Folk Arts and Crafts: Traditions of Creativity

The urge and need to express ourselves has remained innate to human beings across civilizations and times. It is this urge that first led to the genesis of symbols and has since then evolved into various forms and mediums. The creative expression in itself has been both individualistic, collective and has had interesting patterns of development. One such genre of art is Folk art which can be described as something that essentially reflects the values or the common culture of a community. Removed from the ideas of cosmopolitan styles of art, folk art in numerous traditions has been the art of the masses rather than elite individuals, made to better suit the needs of the people of the community. It was thus shaped by their belief systems, legends, the materials available and at their utility value.

Further, placing 'folk arts' in different contexts, we observe that it takes different connotations. India, a country which harbours a sheer number of cultures, has had many traditions of folk arts some of which have survived while others have been lost in time. In addition to folk art, there are also tribes which practice tribal art. Both tribal and folk art across regions in India carry an ethnic simplicity and yet are colorful enough to convey the vibrancy and spirit of the rich cultural heritage. Here are some commonly known as well as some lesser-known folk art traditions across the country:

Kalamezhuthu

This art form is a sweet blend of Aryan, Dravidian and tribal traditions of rangoli making (drawing patterns at the entrances/courtyards of houses and temples) which is considered an auspicious practice to welcome deities. With strict rules regarding the choice of colors, patterns, and dimensions, the art form essentially consists of drawing representations of Kali and Ayyappa on the floor of temples and sacred groves. Other factors such as the presiding deity of the sacred place, the purpose of the ritual and the caste observing it also contribute heavily to the choice of drawings. The handmade drawings are done with organic colors obtained from plants and flowers. The drawing is also erased immediately once the related rituals are over.

Pattachitra Painting

One of the oldest and most popular arts from Odisha is the Pattachitra style of painting which essentially means ‘picture on a canvas’. It manifests portrayal of simple themes, mostly mythological using rich colors, creative motifs, and designs. The Patta (canvas) and the colors used remain the most important and defining features of the art form. They are both made from indigenous materials such as tamarind paste, powdered conch shells, gum of kaitha tree, lamp soot etc. The chitrakars (painters) limit themselves by a certain set of rules and have maintained them throughout generations upholding a charm and technique which appeals to a large number of people all over the world. Popular themes represented through this art form are Krishna Lila (enactment of Jagannath as Lord Krishna displaying his powers as a child), Thia Badhia (depiction of the temple of Jagannath), Panchamukhi (depiction of Lord Ganesh as a five-headed deity) and Dasabatara Patti (the ten incarnations of Lord Vishnu).

Dhokra Handicraft and Jewellery

The technique of casting non-ferrous metal using the ‘lost-wax casting’ is what fundamentally defines Dhokra art. This technique has been in India for over 4000 years, the earliest artefact being the famous statue of the dancing girl of Mohenjo-daro. The Dhokra Damar tribes are traditional metal smiths of West Bengal and extend to Jharkhand, Orissa, Chattisgarh, Rajasthan and even Kerala indicating that the art is practiced all over the country. Like most folk artisans, these artists also rely on materials immediately available to them: wax, resin, riverbed clay, brass scrap and firewood. The appeal for this art form both as handicrafts and jewelry pieces can be attributed to its rustic simplicity, clean distinctive lines, and enchanting folk motifs.

Toda Embroidery

Nestled in the vast lush green lands of the Nilgiri hills, reside the pastoral community of Todas. With their own set of rules, values, culture, and gods, the Todas are very much attuned to nature and can be easily identified with their traditional attire of red-black-white shawls around them. Carried through generations, the Toda embroidery is done in a balanced weave structure of three stripes (two of red and one of black) woven on unbleached white cotton. The patterns used are similar to the one's Toda men and women often use as tattoos. The symbols of crosses, rosettes and the bull figure greatly in their culture and thus are the main motifs used in the intricate embroidery.

Resources:

“Culture And Heritage - Folk And Tribal Art.” Know India: National Portal of India, knowindia.gov.in/culture-and-heritage/folk-and-tribal-art.php.

“The Art & Craft of Dhokra.” World Art Community, 4 June 2016, www.worldartcommunity.com/blog/2016/06/the-art-craft-of-dhokra/.

Harmon, Mamie. “Folk art.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 1 May 2014, www.britannica.com/art/folk-art.

Joseph, Gina. “Todas' of Nilgiri.” Gaatha handicrafts, 20 May 2015, gaatha.com/toda-embroidery/. (including the image)