08-12-2008, 10:56 PM
Cast in myth
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->Cast in myth
K. PRADEEP
Artisans from Bastar not only breath myth and magic into their metal artefacts, but they also show traditional artistes in Kerala how to adapt and survive in changing market conditions.Â
Photo: K. Pradeep
<img src='http://www.hindu.com/mag/2008/08/10/images/2008081050320701.jpg' border='0' alt='user posted image' />
Shaping dreams: Artisans from Bastar at work in Thiruvananthapuram.
Sankarlal Jhara loves to sing and he does it at the drop of a hat. In raw Chattisgarhi Hindi, in full throated ease, he sings about his philosophy of life. It conceptualises his ideas, emotions. The song is full of their activities, interactions with men, with nature, with the spirit world.
This song extends to his craft too. Sankarlal, along with 137 tribal artists from various areas adjoining Bastar and Raigarh districts of Chattisgarh, attempt to make the imaginable real. They bring myth and magic to the objects they make. They transfer the images, ideas, expressions of their songs and their music to their works of art.
Leaving their little villages, wedged in by thick forests, the mountains, rivers, waterfalls, the intoxicating mahua flowers, where art is part of their very existence, these artists came down South for the first time. <b>They took part in a 42-day art workshop, organised by the Kerala Lalithakala Akademi, in association with the South Zone Cultural Centre, Thanjavur, and Indira Gandhi Rashtriya Manav Sangrahlaya, Bhopal, at Kozhikode and Kochi recently.</b>
Lessons learnt
More than providing these traditional artists a new space, the Akademi had other objectives in organising these two workshops. âWhat we have observed, at least in Kerala, is that there is absolutely no effort to preserve traditional knowledge. All that we had is gradually vanishing. These traditional arts are actually a documentation of a time, society and culture. We wanted to create awareness about the significance of traditional art and craft,â says T.A. Satyapal, Akademi secretary.
<b>Kerala has an indigenous, 600-year-old casting technology. It is believed that artisans from Thanjavur settled on the banks of the Pampa River at Mannar, near Alappuzha. The clay along the river banks was best suited for their works of metal art. They flourished mainly because of the feudal societal system that was prevalent then. âWith the end of this system the artisans found work hard to come by. The superstitions attached to the casting technology of these artisans, like keeping away women, making only traditional artefacts, gradually brought them to the verge of extinction. Today at Mannar you may find rows of shops but most of the artefacts here are mechanically made in places like Moradabad. The tradition is lost as the artists did not evolve,â </b>says Satyapal.
The workshop also had a few artists from Mannar who worked alongside the tribal artists. âThis was a new experience for us. Watching these highly skilled craftsmen at work, and by interacting with them, we have picked up some valuable lessons. <b>At the end of the day we have decided to try out some new items other than just working on the traditional ones. They will be works that cannot be replicated by machines,â </b>says Jeevan Raj.
<b>âThere is nothing in the curriculum for students of sculpture both for BFA and MFA in metal casting. Hence, most of the students end up working on clay or other mediums. Added to this is the functioning of a sort of âart mafiaâ that promotes painting, pumping in a lot of money into this genre. This has forced many skilled sculptors and craftsmen to shift to painting. We had as observers art students, blacksmiths, who again have not gone beyond the usual artefacts, who must have gained a lot of confidence from the work of these tribal artists. The Akademi has plans for a follow-up sculpture, metal casting workshop for this group soon,â </b>adds Satyapal.
<b>The tribal artists were provided the materials and they crafted 207 exquisite, exclusive works of art. They were then exhibited at the Akademi gallery in Kochi. âWe paid each of the artists Rs. 12,000, looked after their travel, food and accommodation. The whole project cost us Rs. 28 lakh. We now propose to set up a tribal museum in Kochi where these works will be preserved. We have not put any of these objects on sale. The exhibition did attract a lot of orders, which have been sent to the tribal artists.â</b>
Vibrant tradition
Endless in variety, tremendous in craftsmanship the works of these tribal artists provided a glimpse into their world. They have, through generations, kept the art alive and vibrant. The intricate method of moulding clay, the elaborate work on wood, stone and metal, turning them into mind-boggling forms and designs is simply alluring.
<b>The metal casting method that the tribal artists use is the lost wax technique. This is perhaps the same that was used by the Mohenjodaro craftsmen. This ancient art, imbued with an intrinsic starkness and vitality, makes each of the objects of art exclusive, coveted pieces. Though this technique is used worldwide, the coiled thread technique is unique to the craftsmen of Bastar.</b> The craftsmen of this area, as also of the neighbouring areas of Chattisgrah, are artists first and metal workers later. <b>Working on bee wax, they etch out designs and images that form in their mind. The motifs used are all inspired by their culture, the animals around them, gods and goddesses, everyday work, dance and music.</b>
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