Women Artists in Indian Folk & Tribal Art

Table of Content

Warli
Madhubani
Pattachitra
Mata ni Pachedi
Kutchi embroidery and applique work
Why are women so connected to their traditional and folk art forms, and how do they help preserve them?
How do these art forms contribute to women empowerment?
Challenges faced by these women

Indian folk arts are vibrant, living traditions that are passed through generations. While many art forms are performed by both men and women, some are predominantly performed by women, who are often the unsung heroes preserving these traditions. Here are a few art forms and the stories of their women artists.

Warli

Warli was predominantly an art made by women. Consisting of circles, triangles, lines and dots arranged differently and only in white, either on a red background of geru (red clay) or greenish brown of cow dung smeared on the walls; it was an integral part of the social lives of Adivasi women predominantly from the Western Coast of Maharashtra and Gujarat. They mostly sketched when they were happy- on occasions of birth, a wedding or death in the family. These women took up their ‘brush’, a bamboo stick chewed from one end to give it the texture of a paintbrush, and ‘paints’- a rice paste with gum binders, to depict a variety of themes like the sowing of paddy, when it rained, when they harvested, when a snake or a tiger entered their fields, when they worshipped or when they celebrated. For thousands of years, it was Warli women who painted the inner and outer mud walls of their bamboo houses with everyday events of their lives.

Their love for nature, God and family were drawn in simple images by women. The most important drawing of Warli is the Chowk, especially on the occasion of a wedding or an important holy festival. In fact, even today, no marriage ceremony begins without the first drawing of a Lagan Chowk (the wedding square). And this has to be done by savasinis (married women) to the accompaniment of soulful singing by dhavaleri (widowed women who are recognised as a priestess). At the time of other festivals, the Dev Chowk is drawn in the same way. A Chowk, according to the Warli women, however, is not drawn, it is written according to the words of the song that is sung accompanying the event.

For example, with the song lyric “tetha bijesara deva, jyaca bija padala, hota navarica ra deva… (the God of lighting was present, he gave us lighting, he was the God of the bride)’, the savasinis write the sun, light and the figure of the bride. That’s how the Chowk is written.

Warli painting on the wall

Madhubani

Madhubani painting is sometimes also referred to as Mithila painting, the name owed to its place of origin, Mithila in Bihar. Women have always played a significant role in its sustenance and development. In the past, women were the primary practitioners of this art form, using elaborate designs to decorate the walls and floors of their homes during festivals, holidays, and other significant events. These culturally significant paintings were handed down from mothers to daughters, preserving not just their skills and motifs, but also valuable cultural heritage through generations.

Even today, women are at the forefront of the Madhubani art movement, garnering recognition both domestically and internationally. While Madhubani paintings traditionally depict scenes from Hindu mythology and nature, women also use these paintings as a medium to express their social and personal narratives through Madhubani paintings. They address topics like female infanticide, the difficulties encountered by women in patriarchal cultures, etc., focusing on the contemporary lives and challenges faced by women in India.

Women's unwavering spirit, love for the artfrom and inventiveness have brought Madhubani painting back to life as a dynamic art form that combines traditional history with modern expression, preserving its heritage and maintaining its relevance for generations to come.

Godawari Dutta

Pattachitra

Pattachitra of Bengal is a tradition of visual storytelling. Stories are painted on long scrolls by the painters, known as Chitrakars, who gradually unfurl them while singing the stories. Pattachitra is known for its bold colours, lines and strokes. The songs are called Pater Gaan. Women play a vital role in taking Pattachitra tradition forward. The community resides at Naya village in Pingla of Paschim Medinipur district. Till a few years ago Pattachitra was mainly practiced by the men of the community. Today the women are actively engaged in safeguarding their heritage, and have created their own identities as artists. Today around 100 women of the village are involved in the art form. The journey of these women have not been easy owing to social norms, they were discouraged by society but it was their dreams and aspirations that kept them going amidst all the hardships. The women artists have been able to create their individual identity with their art. The path to success has been a long and tedious one. Practicing the art form has not only opened up avenues of financial independence for the women but also made them confident individuals and decision makers. Increasingly the youth have joined this traditional art as their regular profession. The artists make their own colours from various natural ingredients such as turmeric, annatto fruit, flat-bean leaf, burnt rice, white clay, teak leaves, etc. This is predominantly done by women at home. Today, the women Patuas are taking their products to the market, showcasing their art on prestigious national and international platforms. They have emerged as changemakers inspiring other women to follow the path of empowerment. They have also started spreading more awareness by conducting special workshops, painting on diverse objects, etc.

Patachitra of Bengal

Mata ni Pachedi

The lore goes that when the Vaghari tribe (nomads settled on the banks of the Sabarmati river) was denied entry into temples, they started painting pictures of goddesses and their stories on a piece of cloth, not just as a form of protest, but also as a form of devotion and worship. Now, equipped with social media and several collaborations, they are going global with the art-form. Children start their training of this art form at an age as young as 10 years. To create a Mata Ni Pachedi, cotton is soaked in water and then in myrobalan solution for a few minutes before sun-drying it. The outline of the goddess and the designs is drawn with the help of a bamboo stick and black dye. The colours are then filled inside the painting. Once they dry, the painting is washed and then boiled in water at a high temperature to ensure that it lasts. Gender roles are divided as the men go to the river to wash the cloth and draw while women make and fill colour, and boil the artwork. The women make colors from natural pigments - like red from geru or vermillion, yellow from turmeric and so on. They also fill in the paints into the drawings made by the men of the community and boil the final artwork. This is considered as a male dominated art form, as the contribution of women was not recognised until recently, as they were not allowed to be out in the public domain. However, with younger generations of women willing to learn and embrace this art form, and carry it all over the world, they are building an identity for themselves while preserving their cultural heritage.

Kutchi embroidery and applique work

The major occupation for women of different tribes in Kutch, including Rabaris, Meghwals, Ahirs, etc. is embroidery, patchwork and applique work. They are trained with these skills right from their childhood, with the art form passing down through generations from grandmothers and mothers to daughters. It is the only source of livelihood for a lot of these women belonging to rural and tribal communities. They engage in different types of embroidery like Rabari, Ahir, Suf, Mutwa, Kambira, Kharek, etc.

Women from the Meghwal tribe show stories of migration and pastoralism through patchwork.

These women support themselves as well as their families through these artworks. Initially meant for local use, they have gotten a boost due to the tourism industry and their work is now globally known and appreciated, giving them a platform to step out of their homes and also gain recognition.

India, Gujarat State, Kutch region, Ludiya village, near Bhuj, Meghwal tribe woman wearing traditional embroidered clothes posing in front of the blue wall of a hut Stock

Meghwal women of the Kutch area of Gujarat are famous for their embroidery skills.

Why are women so connected to their traditional and folk art forms, and how do they help preserve them?

Most traditional societies have a gendered division of role, where the men go out and earn by farming, trading and other occupations, the women run the household. These traditional arts are often a part of their culture, meant for functional, decorative, cultural or spiritual purposes, and since it is these women who participate more in all of these aspects, they learn these arts and crafts from a very young age, from their mothers and grandmothers. A lot of these art forms depict more natural, cultural and religious themes, which are inextricably linked to women’s lives, making it easier for them to express it through their art. It gives them an outlet to share their thoughts, ideas and perspectives of the world around them.

How do these art forms contribute to women empowerment?

While most of these art forms were initially meant for the family or the community, rise in globalization and tourism has led to them being popularised all around the world, and the demand for these artworks keeps rising. This helps the women earn a livelihood using their own skills, and gain financial independence, which is usually difficult otherwise for women in rural and tribal societies. Women may not be allowed to get a formal education, and are prohibited from working or going outside their villages. In such scenarios, learning this traditional knowledge and spreading their artwork throughout the world and gaining recognition through it, helps increase their horizon and gives them exposure to a world full of opportunities to create their own identity and grow. Many NGOs employ groups of tribal and rural women to practise their traditional arts and crafts and connect them to sellers, or help them sell their work and earn through it.

Challenges faced by these women

It is not easy for women to keep their traditional knowledge and cultural heritage intact, especially with the amount of restrictions faced by them in terms of stepping out of their houses, villages, showcasing their art in public spaces, difficulties in being educated or given a platform or chance to practise their art as a business and spread it to the world, while also being expected to maintain their household and fulfil their duties as a mother, wife, daughter, etc.

Irrespective of all the odds that they face, many women have resiliently stood up for their art forms, become financially independent themselves, helped other women and carried forth the legacy of keeping their traditional art forms alive.

Here are some more blogs on women artists and their contribution to keeping their cultural heritage alive -