The
traditional livelihood systems not only ensure their food security, but also
protect the flow of their traditional knowledge system. Within the framework of
traditional knowledge, their experiences, ascribed skills, creativity are aimed
at livelihood security in different spheres.
The
advancement of provincial India is surely connected with the exchange alternately
correspondence that we are giving them. Custom assumes and vital part in an
imaginative aesthetic process especially in the field of people performing
expressions. Mass craftsmanship is a practical and unconstrained. Each town has
its applicable music, move or theatre. The people performing craftsmanship is
changing its structure persistently over hundreds of years altering itself to
the requirements of the changing circumstance making it practically important
to the general public. Convention is the procedure of the transmission of age -
values and the relevant manifestation and translation of the all-inclusive.
The
conventional specialty of Bengal portrays the effortlessness, natural,
simplicity, flexibility and embellishment along with western impacts. It had
its autonomous kingdom and its kin who had a blended style. The specialty of
Bengal mirrors the people style on painting. People workmanship speaks to a
profound mine for concentrating on the starting point of the spot as it is
transmitted through the ages taking after the legacy of antiquated
craftsmanship. Conventional workmanship society, customs of Bengal had created.
Ghosh
(2012) in his study intended to ventilate a flash on traditional handcrafts and
their relationship with livelihood. He opined that millions
of people who possess traditional skills and knowledge make a living by
producing traditional handicrafts. In India, more than 330 million people are
engaged in the informal sector, of which traditional crafts sector occupies a
large chunk. Here, it is prudent to define traditional handicrafts before
discussing about its innovation and creativity.
Through
the long trail from ancient culture to the contemporary culture people have
developed a number of art and craft techniques over and done with their own age
old experiences to express several feelings. Rajsekharan et al., (1991)
and Kolawole, (2001) opined that the knowledge is based on many generations of
insight gained through close interaction within the natural and physical
micro-environments.
Not-enduring the remarkable changes in the position of traditional
folk artists in several decades are still a fact that denotes the discrepancy
between the assumed situation and stark reality.
Craftsmen
were attracted to society workmanship not from a craving to relate to the ethos
of the general population who made it, yet from the developing attention to the
magnificence and qualities vitaUty of the fundamental outline components in the
countless assortments of society structures. The custom in people workmanship
mirrors the consistent play of line and shading which is local and near Indian
individuals.
The
artisan was an important factor in the equation of the Indian society and
culture. It is the artisans who actually develop handicrafts. The nimble fingers
of the craftsmen turned every article they touched into a thing of joy.
The starting and advancement of scholarly naturalism in the craft
of Bengal was the result of British pioneer effect and authority. Naturalism
took quite a while to be superbly separated to our specialty and culture^ along
these lines conventional craft of Bengal in naturalistic execution uncover in
various style, the brightening smoothness and hopeful ethos of a portion of the
customary and traditional patterns.
Bengali society painting's transforming character is a striking
excursion that can be utilized to represent the difficulties, over a wide span
of time, confronting people specialists furthermore the movement of
globalization in India. It is conjectured that patuas, the authentic name for
people painters from Bengal, have been painting for eras, perhaps since as
ahead of schedule as the thirteenth century. Today patuas, whose compositions 3
are called taps and whose work is in this way alluded to as patachitra, which
generally means "pat painting," are as yet honing in the rustic
regions of West Bengal. The routes in which patachitra has changed in the
course of the most recent century and a half uncover the flexibility of society
workmanship and its significance in a nation that keeps on battling with the
meaning of its own way of life.
Mahapatra and Dash (2011) draws a sketch of basic features of
Indian Artisans. They told that the handicraft artisans
of India, at least a large majority of them, are known for their perfection of
craftsmanship, excellence of design and form and an unsurpassed sense of
colour. The craftsman’s position in the pre-dominantly agricultural society was
pivotal, for it made the village society self-contained.
Bengali
folk painting's transforming character is an eminent excursion that can be
utilized to embody the difficulties, over a significant time span, confronting
society craftsmen furthermore the movement of globalization in India. It is
hypothesized that patuas, the chronicled name for society painters from Bengal,
have been painting for eras, potentially since as ahead of schedule as the
thirteenth century. Today patuas, whose sketches 3 are called taps and whose
work is thusly alluded to as patachitra, which generally means "pat
painting," are as yet honing in the provincial locale of West Bengal. The
courses in which patachitra has changed in the course of the most recent
century and a half uncover the strength of society craftsmanship and its
importance in a nation that keeps on battling with the meaning of its own way
of life.
An introduction to the ‘Patachitra’ and ‘Patua’ Community
Before
jumping into the change of patachitra, I will illuminate what is decisive about
the lives and work of patuas, at different times, to give the readiness to the
brain boggling history of their specialty. Before British expansionism, before
Islamic interruption, there were practicing patuas in the towns of West Bengal.
This paper covers the last one hundred and eighty years in which analysts and
administrators, both Indian and outside, have created and discussed Indian
individuals workmanship. In any case, before them, the demonstration of the
patuas, to the degree analysts know, had remained respectably unaltered for a
significant long time.
The parchments (patas) that one sees in Medinipur
today are generally between six to twelve feet wide and over two to three feet
wide. Most storytellers tend to convey five or six looks to give their
gathering of people a decision of stories. They normally start with promising
subjects in light of the mangala kavyas or stories of pirs and afterward go
ahead to show patas about neighborhood, regularly exciting occasions.
Patuas are a station of vagrant picture storytellers
scattered all over Bengal – involve an interstitial position in the rank
pecking order, assigning themselves as Muslim, after neighborhood
"Hindu" traditions, for example, venerating the snake goddess, Manasa
and showing patas that have to a great extent Hindu subjects. Additionally, in
the same way as other Bengali Muslims, they ordinarily have two names – a
Muslim name and a Bengali name that is all the more as often as possible
utilized. The Patuas are not by any means the only station of painters in
Bengal. Other artisan stations, for example, the Kumhars (potters) or
Shutradhars (craftsmen) additionally paint comparable pictures however it is
just the Patuas who show patas and sing the pata tunes in this manner making
them multi-media entertainers.
A brief note on the ‘Bedia’ of Bengal
‘Patua’
and ‘Bedia’ belong to same community. " In any case, writing says that The
Bedia or here and there purported Baidya are a Muslim people group found in
eastern India. They are a group of pastoralists, who customarily particular un
the mutilation of dairy cattle. The people group talk various tongues of
Bengali and utilize the surnames Chaudhary, Sekh, and Mondal.
A
people group of Bihar, they trust that they initially lived on Mohdipahar and
have slid from the union of Vedbansi ruler with a Munda young lady. The other
perspective is that an area of the Kurmis were outsiders and to be known as the
Bedia or Wandering Kurmis. Some of them rejoined the Kurmi fold by facilitating
a fest. The poor couldn't pay their way back and in course of time rose as a
different group. They utilize Mahto as their title. They are non-veggie lovers
and their eating regimen comprises of oats of grains like
rice,maize,mandua,gondli and wheat,and beats like urad, ghanghra, kurthi and
arhar.They use sarguja, keongi and mustard oil for cooking. They drink mahua
alcohol and rice brew. Men bite tobacco and ladies smoke a hookah.
The
Bedia are discovered principally in focal and north West Bengal, the Purnia
Division of Bihar, Rajshahi District of Bangladesh, the Terai locale of Nepal
and southern Bhutan. In West Bengal, the Bedia are discovered principally in
the areas of Murshidabad, Nadia, Malda, South Dinajpur, North Dinajpur and
Darjeeling. In Bihar, where the group is known as Shershahabadia, are
discovered primarily in Kishanganj, Purnea and Katihar.And tha bedias are
likewise found in locale of Jharkhand Mainly in Bhagalpur.
The
Bedia are endogamous, and their marriage happens inside close family. In Bedia
society, consanguinal family are classed into two classifications, the bhiad or
insignificant heredity and khandan or maximal genealogy. Relational unions are
favored inside the bhiad. Bedias of West Bengal now have a place with the Ahle
Hadith order, which recognizes from other Bengali Muslim people group. The
Shershahabadia of Malda and Bihar remain Sunni Hanafi.
Generally,
each Bedia settlement comprises of a paich, or rank board. These stay casual,
and there is no expansive formal position affiliation. The committee comprises
of a hakim or headman, a legal scholar or mahat and a dhuli or dispatcher. All
intra-assemble or between religious matters and question are settled by the
paich.
As
indicated by Risley, the Bedia are partitioned into septs. Be that as it may,
the present review distinguished some exogamous tribes, to be specific Phecha,
Kachhua, Mahua,Bambi,Suiya,etc.The marriage age for young men and young ladies
is sixteen to seventeen years and fourteen to fifteen years,respectively. A
marriage is orchestrated however monogamy is common. Hitched ladies put a
vermillion stamp and wear an iron bangle as marriage images. The installment of
lady of the hour cost is compulsory. They take after the principle of
patrilocal habitation. Either companion can look for separation with social
endorsement on grounds of infidelity, desolateness, maladjustment,
cold-bloodedness and sluggishness. Remarriage of dowagers and divorcces is
allowed and a dowager can wed her late spouse's sibling. The Bedia live both in
atomic and more distant families. Children acquire parental property in
equivalent measure while the eldest child succeeds to his dad's power. A lady
added to the family salary and is tonsured. The primary grain encouraging
service is discretionary. The marriage rituals are performed at the husband's
home. The dead are covered. The passing customs watched are telnahan and
daskarma.
Folk Art and Artists: Still
prevailing in doldrums
The
Indian culture is a perplexing social framework with various positions,
classes, tenets and tribes. There is a high rate of absence of education in the
vast majority of the country individuals. The cutting edge broad
communications, with all its development and multifaceted nature has not yet
contacted the general population who are in most need of it. To these rustic
nationals the current broad communications appears to be excessively deficient.
It is on the grounds that their life has not experienced much change after the
coming of the present day broad communications. It might be that the broad
communications demonstrated excessively fabulous, generic and unimaginable
interestingly with the natural execution of customary society expressions. The
villager couldn't just see and hear these society expressions additionally even
touch them. The society expressions take up the issues, occasions, issues and
issues that are pertinent to him.
Planning
Commission of India (2006) harangued on the tradition and context of folk arts
in the nation. They articulated that the tribal handicrafts are specialized
skills which are passed on from one generation to another and these handicrafts
are means of livelihood of the artisans. However, in absence of any organized
activity in this sector and the products not being adequately remunerative,
there is a possible likelihood of the artisans taking up alternate livelihood
options (which may involve migration as well). In such a case this age-old
activity will die its own death. At this stage it is very imperative to
understand the problems faced by this sector and suggest the strategies for
development of tribal handicraft based on which certain policy level
interventions need to be taken by the government to sustain the traditional
tribal handicrafts.
On the other hand, Government and NGOs are sensitizing
primary stake holders (artisans) and they could play a significant role in
initiating a SHG and also arranging technical skill development programmes for
the SHG members. They are often able to impart technical knowledge and skill. Some
NGOs and GOs are also trying to develop marketing chains in the process of
establishing on an enterprise by them for more sustainability. If these inputs
are not supported strongly then artisans are least likely to succeed in taking
up any income generating activity on a sustainable basis even after having a
desire and need for such activity.
With innovative ideas and novel approaches, SHGs/
CBOs could be utilized as a change maker and could be a tool to provide better
opportunities to the downtrodden. In this context SHGs/ CBOs have evolved some
simple but innovative methodologies which could be a lesson to all. Failure
stories could be helpful to revitalize the situation.
By upholding the
banner of ‘Betterment of Artisans’ Vis-à-vis the success stories, the project
reports of several NGOs, speaks of social, economic and political empowerment
of artisans through SHGs. Undoubtedly the civil society movement got huge
success, followed by various entrepreneurial success and intends to highlight
the success stories. Since the movement started, a bundle of failure stories
are still sinking in the darkness. But it’s the time when some of them are
asking a pertinent question; why should they tolerate this severe darkness?
Rationale
of the study Patachitra has been considered as a
standout amongst the most musical and renowned type of people story of Bengal
and its abutting conditions of Odhisa, Bihar and Jharkhand. While the work of
art and music unmistakably shows a nearby kind of the specific state, West
Bengal specifically has its own panache of patuas from the locale of Bankura,
Purulia, Birbhum and West Midnapore. It might be legitimately viewed as a
conjoint of different strategies for correspondence which incorporates visual,
oral and musical structures to describe stories identified with society,
society, religion, nature and prevalent legends (Chaitanya, 1976). Through its
solid visual and oral medium it saves the documentation of the general public
down the ages. It is likewise an observer to the social change and tells
stories of the socio-political and religious reflections and changes throughout
the years.
Hoist of traditional
artisans is a pre-requisite for the conservation of ethnic art and crafts. As
they know the skill, hence; it could be a livelihood option for them. Value
addition to the ethnic product and creation of mass awareness should be the
central aim to the developmental activities. But still ethnic artisans in rural areas, especially from the tribal families are in doldrums. Abolishment of the traditional knowledge and folk
art are now a universal phenomenon. Today extinct of ethnic culture has become
a common problem all over the world. However the form & magnitude of the
delinquent varies from society to society.
Not-withstanding
the notable fluctuations in the position of traditional craftsman in modern
society, there is still a great discrepancy between the assumed situation and
unadorned veracity. Of any kind whiff of benefits has propelled in modern
society, has been inhaled and enjoyed by the ‘educated’ artists, their
situation cannot be compared with the traditional folk artists. They still have
been residing in wretched surroundings, immersed in scarcity and poverty, obliviousness and economic deprivation.
This account artistic
expression be that as it may, with the loss of legacy and illustrious support,
declined from its high stature performative specialty of court to the basic
man's diversion amid celebrations and provincial melas (reasonable). Along
these lines from its involved type of execution which incorporated a few types
of correspondence visual, oral and music, patachitra was compelled to be
decreased to a distinct type of parchment craftsmanship. This work of art soon
couldn't manage the vocation of the artisans. Absence of interest came about
because of the development of different types of broad communications and
stimulation, along these lines old stories and account structures were
compelled to offer approach to radio, TV, satellite lastly web. These survival
dangers constrained patuas to search for option enhancement for this
performative fine art, subsequently discovering survival systems in a more
visual structure. Item broadening was their exclusive method of survival.
Traditional folk art and crafts have
been identified as key change makers of development and artisan’s right and livelihood
security are considered as the major concern for the sustainable
development.
Continuous
degradation of economic condition of the folk artists is threatening the food
security of these communities in India. To stop the degradation and recuperate their
situation area specific target group oriented research work should be done.
This type of research work may help to synthesize the situation, which often
intends to know the problem and prospects, by collecting data from real life
situation.
Ghosh
(2012) opined that notwithstanding the importance
of and the role played by the traditional crafts, the crafts and the craftsmen
have never been given due importance. The role played by the traditional
handicrafts in the economy of any country has never been assessed and explored
properly. It is needless to mention that traditional handicraft has a
tremendous scope of developing the quality of the artefact through innovation,
diversification, quality control and marketing…. The world-wide figure suggests
that there is a US$ 2 billion dollar market of the traditional handicrafts. And
it is increasing day by day due to opening up of new markets. In India, the
handicrafts export shows a steady upward trend and it is literally zooming. In
1986-'87, the export figure stood at Rs, 387 crore, which has become 8,343
crore in the year 2002-'03, i.e., within a span of 6 years.
The procedure of turning into a part of a globalized world has
made India as a country stress over what makes it socially interesting. Since
the start of its association with Britain society specialists specifically have
been straightforwardly associated with social safeguarding endeavors in India.
The catalyst to safeguard this uniqueness for the most part falls on rustic
society societies, whose conventions change all the more gradually in light of
the fact that they have less access to modernizing impacts. The issue with
romanticizing the static way of people workmanship is that it keeps the
craftsmen from enhancing their lives, at the danger of forsaking their work to
search out other financial open doors. Through the recorded case of the society
painters of West Bengal, called patuas, this paper plans to show how the
safeguarding of people workmanship relies on upon striking a harmony between
adjusting to stay pertinent.
In course of time, continuous progress in science
and technology and side by side emergence of new industries has changed the
lives of the civilized society. Due to urbanization, many of the tribal/ rural
people are migrating to different industrial belts and towns. ‘Nature and
natural resources are now treated as the ‘Passive Resources’. It is because of industrialization,
urbanization and its natural consequences. As a result, their traditional occupations are
in danger. Various traditional crafts have been altered by the modern and
contemporary art. One of the most obvious effects of ‘ethnic art agitation’ has
been the exhaustion of livelihood option from those crafts. Disappearance of traditional
folk art due to ignorance, modernization and invasion of exotic culture is so
fast that many valuable cultures may become extinct even before they are
identified and their ethnic value is realized.
Jefferson
(2014) opined that Bengali folk painting’s morphing identity is a notable
journey that can be used to exemplify the challenges, past and present, facing
folk artists and also the progression of globalization in India. It is
speculated that patuas, the historical name for folk painters from
Bengal, have been painting for generations, possibly since as early as the 13th
century. Today patuas, whose paintings 3 are called pats and
whose work is therefore referred to as patachitra, which roughly
translates to “pat painting,” are still practicing in the rural districts of
West Bengal. The ways in which patachitra has changed over the last
century and a half expose the resilience of folk art and its relevance in a
country that continues to struggle with the definition of its own culture.
Pata
depictions were embraced by the Patuas with a perspective to safeguarding the
social and religious convention of the general public, which is not the same at
the present day. Quality and toughness, which were not traded off before, no
more completely win even with the chances to eam cash. Furthermore, with the striking
increment in the ubiquity of the specialty, there has been a flood of other
ambitious standings, which, in lifting it up, have opened the entryway further
to a client arranged business sector. Accordingly, to keep pace, the
conventional specialists have needed to bargain with the first shading blend
and quality. The quality and strength of the canvas are consistently getting to
be weakened, while use, interest, and fame among an alternate open are
expanding. Be that as it may, as we saw, despite the fact that the specialty is
tremendously affected by modernization, a portion of the conventional qualities
are still profoundly established in it. This makes for a to some degree
indeterminate future.
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