[Reader-list] Sarai Independent Fellow Archana Jha on Folk Forms
Vivek Narayanan
vivek at sarai.net
Wed Jun 15 13:50:00 IST 2005
Painted Folklore- Tradition of Chitrakatha
India has a very old tradition of 'gatha gayatri' and in some areas it
still exists. Story-tellers used to go to distant places, roam around
from village to village, and tell stories. This factor has played an
important role not only in the development of the folk art of India, but
also helped in spreading various local folk forms from one area to the
other.
While Court art forms were patronised by State and the kings, the ruling
class never determined the character of local folk forms. Folk forms
preserved their elements in changing social environment for quite long
periods. However, with time, the character and style changed in folk
forms due to social and economical factors or because of some outside
influences.
The tradition of 'chirtra katha' in India dates back to the time of
Patanjali. In his writings, there is a reference of 'Chitra Katha' style
when story-tellers spread moral and religious doctrines among the people
with the help of pictorial illustrations. In Bihar and Bengal, the
storytellers were called 'Jadu Patua'. They moved with their scroll made
of clothes, beautifully painted in different colours. The main character
in these paintings was always 'Krishna'. The pictures provided a vivid
account of events from the famous epics. In Maharashtra and Madhya
Pradesh in central India, Chitra Katha, particularly the 'paithans', was
very popular. They moved village to village to entertain people with
their paithan style paintings, which told stories from Ramayana. Pot
Painting of Orissa and Rajasthan have also came from Chitrakatha tradition.
The storytellers from South India, particularly from Tamilnadu, used a
painted wooden cabinet that could be unfolded to depict a kind of altars
to display illustrations of Vishnu legends. In Kerala, people used
leather puppets for this purpose and in Andhra Pradesh (Tirupati),
people painited in Kalamkari style. The storytellers went to distant
places to entertain and in that process they influenced locals with
their particular style of painting and singing.
One can find same kind of motifs in folk paintings of different areas.
For instance, 'Ramgoli' in Maharastra, 'Alpana' in Bengal, 'Aripan' in
Bihar, 'Kolama in South India, 'Mandana' in Rajasthan are some motifs
influences by these stories and styles.
With passing of time and the changes in societies’ modes of existence,
changes also come in the art forms. The 'Patuas' of Bengal, who used to
paint the colourful pictorial scroll, adopted a new style. By then they
had migrated to urban areas for survival. And hence, the urban
requirements and sensibilities forced them to change their age old
style. In city (Calcutta), they started producing art for mass market,
mainly the pilgrims. There articles were cheap, but did not have much
artistic value. The intention was that it should be within the reach of
everyone, because in religious places, people came from all kinds of
social and economic backgrounds. The important factor is that now the
character of these paintings was not only religious; a number of themes
were also taken from daily life of common people and contemporary local
events.
The kalamkari and paithani style of painting still exists but few people
can afford to purchase them. But printed cloth materials with kalamkari
style motifs are easily available for mass consumption.
In India even the metros and big cities still contain some local
elements. One, in the shape of communities coming from same region and
state living in the same localities try to retain some of the common art
and folk forms in various manners. Two, a growing demand for cloth and
other materials with folk motifs has been generated in recent years, and
it helps in their survival in some form or the other. Therefore, one can
easily see an association with the strong tradition of story telling and
art motifs in various forms even now.
Archana Jha
(Independent Fellow)
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