Curated in the jungle

The journey to Kanha, in Madhya Pradesh, is a long and picturesque one. In summer the forests are mostly dry, but of the 70 tree species found here the evergreen Sal and the Mahua (Madhuca longifolia) are always in bloom. Wildlife abounds in the jungles of Kanha, Kichli and Mukki, and, with luck, one may come across deer, wild boar, water buffalo, peacocks and partridge foraging in the underbrush.

Whether arriving by train, road or air, most tourists are here to observe the wildlife, in particular the elusive tigers. Now they have a new attraction in wait, one that brings together nature and indigenous art — the Kanha Museum of Life and Art (KMLA).

Opened on March 1, the museum abuts the eight-year-old, 110-acre Singinawa Jungle Lodge in Kanha. Both properties were envisioned by Tulika Kedia, a collector of indigenous artwork and founder of Must Art Gallery in Delhi and Kolkata.

“Like the fading footprints of the jungle cat, indigenous art too needs patronage and appreciation,” says Kedia.

There were about a hundred indigenous trees when Kedia took over the Singinawa property, and she has since planted over 30,000 saplings. The idea is to create a lush environment in which visitors can view local art, meet and interact with the artists, and even buy reasonably priced small-format Gond paintings. The lodge and the museum have been designed by Nanda SJB Rana, boasting environment-friendly features such as natural lighting and solar power.

Pride of place

“Our indigenous art forms have myriad tales to tell, their colours evoke multiple emotions and their diversity is absolutely breathtaking. I was overwhelmed by the talent, sensitivity and wisdom of the local artists, and hence I could think of no other value addition to the Singinawa Jungle Lodge than the KMLA,” says Kedia. Alka Pande, curator, art historian and author of several books, was instrumental in putting together the current exhibition at the museum. She also systematically catalogued Kedia’s collection and produced two handsome publications that provide insight into the artworks.

The paintings, murals, terracotta and wood sculptures, totem poles and bamboo artefacts made by indigenous artists are housed in a setting that has all the trappings of a proper museum: From directional lighting and audio guides to extensive labels, well-mounted artworks and sparkling white walls.

The extremely talented and equally shy Manoj Gadpal tells us that he is responsible for painting the onsite murals, creating sculptures, bas-relief murals and, of course, the trademark Gond paintings on both canvas and paper.

A stunning mural by him graces the external wall of the museum — made in the Gond style using bas relief, the work depicts people carrying on with their daily life, side by side with a dramatic rendition of a tiger creeping from behind the bamboo to stalk an unsuspecting deer. Full of life and local witticisms, the artwork ushers one into the museum.

“The museum has given me and other artists a place to showcase our work, and I really loved creating the works onsite. However I still shuttle between Kanha and Delhi to sell my works,” says Gadpal, a Kanha resident, underscoring the fact that he cannot afford to ignore the Capital’s all-important art market.

At the museum, one may also make the acquaintance of the mostly silent but exceptionally deft Ramesh Kumar, a local potter who is willing to give visitors a quick tutorial, besides turning out an array of terracotta pots in a matter of minutes. “Pottery is a family occupation and I have been a potter since childhood as I was taught by my father. But my children do not find it profitable and have instead turned to working in brick factories in Madhya Pradesh,” he says with a resigned air. Clearly, the highly skilled local artists need more support, especially from the government, if they are to continue with their craft.

As Pande queries in her essay, “Why is indigenous art of India still not given its due status? In Japan and Australia it is known as their ‘national treasure’ whereas in India the indigenous artists are akin to artisans.” It was not long ago that the pioneering Gond artist Jangarh Singh Shyam, whose work also features at the KMLA, took his life while on a residency in Japan. Shyam was reportedly depressed as his request to return home was denied and his passport impounded.

The story lines

Most Gond paintings are made painstakingly with a plethora of intricate details. Each tree, animal, flower or person comes alive with the use of bright colours, lively lines and dots, symmetry and stylisation. Additionally, these artworks are repositories of the oral culture, myths and everyday lives of the Bhil and Gond tribal communities.

Many of the artworks on display at the KMLA are replete with allegorical tales of magic and myth. The tiger graces the paintings of many artists — from Dhavat Singh Uikey to Rajendra Shyam — because the animal is considered auspicious and the guardian of the forest.

The snake is the symbol of Mother Earth, and Ram Singh Urveti depicts two snakes coiled around the roots of a tree, underlining the symbiosis of flora and fauna that is intrinsic to indigenous artists.

The local deity, Bada Deo, is the keeper of culture and he appears in a lively sculpture created by Sukhnandi Vyam. Marahi Devi and Phulvari Devi are the goddesses of fertility and protection; Durga Bai depicts a many-armed goddess in a painting that sings the praise of the tireless homemaker who not only works in the fields and tends the cattle but also cooks and cleans for her family.

Suresh Kumar Dhurve’s painting foregrounds the tale of Sundariya, a woman who was murdered to be eaten by her seven brothers. They became convinced that her flesh was extremely delicious after she accidently cut herself while cooking and they felt the food tasted better with her blood mixed in it. However, the seventh brother saved his share and buried it in the backyard, watering it regularly. Soon a resplendent bamboo tree grew on the spot and it was christened Baasin Kanya (The Bamboo Maiden).

Dhurve vividly depicts this tale, symbolising the continuity of life, by showing Sundariya lying in a field with her eyes open, while from her chest emerges a beautiful bamboo tree laden with fruits, and birds gambolling in its branches. Many of these tales fall outside the popular axis of mainstream culture and are passed on through oral culture and these paintings.

Rooted, yet ready to fly

Outside the museum is a totem pole that is 16 feet 4 inches tall and titled ‘In Divine Grace’. This work by Naresh Kapuria emerged from the collective memory of his stint as a builder of marriage pandals (marquees). Much of his art is fuelled by his long-term association with theatre and set designs for dance festivals across the country. The totem pole — made of wood, iron and brass — is an interactive piece of art; as viewers walk in, they can tug at the pole, mounted on a moveable stand and strung with bells, which sets off a lilting sound of deep serenity.

Artist Shambu Dayal Shyam has taken a bold step to integrate his style of Gond painting with ideas from Modern art. At the centre of the museum is his creation — a large female head made of fibreglass and painted in acrylic and automotive paint. The head covered with images of deer, peacocks and other decorative motifs evokes themes of the fertility goddess. Mayank Shyam, with his painting of Delhi’s Red Fort in halting shades of black and gold, is yet another proof that Gond painters have the ability to embrace a modern lexicon if they so desire. However they are, first and foremost, bearers of the traditional Gond style, which is both their gift and their nemesis — that is, until India accords more importance to its indigenous artists.

Georgina Maddox is a Delhi-based art writer

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