Curator: Chitralekha Singh
Group: Rahul Majumdar and Priyanka Kundu
Topic: Emergence of the concept of 'folk' in the context of Pata tradition. (Formulation of diverse stylistic idioms in Bengal).
Idea: Historiography of Pata paintings have been studied; how the visuals come into the narrative and other methodological theories are now in the formulating stage.
Process:
They are tracing the concept of folk art in the context of European and Indian art, that when it came and how it is evolved. However, they have tried to problematize the topic and found some possible outcome as part of the ideation process.
The Pata tradition of Bengal largely related to the indigenous life of the region. Usually, it is considered as a part under the umbrella term of ‘Folk’ art. Hence comes this question, how this oral tradition transformed into a more modernist concept of ‘Folk’ art? (Started with the initiation of Gurusaday Dutta and others in Pre-Independent India and finally the revivalism of pata painting in 60’s). And in this process comes the very notion of the process of nation building of pre-independent India.
The concept of Nationalism and Orientalism also came in between. How the Scholars like E.V. Havell and sister Nivedita influenced this.
Rabindranath’s and Gandhi’s ideological stance about the folk and indigenous art of the emerging nation and how it culminated during the time of Nehru. Thus it is very important that how they are tracing the term ‘Folk’ art or Folk style (As Gandhi influenced Nationalism movement and also had given importance to indigenous art, similar to Rabindranath Tagore while Abnindranath Tagore focuses on Classical art).
As identity crisis is there; how to identify Indian art. Different regions of Bengal have their different stylistic idioms and interestingly it can also be formed within one territory as well. Therefore, it is obvious that these diverse stylistic idioms have their own impact on the narration itself. Another question is also formed in this context, which revolves around the aspect of how pata painting was meant to be viewed; as it was always accompanied by a narrating song as an aid, how the politics of viewing pata painting is changed over the years.
This process of ideation where mind-map acts as a tool to create further depth in terms of researching of the subject matter come as next step. From here it will much easier to follow the traces of their initial idea and how it evolved over this short period of time to a more concrete understanding of the initiation of ‘folk art’ in the larger context of 19th-century Indian art.
The Digital mind map for the following idea is as follows:
References:
- Amitabha Sengupta. (2012). Scroll Paintings of Bengal Art in the Village. kolkata: Author House.
- Bayen, D. G. (2013). A Glimpse of Folk-Art :Various Patachitra.
- Beatrix Hauser. (2002). From Oral Tradition to 'folk art'.
- Dr. Subroto Kr Manna. (2012). Banglar Potochitro, Potua Songeet Potua Somaaj o LokaSongskriti. Kolkata: Pherma K.L.M Private Ltd.
- Goutam Bhodro & Partha Chatterjee. (2004). NinmoBorger Itihaash. Kolkata: Ananda Publishers.
- Gurusaday Dutta. (2008). Banglar Lokasilpo o Lokanrityo. Kolkata: Chatim Books.
- Jyotindra Jain. (1999). Kalighat Painting: Images from a Changing World. Ahmedabaad: Mapin Publishing Pvt. Ltd.
- Kavita Singh. (1996). Changing the Tune Bengali Pata Painting's Encounter with the Modern. India International Centre Quarterly, Vol. 23,, pp. 60-78.
- P.C Jain. (2009). The Magic Maker. Academy of Finearts and Literature.
- Patua Art on Bi-centinary of French Revolution. (n.d.). Kolkata: Alliance Francaise of culcutta & crafts council of West Bengal.
- Pika Ghosh. (2000). The Story of a Storyteller's Scroll. Anthropology and Aesthetics,, pp. 166-185.
- Pika Ghosh. (Aug., 2003). Unrolling a Narrative Scroll: Artistic Practice and Identity in Late-Nineteenth-CenturyBengal. The Journal of Asian Studies, pp. 835-871.
- Ratnabali Chatterjee. (2000). Representation of Gender in Folk Paintings of Bengal. Social Scientist,, 7-21.
- Shurid k Bhowmick & David j. McCutchion. (1999). Patuas and Patua Art in Bengal. Firma KLM pvt Limited.
- Thomas Kaiser. (2012). Painted Songs: Continuity and change in an Indian folk art. Germany: Arnoldsche Art Publishers.
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