Although there can never be a strong sense of tranquillity beside chaotic activity, Sanjay Das’ images can conjure both at once. Das’ black and white frames capture a myriad of festivals, performances, performers, daily life, mansions, and craft traditions belonging to rural Bengal. The stillness seeps in via the locale — a rural setting.
Through his ongoing show, ‘The Red Hibiscus Trail’, Delhi-based Das wants to shine a light on rural Bengal. “The new generation is neither aware nor does it want to believe that we have such a rich culture, as it hasn’t connected with their roots. I want to highlight the nuanced customs and festivals of rural India. If we don’t capture them now, they will be lost forever,” says Das.
Sanjay Das | Photo Credit: SPECIAL ARRANGEMENT
He shares that not many know that in some villages in West Bengal, people mourn the death of Mahishasura. “Rural Durga Puja is very different from what you see or hear of in Calcutta or any other urban city. In a particular Durga Puja, the deity is worshipped sitting in the lap of a young girl.”
The artist has captured several such nuggets during his travels to Bengal since 2012. Driving to the interiors of the state, he documents rare terracotta temples, tribes, architectural heritage, rituals, and the folk arts of the region. Viewers will find photographs of Nachni performers in the show. Similar to the courtesans or baijis in North India, the nachnis performed at estates of chieftains, wealthy landlords or at the courts of regional monarchs. The nachnis dance to something called ‘Jhumur’, a folk art form for retelling the stories of Ramayana, Radha Krishna through music and dance. These days, according to Das, one can find nachnis performing only during Durga puja.
Curator Ina Puri says, “ The photographer has shared the trail of his trajectory when he began crisscrossing Bengal, often in his trusted vehicle by himself. On these journeys, he would find himself in the interiors of villages documenting the lives of the ordinary craftsmen who lived in the area. It could be the ‘mridangam’ players, the ‘shankha’ jewellers, the ‘sholaa’ craftsmen, the ‘kantha’ makers or weavers eking out their income by creating their products and then handing them over to a middleman to find a good price in the city.”
The Performer | Photo Credit: SPECIAL ARRANGEMENT
“Sanjay merged with the locals and accepted their hospitality by sleeping in their homes, bathing in the ponds as was the norm and sharing simple meals with them while he planned his day’s work. The stories he had grown up on were now a part of his reality; he befriended the boatmen and accompanied them as they crossed the wide expanse of the rivers, listening to their tales and songs,” she adds.
Das’ collection achieves significance in the light of these traditions slipping into oblivion.
The exhibition showcases 100 black and white images (archival prints on paper) in sizes that range from 5 feet to 12 feet.
“The exhibition took over 3 years to plan. Post-pandemic, we had enough time to select the works and edit the show to its best advantage. We focused on Bengal’s rural areas and craftsmanship. Even individual narratives like the Nachni’s. Traditional rituals involving ‘Tusu’ worship also played a role,” says Ina.
Fauti Masjid | Photo Credit: SPECIAL ARRANGEMENT
Asura | Photo Credit: SPECIAL ARRANGEMENT
( (At Gallery Ragini; Taj Ambassador, Khan Market; Till December 31; 11am to 7pm)
