Have we Collectively Failed to Uphold Traditional Transmitters of Indigenous Culture And Knowledge?

Creative blog and Art by Ankita, a digital artist and a fellow at CIKS.

Introduction

From the perspective of human evolution, one constant theme throughout history is our inherent itching for change. This drive has paved the way for significant transitions, particularly the shift toward urbanization, which fundamentally transformed our simplistic tribal lifestyles. Urbanization marked a departure from traditional ways of living, introducing complexity in social structures. Art, an integral part of the visceral storytelling experience, is counted as one of the last surviving tribal traditions.

Below are the summarized broader implications instigating the tribal culture towards a vanishing point.

• Firstly, the language that one speaks influences an entire generation, yielding a voice to the unheard. Tribal folks find themselves confined to alienated spaces, all they have to ascertain their identities is their indigenous language. Knowing how much a lack of dialect alone can deform the entire society, these Indigenous communities have been compelled to adopt the languages of the dominant cultures. This phenomenon often leads to linguistic genocide, primarily driven by political motivations, which come with harsh repercussions for those who resist.

• Considering the present scenario, the tangibility of hereditary customs, rituals, and belief systems is far from reaching. Clouded by uncertainties and encroachments, these vulnerable groups intend to migrate or get displaced. This alone has eroded the entire medicinal knowledge, and tactical know-how in fostering sustainable agriculture and natural resources. 

• Art and oral tradition have come to a standstill. The upheavals of the rising cost of living directly impact these tribes, resulting in the fragmentation of community bonds. Artists can no longer fetch an amount decent enough to lead a life of sustenance. Hence, they are forced to leave the tribal settings for urbanized relocation, eventually bringing a disconnection from their communal essence and heritage that once defined their way of life.  

Jadopatia Painting: The Art Of Churning Stories Through Sing-Song

The profundity behind vertical scroll paintings stands as a testament to the storytelling culture of the tribal community. A tradition that once garnered significant attention until the pre-independence era now faces stagnation.

In the leisure times of the pre-television era, these life-sized vertical scroll paintings changed how stories were procured and proliferated. Parables, stories of enigma, divinity and black magic, legends, local lore, and even startling tales of death, past lives, and reincarnation formed a vivid mosaic of oral tradition. One of the aspects worth noticing is their ability to employ every possible inch of the canvas. Remarkably, this creates a sense of perspective and coinhabits multiple stories in a single frame.

Traditionally practiced by the Santhal tribes in the interiors of the Dumka district of Jharkhand, the painters incentivized the portability of folktales. Tracing its place of origin, the word Jadopatia derives from an amalgamation of two words: “Jadu” simply connotes an art guild often known by the name "magic painters," and “patu” is the illustration portrayed on the scroll layouts. 

As part of a customary folk tradition, these Chitrakaras were invited to funerals and acted as mediators, skilfully narrating poignant tales of the deceased’s journey to reach the doors of heaven. Apart from helping them earn a decent living, this also provided profound solace and closure to the bereaved family.

Their raw materials were locally sourced and sustainably viable. While coconut shells functioned as containers for the formulation of pigments, the sliced bamboo sticks held the brushes collectively. Generally, the cutout patches of various fabrics were sewn together to form a scroll.

The Sacred Mythological Assimilation

With the sultry monsoonal winds, hints of the musky scent of Palash Phool tingle our senses, as pandals spring up in every nook and corner, signaling the approach of our cherished days of reuniting with Maa Durga. The advent of Durga Puja and the fervour attached to its celebration have exceeded Indian boundaries and are now a major global affair.

Flipping through the pages of mythology, it is worth noting the pivotal moment that saw the genesis of a devi (female goddess) when everything fell out of place, especially in a universe dominated by masculine Hindu pantheons.  

It all started with Mahisasura, the king of Asura, who invaded the place of heaven itself and ransacked the Gods. In the face of this chaos, the combined wisdom of the divine trinity Lord Shiva, Lord Brahma, and Lord Vishnu led them to one profound conclusion: only the genesis of a female divinity of vigor and valor could act as a saviour. That’s how Maa Durga came into existence. The showdown saw Mahisasura disguised in a buffalo avatar, standing no chance of survival before Maa Durga's flamboyance. As she strode towards the treacherous beast, the battle concluded with his chest ripped and slashed, stabilizing peace again.

The Jadopatia Way Of Durga Puja

Artwork by Ankita.

Here I am, writing this piece in October, the month of Maa Durga. Isn’t that a beautiful coincidence? Amidst the frenzy, I’m feeling all satiated to bring before you the simplistic portrayal of Durga puja celebrations, keeping Jadopatia style at its core.

At this point, I intuitively can position myself in the place of that keen murtikar who progresses towards completing his Durga Pratima with each passing day.

The Jadopatia art form exudes a multitude of primitive lifestyles, predominated by humans. Showcasing stories through simplistic features, Jadopatia style minutely embraces the rituals and emotions involved. The elongated eyes, thin body structures, animals depicted in action, and elaborate accessories are dramatized with layers of thick black outlines, bringing forth vividness.

While tracing the local impulses behind choosing themes and backdrops for their paintings, there’s a widespread tendency to exhibit nature-oriented elements. I studied the Jadopatia paintings closely to recognize the aesthetic standards that can help me strike some level of resemblance with creating minimalistic yet expressive Indigenous elements.

The pigments are a concoction of natural ingredients, creating a versatile colour scheme. These organic pigments were then mixed with glue, leveraging consistency. 

• Indigo (Neel)

• Prussian Blue- a fusion created out of Indigo and Black hues

• Green from  minced leaves 

• Yellow from turmeric 

•  Orange from dried petals of Palash 

• Copper Red from betel nuts

• Burnt Sienna (Brown) from stones

• Yellow Ochre from clay

• Black from residual soot of burnt oil lamps

Clinging To Our Roots: Experiential Learning Through Heritage Walks And Art Retreats

Heritage walks have gained prominence over the years for several reasons. As people increasingly seek meaningful connections to their past, these walks provide opportunities to retrace historical architecture and the stories rusting beneath them. The same structures have withstood the sands of time, serving as silent witnesses to the evolution of culture and society.

To impart pedagogical knowledge is to imbibe a holistic view and bridge the gap between conventional forms of learning and interweaving spiritual connections by true means of organizing heritage walks into the far-fetched jungles and villages that the Indigenous people call “home.” In the age of rote learning, experiential knowledge allows interaction directly with the mingling cultures, enhancing cognitive potentialities and developing a sense of empiricism. 

Painting, as most people think is confined to people of interest and talent. What they tend to forget is, it can provide solace to young and old, irrespective of their level of expertise. Thus, something like Mandala art which is a blend of concentric circles and repeated geometric elements is said to have quite an effect on people’s mental health as well. 

Similarly, Indigenous painting can act as a guidebook for young kids and students looking for inspiration in the field of art. Unlike most art the school curriculum wants the kids to learn, introducing Indigenous elements of art through workshops and art classes can have them break the pattern of evasiveness, only to get all engaged.

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This blog has been created as part of the CIKS Summer Fellowship 2024. Each fellow will share a series of blog posts summarizing their project work from the fellowship. Keep an eye out for the exciting work the fellows are doing!

Meet the creator-author: Ankita

Ankita is passionate about art and history, and explores these through travelling. Her inquisitive traits to know more eventually led her to pursue a B.A. and M.A. in Ancient Indian History and Culture & Archaeology, profoundly shaping her thought process along the way. She aspires to enrich her Indian heritage through the intricate art of illustration. Her aim is to closely examine and study Jharkhand’s indigenous art forms to critically observe perspectives, cultures, dominant narratives, and stereotypes through their motif and theme representations.

Note: All images in this blog have been created by the author, and may not be used/reproduced without permission.

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