves as the backbone of the kodagu district and is integral to the lives of the people in the district (Coffee Board Bengaluru 2017). Furthermore, the specification highlights that coffee farmers growing Arabica and Robusta under shade trees serve the ecosystem and protect biodiversity (Coffee Board Bengaluru 2017). This demonstrates how IPRsare capable of helping to protect the role of communities’ knowledge and adaptation strategies.

This notion of ‘knowledge’ also forms the basis of the final pillar, communities’ resilience in the face of natural catastrophes and climate change.For example, the Turkana of northwestern Kenya have a highly sophisticated natural resource management system that has enabled them to survive in an environment that many would consider extremely hostile.
Patachitra of Medinipur
An Overview

Patachitra is an ancient form of painting done on paper and manifested by rich colourful application, creative motifs and portrayal of simple themes. The word ‘patachitra’ is derived from the Sanskrit term patta (cloth) and chitra (painting). It is practised in several regions of India, with specific Patachitra styles originating in West Bengal and Odisha. Traditionally, the paintings have depicted mythological stories. Today, Naya village is home to 350 inhabitants, of whom at least 50 are highly skilled Patachitra artists, patuas, including an increasing number of female scroll artists. Naya is currently the main village in the Paschim district making and selling Patachitra.

GI and Patachitra
The Indian GI for Patachitra of Medinipur highlights how a community with an IPR that protects cultural practices which have a positive impact on the environment. The precise nature of this ‘cloth painting’ is set out in greater detail in the GI specification. Colour is a key quality of Medinipur Patachitra that is recognized in the specification, which states the five basic pigments, white (Sankha), yellow (Hingula), black (Kala), Brown (Khayeri), indigo (Neela), and their combinations are used for colouring. In the GI application, ‘Bengal Patachitra’, which also covers Medinipur patachitra, is described as a handicraft in classes 16 (painting) and 24 (textiles) (Chitrataru 2016). The suggestion here is that all goods covered by the GI should be hand painted (rather than printed) on a textile. The specification goes on to note, ‘the materials used in the paint are from vegetable, earth and mineral sources.’ Traditional, environmentally-friendly paint is therefore an integral part of this practice. By stating that Medinipur Patachitra must be made using materials sourced in this way the GI recognizes the Patachitra community’s knowledge regarding environmentally sourced paints.
Conclusion
Intellectual property rights are capable of supporting environmental sustainable development for ICH. They are compatible with the three themes of environmental sustainability set out in the ODs and can be used together with other forms of safeguarding, such as marketing labels, to help achieve environmental protection. In the case of Patachitra, we see how GI has the capacity to preserve and promote environmentally-friendly practices while also empowering Patachitra communities to hone their knowledge of natural materials and cultural practices for a positive environmental impact.
Uncategorized

Traditional art goes digital in times of crisis

Leave a comment

by Anindita Patra

“We tell ourselves stories in order to live” –Joan Didion

Stories of hope, stories of a brighter tomorrow is what keeps us going especially during these times when the entire world is copped up in their respective homes. Art is a great storyteller, art speaks of yesterday, art speaks of today and art speaks of tomorrow. Art connects people in different ways, that maybe be said metaphorically but digital media connects people literally. And what happens when art and digital media comes together during these times of crisis? Magic happens.

I will be narrating such a story today, a story of amalgamation of art and digital media.

Swarna Chitrakar, a Patachitra artist from Naya, West Bengal has become an internet sensation overnight because of her painting on COVID-19. Sounds a bit vague? Well, let me explain.

Patachitra is a traditional art form of West Bengal in which stories are painted on vertical scroll and the Patachitra artists also known as Patuas, gradually unfurl them while presenting the story through songs known as Pater Gaan.  It is a blend of oral and visual storytelling. The Patuas are known for painting and composing songs on social issues.

Swarna Chitrakar, an experienced artist who is already known for her expertise in painting on traditional themes as well as social issues, has developed a 7-frame Patachitra and a song on COVID-19.  The detailed narrative has vividly captured the havoc caused by the virus outbreak. Swarna has represented the virus as a bright red monster in her painting. The Patachitra has highlighted the virus’s origin, health professionals in PPE suits and people in masks. In her vibrant and informative art work Swarna also talks about the precautionary measures one can take to fight the virus. The entire painting has been done with natural colours derived from flowers and plants, one of the special features of Patachitra.

Swarna has performed in different places around the world like USA, France, UK, Germany, Italy, and Sweden. When asked about the inspiration behind her work, Swarna said that world issues have always found a place in her work. She has earlier painted and composed songs on 9/11, and the Tsunami. Continuous discussion about the pandemic, news about it on television, newspaper made Swarna take up her paintbrush to capture it and use her art as a medium to raise awareness.

But it struck her that during the lockdown phase she won’t be able to go out to exhibitions or fairs to showcase her work neither can the visitors come to her village. So, she decided to use the digital platform to present her work.
With the help of her daughter she made a video of the Patachitra narration and sent it to her contacts via WhatsApp. Her contacts shared it on platforms like Facebook and Instagram. And that is how the Patachitra on COVID-19 reached over a million people.  Prasanta Maharana, a Pattachitra  artist from Odisha has also made a Pattachitra depicting the daily lives of the people in a village during the pandemic and shared it on his Instagram account that has received overwhelming response as well-over 10000 views in a week. Amidst the gloom of the pandemic, art and social media have become central to people’s lives. In the recent past we have seen opera performances via video conferencing (https://bit.ly/2TFPd0B), magazine editions going online with covers based on pandemic (https://bit.ly/2M0UDzc).

The rural artists of India are also becoming more digital savvy. Banglanatak dot com (a social and cultural enterprise) hosts an online initiative, the MusiCal Facebook page (www.facebook.com/bncmusical/). Here, traditional artists from rural India have been performing consistently since 29th March and 54 live performances have taken place so far. Out of which more than 10 performances were done by the Bauls and Fakirs from different parts of Bengal. The Live performances have received more than 200,000views in total. Performances by Rina Das Baul (https://bit.ly/3bZi32t) and Babu Fakir (https://bit.ly/2ATx34T) are worth mentioning. They had a live viewership of more than 1500 people.

The senior artists who aren’t very familiar with digital platforms been assisted by younger family members (who were very excited to be a part of the Live performances) to take their art digital in these difficult times. The senior artists were amazed to know that while they’ll be singing in their homes, thousands of people from different parts of the country as well as the world will be listening to them. And it is interesting to notice the choice of song that the musicians performed; the songs were about hope, love and uniting with one’s loved ones, brotherhood. Through their songs they called the Almighty to be the savior of humankind in these trying times. The artists said that knowing that they can spread peace and solace through their music makes them feel very happy as this has always been the purpose of music “to spread love and joy”. The Live performance have also brought the music fraternity closer, seeing fellow musicians perform on screen made them feel connected to one another though they hadn’t seen one another in months. It gave them hope and collective power to fight the adversities.
It is during this pandemic that we have understood the importance and need of digital media to spread art, to promote art like never before. Digital literacy is essential for artists now that the world will be more inclined towards virtual performances. Maybe ‘The Art Newspaper’ was right when they wrote: “When God closes a gallery door, [somewhere] He opens a browser window.”
Uncategorized

Chhau Dance of Purulia: A Journey from Passion to Profession

Leave a comment

Chhau dance, an exquisite and vibrant folk dance form, has been an integral part of India’s cultural heritage, particularly in the Purulia district of West Bengal, Seraikela in Jharkhand and Mayurbhanj in Odisha. This unique dance form, characterized by its vigorous movements, colourful masks, and elaborate costumes, has captivated audiences for generations and is enlisted in UNESCO’s Representative List of Intangible Cultural Heritage of Humanity in 2010. The Chhau dance finds its roots in the tribal regions of Eastern India, primarily in the states of West Bengal, Jharkhand, and Odisha. This martial dance form is a unique blend of folk traditions, mythology, and martial arts, often depicting stories from Indian epics like the Mahabharata and Ramayana. The dance is characterized by its high-energy acrobatic moves, vigorous drumming, and the use of vibrant masks that represent various mythological characters.

Purulia’s history of political instability due to Maoist insurgency can be traced back to the late 1960s and early 1970s when the Naxalite movement emerged in various parts of India. The significant transformation of Purulia due to the government implemented multi-pronged strategies to address the Maoist insurgency, which includes a combination of developmental initiatives, security operations, and efforts to address grievances and socio-economic disparities signalled the commencement of safeguarding local art and artists. This has been integral towards materialising this shift in the cultural, economic and political fabric of Purulia and its evolution as a cultural tourism destinations. EZCC (Eastern Zonal Cultural Centre), is one of the seven Zonal Cultural Centers established by the Government of India with the aim of preserving and promoting the diverse cultural heritage of different regions in the country. It supports various cultural activities, including the preservation and promotion of traditional crafts and art forms. In 2004, EZCC, in collaboration with Contact Base (trading style: banglanatak dot com), supported the work in Purulia, indicating its involvement in promoting the cultural heritage of the region. After that, European Union Invest in People, a development cooperation initiative that aims to support sustainable human development and poverty reduction, supported the endeavour from 2009-2011 through the provision of financial assistance and expertise in various sectors, including cultural development.

From 2013 onwards, Purulia’s Chhau got under the purview of Rural Craft and Cultural Hub project, of Dept of MSME&T (Department of Micro, Small, and Medium Enterprises and Textiles), Govt. of WB and UNESCO which aims to promote rural crafts and cultural heritage, enhance artisan skills, and create sustainable livelihood opportunities for artisans.

Safeguarding Purulia’s Chhau Dance: A Multi-Faceted Effort

To ensure the continuity and preservation of the Chhau dance, and the practitioners,  extensive efforts have been undertaken, focusing on areas such as training, capacity building, market linkages, and raising awareness.

Training and Skill Development

A crucial aspect of safeguarding the Chhau dance and its intangible cultural heritage is the transmission of knowledge and skills to the younger generation. Organizations like Contact Base have been instrumental in facilitating workshops and training programs for aspiring Chhau artists. These workshops often cover basic and advanced skills in dance, music, and mask-making, under the guidance of experienced Chhau gurus, where trainings focused on existing practitioners from different age groups. This was crucial in maintaining the traditional intricacies of the dance form as involving senior gurus was the key to disseminating traditional knowledge

Efforts have also been made to revitalize traditional aspects of the dance, such as the inclusion of Jhumur songs, which were once an integral part of Chhau performances. Furthermore, workshops focusing on contemporary themes and stories have been organized to help Chhau artists adapt to changing audience preferences.

Market Linkages and Promotion

Establishing market linkages and promoting Chhau dance on various platforms play a vital role in ensuring its sustainability. Contact Base has been successful in creating domestic and international opportunities for Chhau artists to showcase their talent. This has not only increased the visibility of the Chhau dance but also opened new avenues for collaboration and cultural exchange by sponsoring Chhau dancers to travel abroad, expanding this intangible cultural heritage to a global audience.

Awareness and Documentation

Raising awareness about the Chhau dance, its cultural significance, and the challenges it faces is essential for its preservation. Efforts have been made to document the dance form through audio-visual recordings, publications, and graphic novels. Chhau dance has also been included in university curriculums, further emphasizing its cultural importance. To ensure the preservation of the Chhau dance form, efforts have been made to document it through various means. Audio-visual recordings capture performances, choreography, and music, providing a valuable resource for future generations to study and understand the dance form. Documentation also helps in disseminating information about Chhau to a wider audience, both within India and internationally. Additionally, publications such as books, articles, and research papers contribute to the documentation and dissemination of knowledge about Chhau. Recognizing the cultural importance of Chhau, efforts have been made to include the dance form in university curriculums. By incorporating Chhau into academic programs, students studying performing arts, cultural studies, or related disciplines have the opportunity to learn about and appreciate this traditional art form. Integration into curriculums not only helps in preserving the dance but also ensures its academic recognition and institutional support, further fostering its long-term preservation and promotion.

Recognition and Support

The Chhau dance has received national and international recognition for its cultural value. In 2010, UNESCO inscribed Chhau dance on the Representative List of the Intangible Cultural Heritage of Humanity. Additionally, the Chhau masks of Charida, Purulia, were awarded the Geographical Indication (GI) status in 2018, acknowledging their distinctiveness and craftsmanship, especially the process adhered to making the masks.

 

Impact on cultural tourism

Chhau’s impact on enhancing cultural tourism in Purulia is deeply multi-faceted, playing a vital role in preserving and promoting the region’s rich intangible heritage. As a dynamic martial dance form with mythological narratives and vibrant visual aesthetics, Chhau offers visitors an immersive cultural experience that goes beyond mere performance. It facilitates cultural exchange, inspires heritage-driven travel, and contributes to destination marketing by positioning Purulia as a hub of traditional arts. The village of Charida, home to generations of Chhau mask makers, has emerged as a thriving cultural tourism destination. Tourists visit to witness the intricate mask-making process, interact with artists, and purchase Chhau masks as unique souvenirs—thereby enhancing the economic value and visibility of the craft. In return, the interest generated by cultural tourism reinforces the relevance of Chhau, both as an artistic tradition and a source of community pride and livelihood. This creates a symbiotic relationship where cultural tourism and heritage preservation nourish each other, making Purulia not just a travel destination, but a living archive of tradition and creativity.

 

Uncategorized

Critical Analysis and Comparison of Banarasi Sari and Patachitra GI

Leave a comment

by Benedetta Ubertazzi

Banarasi Sari

Banarasi Sari is a centuries old artisanal form of embroidered, hand-woven silk fabrics originating in Banaras, India. The community of weavers is divided into several categories, including own-workers, loomless weavers, job-work weavers and master-weavers. The Banarasi community has faced competition from weaving centres in India and China, as well as those who have been passing off machine fabrics as handmade. In order to compete, master weavers and traders resorted to unethical strategies such as reducing wages, lowering the quality of designs and passing off synthetic fibres as silk. A campaign for a GI started in 2006, and a GI was awarded in India in 2009.
Problems with the Banarasi Sari GI
The first problem is the lack of a broad-based community-wide support for the GI. The GI application was made by nine registered proprietors. These registered proprietors consisted of: two NGOs, two government agencies, two traders’ organisations and three producer cooperative societies. None of these groups represented the ‘ordinary weavers’, the NGOs worked with rural Hindu weavers, not the majority Muslim weavers, the government agencies were external to the artisan community, the traders’ organisations represented wholesale merchants not the job-work weavers, and the producer cooperative societies were under the control of large master weavers.
This first problem has two major consequences. One of these consequences is that because the GI applicants were not representative of the community of weavers, those controlling access to the GI were also not representatives of the community. Many artisans do not have the time or money to apply to have their work authorised and therefore could not access the GI. Those artisans would therefore legally infringe the GI if they call their work Banarasi. Another consequence is that the applicants designed the GI to protect handloom weavers from powerloom weavers. The impulse to protect handlooms comes from the applicants, not the weavers. This protective paradigm has had a freezing effect on the culture and does not change any of the structures that keep weavers poor.
A second problem is that the GI application is written in English and Hindi, not the local dialect spoken within the communities. This had an isolating effect on the community.
A third problem concerns the way the artisanal knowledge was described in the GI. Banarasi is a dynamic tradition made from a collective heritage and fluid traditions. The GI catalogues the method of production in great detail and consequently hurts the evolution of the product because it does not capture the true fluidity of designs.
Lessons from the Banarasi Sari GI
The key lesson from the Banarasi Sari GI is as follows: for GI to be effective, it must be designed through a participatory process with the close involvement of ordinary artisans and must be sensitive to the dynamic nature of artisanal knowledge. Even well designed GIs cannot address problems that arise out of the political economy of artisanal industries.
Other lessons include the importance of wide consultations among the community of artisans. This is important not only for the future controlling of access to the GI but also for developing the criteria of authenticity. Further, there may be space for a flexible approach to protecting the crafts. For example, a dual system could be used to protect Banarasi Sari: those using handloom technique could use a certification mark to distinguish their production method, while the GI could be expanded to include powerloom weaving from within Banaras. Finally, the GI needs to be coupled with a good trade policy to ensure that artisans can access raw materials affordably and are protected from those seeking to pass of their products
Patachitra
Patachitra is an ancient form of painting done on paper and manifested by rich colourful application, creative motifs and portrayal of simple themes. It is practised in several regions of India, with specific Patachitra styles originating in West Bengal and Odisha. An Indian GI for Bengal Patachitra was awarded on 28 March 2018 and is valid until 16 August 2026.[1] Another GI for Orissa Patachitra was awarded on 7 July 2008 and is valid until 8 April 2027.[2]
Similarities to Banarasi Sari
The Bengal Patachitra GI and Orissa Pattachitra GI are also quite specific in their description of the materials and methods of the tradition. It clearly states that the colours used in the paintings are natural colours and describes the dimensions of the paintings. The technical specifications have quite a high level of detail, for example the Bengal Patachitra GI states that there are no eyelashes, nails or open mouths. This could be seen as restricting the development of the craft. However, the lesson learned from Banarasi is not that all technical criteria should be removed, but that the technical criteria should be based on broad community consultation and reflect the actual practices of the artists. Some degree of definition of the craft is needed, however it must be approached carefully so as to not risk freezing a dynamic tradition. Furthermore, there is some recognition of changing practices. For example, the section on production processes notes that traditionally, rat hairs were used for paint brushes but that in the present day, artists use brushes that are available in the market.
Both the Bengal Patachitra GI and Orissa Pattachitra are written in English. Presumably, this has the same potential isolating effect on the communities as the Banarasi Sari GI. A solution may be to ensure that the documentation is translated into the local dialect and distributed among the community.
Differences to Banarasi Sari
Unlike Banarasi Sari, there was just one applicant for the Bengal Patachitra GI. The applicant is Chitrataru, a group comprising 230 artisans.  All Patachitra artists in Pingla are members of the collective Chitrataru. The main objective of Chitrataru is the preservation and promotion and capacity building of Patachitra artists. Chitrataru works closely with West Bengal Khadi and Village Industries Board to provide support for rural craft hubs. Similarly, the applicant for the Orissa Pattachitra GI is the Orissa State Cooperative Handicrafts Corporation Limited. This Corporation aims to effect co-ordination between handicrafts and other industries by suitable method such as enabling the artisans to manufacture articles required by other industries. This suggests that both GIs were the product of more widespread community consultation than the Banarasi Sari.
The inspection body for controlling access to the Bengal Patachitra GI is made of government officials, a representative of West Bengal Khadi and Village Industries Board and a representative of Banglanatak dot com. This may mean that that the criteria for assessing access to the GI is more reflective of the practices of the Patachitra community of painters.The Orissa Pattachitra is even more flexible. The inspection body for the Orissa Pattachitra is comprised of customers and retailers as there are no standard parameters set for the artwork.
For more information on the Banarasi Sari see Basole, Amit. (2015). Authenticity, Innovation, and the Geographical Indication in an Artisanal Industry: The Case of the Banarasi Sari. The Journal of World Intellectual Property. 18. 127-149.