The Patuas of Nayagram: a journey and its ups and downs

DOI 10.46748/ARTEURAS.2021.01.003

... Prosenjit Raha

Patachitra is a form of folk painting, popular mainly in the Indian states of West Bengal and Odisha. It is done on cloth by the natural pigments and homemade adhesives. Patachitra is considered as one of the most important ethnic traditions of India. The simplicity and the highly stylized coordination of bold lines and bright colours of Patachitra and its narrative approach of storytelling may attract any of the artists and art researchers. It was considered as a dying tradition. In the recent years, by the support of several government and social organizations, the art has revived. Through their effective initiatives the new generation of the Patuas (Who creates Patachitras) are getting new platform to be recognized for their hereditary skill and new marketplace to sell their work. Nayagram is a village of the Indian state of West Bengal. All the residents of Nayagram are Patuas. This place is getting popularity for the artistic talent of its people, by the support of the government and social organizations. This research paper is trying to identify the means of development for this kind of ethnic art and artists by studding Nayagram as a model. It is mainly a field work based study to know the on ground reality. Shyamsudar Chitrakar, a veteran Patua of Nayagram was interviewed to learn the real history of Nayagram. On the other hand the young talented woman Patua, Sonia Chitrakar was interviewed to know how she is approaching towards the future betterment of this traditional art form and the and her struggle as a woman belonging from such a marginal community. After compiling their inputs with the other information about the village from both the primary and literary sources the research finds the first four families of Patuas of Nayagram who were given land to live by Gunadhar Bishal, a wealthy farmer who was a lover of art as well. Gradually their relatives (Patuas) also started to come to live at Nayagram. Thus the place was identified by the government and social workers as the place of Patuas and the art of Patachitra. This Paper deliberates the initiatives to identify the challenges and prescribes probable solutions to develop other dying ethnic traditions in the world after studding Nayagram as a model of development.


Keywords: Patachitra; Pater Gan; folk art; ethnic traditions; Nayagram-Pingla; fok art of West Bengal; Indian folk art.

Introduction

This paper is focused on an especial village in West Bengal, where all the residents are ‘Patuas’ i Patuas are communities located in the states of West Bengal, Bihar, Jharkhand and Odisha in India and parts of Bangladesh.. Patuas are basically painters who paint ‘Patachitras’. Patachitra is a folk tradition of painting, popular mainly in Eastern Indian states, especially in West Bengal and Odisha [4; 8]. These paintings were used to narrate the stories in folk songs, which are called Pater Gan [3]. Mainly religious stories and social issues were their subjects [1].


Patachitras. The Art of Eurasia Journal.

Patachitras. Photo by P. Raha

These multitalented painters as well as singers and lyricists known as Patuas were an iconic part of the ancient Eastern-Indian villages [6]. They used to go door to door to show the paintings in the form of scrolls and sang the story depicted in the scrolls in a sequence according to it [2]. The villagers provide money, food, cloth, and other daily needs to them in return for that wonderful entertainment. The Patachitras and the Patuasangeets were not only entertainment to the villagers but also a form of religious practice or social awareness [7] to be handed over to generation after generation. In the colonial and post-colonial period in India, these kinds of rural traditions, dependent on the self-dependent rural socio-economic ecosystem, got deprived. The Patuas of Nayagram, situated near Pingla in West Medinipur district of West Bengal, are one of the last surviving communities among the Patuas survived in that dark age of deprivation. In recent years some government and social organizations have come up to support this traditional art and artists. Nayagram is a mega project for them. This paper will try to reveal the journey of Nayagram from the early start to the present situation and the future possibilities and challenges. From the national perspective, this is a form of India’s ancient traditional knowledge system, which should be restored as an ethnic culture.

On the other hand, international organizations like the United Nations Education, Scientific and Cultural Organization (UNESCO) are finding a sustainable lifestyle through this kind of traditional ethnocultural practices [4]. All these issues, struggles, opportunities, and ways of revival for traditional practices should be documented as a model to inspire in the future. This paper concludes with these objectives.

Objectives. This research paper aims to reveal the on-ground reality of the Patuas of Nayagram and their version of their past and present, and future aspirations.

Methodology. The research is mainly focused on the on-ground investigations with the field works and the interviews. To have an idea of Patachitra (Which is one of the oldest traditions of art in India), the researcher has taken the help of previous literature and research works before visiting Nayagram. This paper has considered two different viewpoints of two generations of artists to map the journey’s ups and downs to reach this present status (of Nayagram) along with their future visions and expectations. At first, the senior-most artist of Nayagram, Syamsundar Chitrakar, was interviewed to get to know the real history of Nayagram; second, the young talented woman artist Sonia Chitrakar was interviewed to understand the present situation and how they are approaching the future. After understanding the on the ground situation, this paper has discussed the correlated socio-economic issues.


Discussions


Patachitra

Patachitra synthesizes the ethnic enigma with the struggle of marginality. The Patuas achieve aesthetic excellence through the struggle for life and the experience through it. Maybe their hardship is the main inspiration to be most simplistic and bold in art. The vibrant colour forces the viewer to notice the art as they sing loud and clear to send their voice to the every ear that is not listening. Their perception of art or painting is quite different from us. Usually they do not sign on their works. A painting is not a subjective issue for them. It is not only a form of entertainment. They want to tell the society about their culture and beliefs. They want to teach their future generation whatever they have realized about life. The lesson rolls generation after generation. They tell their stories attracting people by the brightly coloured paintings and loudly sung songs. There is nothing to hide and nothing to be emphasized. The simple motifs or patterns are repeating in an organic rhythm symbolizing the endlessness of life. The viewer has to be so observative to find the significant symbols or characters of the story while watching the Patachitra. The Patuas indicate those by their finger in the Patachitra while they sing the Pater Gan. Their subjects i Patachitras do not have particular titles. Patuas work on popular themes. Such as the ‘marriage of the fish’ is a popular theme. like ‘Marriage of a Fish’ or ‘Marriage of a bird’ have a deep allegorical meaning. These show the fishes or birds are celebrating a marriage ceremony. Where they are eating food, playing music and dancing. On the other hand a big bird or fish is attacking them to eat them. Getting good food and getting married are basic needs of life for them. Celebration after it with song, music and dance is representing a happy and prosperous life. But it is not that easy. In a pond a big fish always eats the small ones. This fact is often recommended symbolizing the inequality in the society. This is an existential threat for the marginal communities like Patuas. They express this crisis through their art. They also depict the Hindu and Santali mythological stories. Here also the ultimate objective is to raise the moral of the society for sustainability in all regards.



The Visit to Nayagram

The nearest railway station to Nayagram is Balichak near Kharagpur Railway station of the Howrah Division of the Eastern Railways of India. From Balichak railways station, it takes about half an hour by car to reach Nayagram (Near Pingla).


A road side view at Nayagram. The Art of Eurasia Journal.

A road side view at Nayagram. Photo by P. Raha

The village Nayagram is an ideal example of rural beauty, along with the difficulties of interiority. All the residents of Nayagram are Patuas. Every house is a full-fledged art workshop and well decorated with Patachitras. They are very generous and welcoming to all the visitors at their home. Even the women and children of their family are very comfortable with the visitors. The visitor may be a great scholar or a traveler roaming the place just for a change. The Patuas are very confident to show their art and perform the song accordingly, even in front of the foreigners. Love for art breaks all the language barriers. It may be surprising to some urban visitors who cannot imagine the aesthetic achievements of Patachitras done within the difficulties and challenges of this rural area. It is really inspiring to see creativity with the most simple and spontaneous way of presentation.


The experience of a veteran Patua — Shyamsundar Chitrakar

Shyamsundar Chitrakar is one of the most senior among the Patuas, lives at Nayagram. His wife, Rani Chitrakar is also a notable Patuas. Shyamsundar Chitrakar is one of the earliest residents of Nayagram. It can be said that he has seen the birth, growing up, and flourishing of Nayagram at its present splendor. He knows every up and down of this journey. Many artists, poets, writers, and other intellectuals also come to Shyamsundar Chitrakar to be inspired and to be more creative. This interview with Shyamsundar Chitrakar was taken at Nayagram in the afternoon of April in the year of 2019.


Shyamsundar Chitrakar is unfolding the scroll along with performing Pater Gan. The Art of Eurasia Journal.

Shyamsundar Chitrakar is unfolding the scroll along with performing Pater Gan to tell the story. Photo by P. Raha

Patua Shyamsundar is very concerned and conscious about his art. He is not only concerned about the Patachitra but also the Pater Gan and its heritage. As a senior Patua he is concerned about the new generation of Patuas since they are less interested in learning history, religion, and social issues. He conveyed his disappointment, stating that most of the young Patuas do not even try to write new songs or sing the Pater Gan (song).

As an experienced artist Shyamsundar told many essential factors of Patachitra in terms of method and materials. He demonstrated how the colours are prepared by the different vegetative and mineral elements. He believes that art is incomplete without its inherent philosophy, and it must teach society something at least. It is also very surprising that a person of a marginal community without institutional education has a very clear view of life as a human and about art as an artist. The Bengali word ‘Bidagdha’ means someone who was burnt a lot to bring out the most solid, pure, and precious part out of him or her. Only this word can describe an artist like Shyamsundar Chitrakar and the excellence of his personality, which may be very simple and down to earth, but there was no sign of inferiority. Within the first few seconds of that interview, the pre-planned questioners and the only data seeking strategy was forgotten. The epical journey of the Patuas has been performing by the great Patua Shyamsundar Chitrakar, who has the charismatic talent of storytelling in his blood. The listener has no choice except let his/her mind to go with the flow of the story.

When Shyamsundar was asked: how was everything started at Nayagram? He replied it was 50 to 60 years ago, in his young age, he came to live at Nayagram with his wife Rani Chitrakar. At that time, there were only four families of Patuas at Nayagram. They were the family of Maneswar Chitrakar, the family of Gunadhar Chitrakar, the family of Bamacharan Chitrakar, and the family of Joti Chitrakar. Maneswar Chitrakar was the father of Rani Chitrakar and father-in-law of Shyamsundar Chitrakar. Shyamsundar was also telling that, before starting to live at Nayagram the Patuas used to come to this place for performing Pater Gan and to show the scrolls (Patachitra).

There was a very kind man Gunadhar Bishal who lived in Nayagram. Gunadhar Bishal was a farmer who was the owner of a vast land at that area where the present Nayagram was established. According to Shyamsundar Chitrakar, Gunadhar was a great lover of the art of Patachitra and Pater Gan. The Patuas come to Gunadhar’s house from very far. Gunadhar used to allow the Patuas to stay at his house at night. Shyamsundar explained the situation very well. There was no mobile or television. After the hardship of all the day long, the farmers used to enjoy the Patuasangeet or Pater Gan along with the beautiful Patachitras at the yard of Gunadhar Bishal’s house. Shyamsundar Chitrakar continued by stating how gradually artists and the villagers, especially Gunadhar Bishal made a bond through the love for art and music of Patachitra and Pater Gan. Shyamsundar was telling that in their community, they cannot refuse someone who wishes to stay with them at their house. They cannot even think to do that. So as a lover of art, Gunadhar Bishal happily allowed the talented Patuas to stay at his home. Subsequently, their families and other relatives started to come (who were Patuas also), to Gunadhar’s place. Gunadhar allowed them to build huts in his territory.

As mentioned above, Shyamsundar was one of those first generations of Patuas who came to that place. According to him, initially they used to perform Pater Gan and show the Patachitras at that village in Pingla and surroundings for livelihood. Gradually they got able to buy the land (where they had been already living) from Gunadhar Bishal and his successors. Thus the village of Patuas, Nayagram was established.

After some years of struggling, these Patuas got attention from the Government. The Government spotted the potential of this place in terms of ethnocultural values. Due to old age, Shyamsundar Chitrakar could not remember the exact year but mentioned it as a remarkable event. He also mentioned the name of Amit Kiran Dev, who was the District Magistrate of Medinipur at that time along with Animesh Pal who was the principal of Medinipur College and some other higher police officials, came to Nayagram to investigate the situation of Patuas. The Patuas performed their Pater Gan along with showing the Patachitras. According to Shyamsundar Chitrakar, the government officials were highly impressed by their works of Patachitra and Pater Gan. After the performance, the government officials asked the Patuas of Nayagram about their problems and living difficulties. Shyamsundar Chitrakar emphasized the most on the demand for a road near to the village Nayagram among all other demands of the Ptuas of that time. Shyamsundar believes the road is the main lifeline of Nayagram. Fortunately, the road was constructed. According to him, after getting the road, Nayagram was revitalized. For easier connectivity with Kolkata, many visitors started to come. Most of them were scholars, researchers, artists, and writers. Many journalists also start to come to visit Nayagram. Shyamsundar was describing it as the resurrection of Nayagram. He was also saying that as Nayagram was getting attention more and more, the Patuas from other remote places of West Bengal like Ghatal, Nandigram, Dyabra, and Pashkura started to come to Nayagram to live with the Patuas and to pursue their won ancestral traditional practice. Shyamsundar says all residents of Nayagram are relatives, and gradually, they are calling their other relatives who love to draw Patachitras and love to sing the Pater Gans. Once it was started by only four families, now there are around 65 families of Patuas prospering with the art of Patachira and Pater Gan.

Shyamsundar Chitrakar also told that at preset time the NGO named Bangla Natok Dot Com is working very well for them. They are arranging a large art festival called ‘Patmaya’ at Nayagram in every year on the month of December where numerous visitors come and buy their art and appreciate their performances. Shyamsundar concluded by stating that all Patuas should remember the true history and the authentic tradition, and the Government should focus on the educational development for the children of the Patuas who are the future of this tradition.


Sonia Chitrakar — a ray of future

Before introducing the young woman Patua Sonia Chitrakar, the status of women in the coherent social structure in rural Bengal, especially in west Medinipure and more specifically in a socio-economically marginal community as Patuas, should be kept in mind. Here, another point is mentionable. All the Patuas living in Nayagram are Muslims by religion. It is really, very surprising. Because generally, their names are like Shyamsundar Chitrakar (Male), Gurupada Chitrakar (Male), Gunadhar Chitrakar (Male), Jaba Chitrakar (Female), Rani Chitrakar (Female), and Swarna Chitrakar (Female), which do not sounds like Muslim names but sounds like Hindu names.


Patua Sonia Chitrakar. The Art of Eurasia Journal.

Patua Sonia Chitrakar is busy at her work. Photo by P. Raha

A significant part of their contents of Patachitras and Pater Gans are taken from Hindu mythologies. The surname Chitrakar does not clarify properly any religious affiliation. The Bengali word ‘Chitrakar’ means the artist or the painter. Sonia has admitted during the interview that she is Muslim by religion like all other Patuas of Nayagram. It enhances their marginality more. Therefore, raising as a successful artist, as a woman in this difficult socio-religious and socio-economic condition, is an important matter of study. Sonia Chitrakar shared that she felt very fortunate when she got an opportunity to visit Germany to represent a form of Indian folk art like Patachitra and Pater Gan on an international stage. Apart from that, she has participated in several art fairs all over India. She participates at all the fairs arranged by Govt. of West Bengal. The annual Hastashilpa Mela arranged by the Government of West Bengal is notable among them. Sonia has already won the state-level award from a state-level completion arranged by the ‘Directorate of Micro, Small & Medium Enterprises of Government of West Bengal’ in the year 2017. Now she is 21 year old. Her mother Jaba Chitrakar is also a renowned woman Patua. Sonia Chitrakar’s husband is Mustafa Chitrakar, who is also a very talented Patua. According to Sonia, the entire family of Patuas and their endless support are the biggest inspiration to her to prosper as much as possible. She has not forgotten to mention the support and guidance of members of the NGO named Bangla Natok Dot Com. In recent times the NGO Bangla Natok Dot Com has done a lot to bridge the marginalized and unrecognized talents of the Patuas of Nayagram with the rest of the world. Sonia Chitrakar elaborately described the detailed activities of Bangla Natok Dot Com at Nayagram. These activities were to develop the marketing system of Patachitras and to give the Patuas the platform they deserve. Sonia said that the members of Banla Natok Dot Com helped them to learn the basics of English and Hindi to communicate with the customers. Sonia and her fellow Patuas have learnt to decorate the dresses (t-shirt, saree, rumal, kurta etc.) and other decorative and utility products in the Patachitra style by the help of the artists hired by the Bangla Natok Dot Com. That was really very helpful to enhance the number of customers. Sonia was busy with her commission works in her house at Nayagram during this interview. She was decorating t-shirts with the motifs of Patachitras. She was talking and working continually. She was full of vibe and daring to dream. This vibe and fearlessness indicate the brightness of the future of Patuas, especially the women of Nayagram.


Findings, Conclusion and Farther Studies

The real experience is always greater than the bookish knowledge because writing the entire thing in a consolidated form is a very difficult task. This is true for this paper as well. This research paper was focused to investigate the Past and present of the Patuas of Nayagram and to have a presumption about their future. This paper finds the earliest Patuas of Nayagram: Maneswar Chitrakar, Gunadhar Chitrakar, Bamacharan Chitrakar and Joti Chitrakar, who got the support and the land to reside from a wealthy framer of that area who was Gunadhar Bishal. These things are the statement of one of the most senior and veteran Patua of Nayagram, who is Shyamsundar Chitrakar. According to Shyamsundar Chitrakar, he was encouraged to come and live and pursue the practice of Patachitra and Pater Gan at Nayagram by his father in law Maneswar Chitrakar, around 50 to 60 years ago. Life was not as fast as it is today. Therefore, it can be presumed that everything was started at least 50 years back from the time of Shyamsundar started to live at Nayagram. So, it is a history of more than a hundred years. The milestones of this historical evolution should be documented properly. Like how the government officials like Amit Kiran Dev (District Magistrate of that time) has noticed them and under which scheme or program they got the facilitation, are also the matter of further research. The enthusiasm and dedication of Sonia Chitrakar are representing the future progressiveness of the art of Patachitra and Pater Gan. The innovative interventions like decoration of utility items like umbrellas, lamps, and dresses by the motifs of Patachitras are enhancing the wider market. The NGOs like Bangla Natok Dot Com are coming forward to bridge this ethnic culture with the mainstream under the several developmental projects announced by the Government of West Bengal, Government of India, and the international organizations like UNESCO.

The rise of Nayagram with its struggle and potential as represented in this paper may be useful as a development model for further studies of similar ethnic traditions.


REFERENCES

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For citation:

Raha P. The Patuas of Nayagram: a journey and its ups and downs. Iskusstvo Evrazii – The Art of Eurasia, 2021, No. 1 (20), pp. 32-47. DOI: https://doi.org/10.46748/ARTEURAS.2021.01.003. (In Russian and English).


Acknowledgments:

This research paper could not be possible without the inspiration of Prof. Him Chatterjee (Eminent artist and Professor of Visual Art, Himachal Pradesh University (HPU)). The author would also like to mention here Prof. Pankaj Gupta (HPU) who encourages a lot to do good research. Author also got cooperation in this research from the Sanath Art Foundation — the art gallery, Shimla.


Submission date: December 23, 2020.