Every August 15, India celebrates Independence Day, a special occasion that honours the nation's difficult struggle to achieve independence from British colonial rule in 1947. The country celebrates this important day with a variety of events that highlight its cultural diversity and unity. One such manifestation of India's cultural heritage is the art form of Pattachitra. The art consists of Patta (woven fabric) and Chitra (painting), which is one of the oldest artistic traditions in India and has survived for more than 2500 years. Despite being one of the worst hit sectors during the pandemic, this unique art form of Bengal has been carried on by painter-storytellers called patuas, also known as Chitrakars, or producers of paintings.
As we delve into the world of Pattachitra, we're confronted not only by its exquisite beauty but also by the urgent need to preserve and revive a cultural gem that is slipping through our fingers.However, this ancient art form finds itself struggling against the currents of time, teetering on the brink of being forgotten. Asian Voice has spoken to an expert in Pattachitra, Dr Sanjukta Ghosh, a historian based at SOAS University of London and the Hon. Artistic Director and Convenor of the SOAS South Asia Institute Sanglaap Art and Culture series, about reviving the ancient artform.
Pattachitra is considered a dying art form. Could you elaborate on the factors that have contributed to its decline in recent years?
Like many rural crafts in India, the decline is mainly due to disinterest in rural forms of performance—that is, authentic folk in content, form, and delivery, as one would find in the language and lyrics of songs, the tone and pitch in loud jatra performances or rural theatre.
Patuas singing takes a back seat with the advent of sophisticated screenings, attractive to the young who visualise rural scenes in the context of modern soundscapes. Additionally, due to a lack of patronage and a consistent flow of funding, artists have migrated from the countryside to urban areas in order to benefit from urban livelihoods. The fate of Naya village, the centre of the Chitrakars' artistic community, can be considered something of an anomaly because it adapted to novel trade prospects at the start of the general collapse.
With the struggles brought about by pandemic, these artists have learned to access online resources, alter their work and sell it.
What are some of the challenges that Pattachitra artists face in preserving and promoting this traditional art form?
The function of these artists has considerably changed. As patuas, they would use the scroll paintings with singing performances, but now the paintings have become items of sale, and that changes the dynamics of preserving their traditional livelihood. Now the main challenge is to channel their art into international markets and adapt to newer production methods geared towards mass consumption. What was formerly a unique scroll portraying a lengthy tale for the purpose of amusing storytelling may now be condensed to show a main idea or a distinctive character in a single square piece of cloth that can then be mass produced.
How does the younger generation perceive Pattachitra? Are they showing interest in learning and continuing this art form?
There has been a significant shift from scrolls to single images and from lengthy rolls of fabric to square and rectangular objects that are readily available and have a variety of purposes, including home and office décor. Younger chitrakars, recognising some business benefit in broadening the art form, may be drawn to this flexibility. They are also eco-warriors and artist-activists who are keen to portray contemporary trends in environmentalism that will possibly reflect the medium of art, such as the fabric materials.
What do you think can be done on a larger scale to ensure the survival and continued growth of Pattachitra?
I think there should be large-scale fund-raising to support village livelihoods, develop critical appreciation of the folk realm, bring our lives closer to nature, and appreciate the value of community living. We should think of developing cooperative finances, sustainable international supply chains, web exhibitions and selling apps that link with artist hub bank accounts so that whole communities can benefit. The survival and continued growth of Patachitra, is dependent on this kind of cooperative model involving generations of artists, and artistic practisethat is rooted in shared memories of community living.
Do you believe that Pattachitra can find a place in the modern art scene while still preserving its traditional essence?
Yes, it has a place in the modern art scene, as Patachitrakars are now looking to diversify their art into commercial products, and there is a growing appetite among urban consumers to collect various scroll painted motifs on objects used for the modern household, such as wall papers, hangings, etc. In terms of content, the singers are keen to present an adapted version of religious songs based on societal themes on health, disease, women’s rights, etc. to raise community awareness.
Are there any initiatives or organisations working to raise awareness about Pattachitra and its cultural significance in order to prevent its decline?
Banglanatak dot com, a social enterprise backed by the support of the European Union and UNESCO, works with over 3000 artists and is committed to pro-poor growth by supporting local craft livelihoods in hundreds of villages. Western and Indian artists involved in specific projects, such as the bespoke international residency of the ambitious Silk River Project, managed to raise awareness of the patua community in the UK. Such initiatives need to be nurtured to conserve distinctive village artist hubs like Naya in Bengal as a global cultural asset.
