Bastar: The Cradle of Indian Tribal Art

Bastar, a district in Chhattisgarh, designated by the government not long ago as a Red Corridor Hotspot of India, is often in the news for the ongoing conflicts between the Maoist groups and the police forces. However, this attention overshadows Bastar’s remarkable cultural heritage. Rich in tradition and art, the region is home to various tribal communities, with 70% of its population belonging to these indigenous groups. Despite the forces of modernity, Bastar has largely maintained its connection to its ancestral roots.

 While Bastar is celebrated for its rich artistic heritage, the artisans behind these remarkable creations often face significant challenges rooted in the arrival of corporations seeking to exploit the region’s natural resources. As former Reserve Bank Governor Raghuram Rajan pointed out, much of India’s wealth comes from natural resources, not technology or IT. Bastar’s forests and mineral wealth attracted companies, often backed by the government, leading to the displacement of tribal communities from their lands. 

Yet, in the face of these disruptions, the people of Bastar have not only preserved their traditional arts but have also innovatively adapted their practices, resulting in a diverse array of art forms, which have now gained recognition far beyond India. These crafts are not only a reflection of their rich heritage but also a testament to their resilience amid changing times.

The arrival of corporate interests has led to a tragic decline in local cultures. As the region’s natural resources are extracted, they not only deplete the environment but also erase the unique languages, art, and heritage of the tribal communities. The government’s approach to development often fails to grasp the true essence of tribal life, where diversity itself becomes a challenge to state control.

 Despite the rich tapestry of tribal art and culture, today, tribal identity and cultural richness are often reduced to performances at festivals, while the deeper struggles of those living in the forests are overlooked. As the corporations, backed by armed forces, moved in to exploit Bastar’s resources, the Maoists found refuge in the dense jungles. Amid this invasion and the growing vulnerabilities faced by tribal communities, many turned to the Maoists for temporary protection, viewing them as defenders against the erosion of their rights and the dignity of their women, which they felt was threatened by the actions of police and paramilitary forces.

 Displaced from their ancestral lands, the tribes lost not only loved ones but also centuries-old traditions, languages, art, and rituals. Yet, the resurgence of tribal identity and spirit is beginning to challenge the powerful forces that seek to control the region.

 While urban dwellers often dismiss the art and music of tribal communities as primitive, this perception overlooks the profound struggles and resilience that these forms of expression embody. In contrast, art scholars and historians have long acknowledged their immense significance. Tribal art has played a crucial role in shaping post-colonial aesthetics in many formerly colonized nations. This point was strongly emphasized by renowned Indian painter and art historian J. Swaminathan. As part of his association with Bharat Bhavan in Bhopal, Swaminathan travelled to regions like Bastar, meeting tribal artists and bringing their work into the spotlight. It was during these travels that he encountered many talented artists, including Jangarh Singh Shyam, whose work left a lasting impression on him.

 Jangarh’s art eventually gained international acclaim, leading to an invitation to work at the Mithila Museum in Japan. However, the emotional toll of displacement affected him deeply. Tragically, he took his own life in Japan, a moment that some describe as the first instance of an Indian committing Harakiri – an ancient Japanese form of ritual suicide historically associated with artists and writers.

 India is home to a rich tradition of tribal art, with diverse regional styles like Pattachitra, Madhubani, Kalamkari, Gond, and Warli. These traditions have given rise to world-renowned artists, such as Jivya Soma Mashe, a legendary figure in Warli painting. His passing marked the loss of a true creative genius.

 Unlike many contemporary artists, tribal artists rarely sign their works. In tribal communities, art is a collective expression rather than an individual pursuit. It is not created for commercial gain but as an essential part of daily life. Tribal artists adorn their homes inside and out with murals, often for religious purposes, including the worship of gods and goddesses. Sculptures and paintings of deities are common, reflecting the deep connection between art and spirituality in these regions.

 In addition to visual art, tribal people design their jewelry and clothing, which have later been adopted and adapted by urban artisans, further bridging the gap between traditional and modern craftsmanship.

 Tribal art, deeply rooted in the land and traditions of Bastar, continues to flourish despite the pressures of modernity and exploitation. The resilience of Bastar’s people, reflected in their vibrant cultural practices, is a powerful testament to their enduring spirit in the face of adversity.

 Located in Chhattisgarh, Bastar has made a significant contribution to Indian tribal art. Few places in India boast such a rich artistic landscape. The region is predominantly inhabited by various tribal communities, many of whom live deep within the forests, far removed from urban life. These groups possess their unique traditions in visual art, music, dance, and even cuisine and home-making practices. Bastar has become a focal point for painters, art historians, and anthropologists from around the world, drawn to its rich cultural heritage. The region is home to several tribal groups, including the Bhutia, Dhurva, Halba, Gond, and Muria communities. Of these, the Gond tribe stands out as the most prominent and culturally influential.

Bastar is renowned for its intricate handicrafts, created from materials like wood, bell metal, terracotta, and bamboo. Terracotta sculptures, in particular, stand out for their fine attention to detail. Common subjects include dancers and singers, often adorned with metal ornaments, as well as goddesses, animals, and intricate jewelry. These works range from small decorative pieces to large, elaborate sculptures, showcasing the skill and creativity of the artisans.

 Bamboo crafts are another hallmark of Bastar’s artistic identity. The region is known for its distinctive bamboo elephant figurines, among other creations. Bamboo is used to craft a variety of items, including lampshades, table mats, fishing poles, and hunting tools. This versatile material plays a central role in the region’s sculpture-making traditions.

 Bell metal sculptures, known globally for their craftsmanship, are another remarkable feature of Bastar’s heritage. Jagdalpur and Narayanpur are key centers for producing these works, often referred to as Dhokra craft. This ancient metalworking tradition has been passed down through generations. Dhokra art is famous for its imaginative and abstract depictions of animals and birds, often in miniature form. Instead of adhering to strict realism, Dhokra sculptures take on a whimsical and figurative quality, making them unique and highly prized.

In addition to bell metal and wooden toys, many sculptures from Bastar are beautifully painted to enhance their visual appeal. In addition to its famed sculptures and handicrafts, Bastar is also known for its Kosa silk sarees, another reflection of the region’s unique craftsmanship. Known for their intricate designs and fine craftsmanship, these sarees have gained international recognition for their elegance and beauty.

 However, despite Bastar’s rich artistic heritage, its artisans face significant challenges. The labor-intensive nature of handicraft production often results in insufficient income, leaving many artists struggling financially. Yet, despite these hardships, the tribal people of Bastar remain deeply committed to preserving their heritage and sustaining their artistic traditions.

This article was originally published in Chandrika Weekly in Malayalam.

Translated by A K Shiburaj

P. Surendran

P. Surendran is an Indian writer, columnist, art critic, and philanthropist. He has published over 30 books, including fiction, travelogues, and general writings in Malayalam and a collection of English short stories. He was a Malayalam teacher at Kumaranellur School, Palakkad district, Kerala, and is a recipient of the Kerala Sahitya Akademi Award.