How these organisations are rescuing India’s traditional arts from obliteration

From the rhythmic beats of tribal dances to the vibrant hues of storytelling scrolls,India’s traditional art forms are testaments to its rich cultural heritage. However, the relentless march of modernisation and the allure of global trends have left many of these traditions struggling for survival.

Gond art, practised by one of India’s largest tribal communities from Madhya Pradesh and Chhatisgarh (erstwhile Bihar), transforms nature and daily life into vibrant paintings made with natural pigments. However, as Gond families migrate to urban centres, this ancient visual language risks being lost. Similarly, Dhokra metalwork, a 4,000-year-old craft originating from Bastar district in Chhatisgarh, uses the lost-wax casting technique to create intricate sculptures of deities, animals, and everyday life. It now faces extinction due to rising material costs and a dwindling number of young artisans willing to endure its labour-intensive methods. Meanwhile, Phad painting, a Rajasthani tradition, narrates sacred tales of folk heroes and deities on handwoven cloth scrolls. These scrolls once served as mobile temples for devotional storytelling. Yet today, the art form is in decline, with modern entertainment replacing the communal performances that once animated these stories. 

Two organisations stand as steadfast guardians against the erosion of such indigenous art forms. Bridge Bharat and Kalaraksha, though distinct in their origins, share a profound commitment to revive India’s fading traditional arts.

PRESERVING HERITAGE

Bridge Bharat’s journey began in 2022, sparked by founder Aakanksha Singh’s visit to Chamba, where Padma Shri Lalita Vakil expanded the horizons of Chamba Rumal embroidery. This experience shaped the organisation’s mission. “Our work is about creating continuity for these crafts, not just by preserving them but by reimagining their relevance in today’s world,” explains Singh.Their project, Songs of Day and Night, exemplifies this philosophy, weaving together Gond painting, Chikankari embroidery,and Chamba Rumal embroidery into an immersive artistic narrative.

In contrast, Kalaraksha, located in Kutch, Gujarat, has been a sanctuary for endangered crafts since its inception in 1993. With a focus on empowering rural women artisans, the organisation is anchored in community- driven preservation. “Artisan initiative and participation are the pillars of our work,” asserts Mukesh, manager at Kalaraksha Foundation, emphasising their ethos of transformation through collaboration. By involving artisans in design and marketing decisions, Kalaraksha ensures that preservation is a dynamic process driven by those who inherit and practise the craft.

CROSSING HURDLES, FORGING FUTURES

The path to preserving India’s traditional arts is fraught with challenges. One of the most pressing issues is the decline in generational transmission of skills. “Many young artisans are reluctant to continue their ancestral crafts,” explains Singh, citing financial instability and inconsistent patronage as major deterrents.This hesitation is compounded by the allure of urban opportunities, which often pull younger generations away from their cultural roots.

Kalaraksha highlights additional hurdles such as the influx of machine-made products and limited market access for handmade crafts.“The competition is relentless, and it devalues the effort and artistry behind these traditions,” says Mukesh. Logistical challenges, from reaching remote artisan communities to sourcing traditional materials, further complicate their work. Resistance to innovation presents another challenge. “These arts survive because they adapt,” asserts Singh. Similarly, Kalaraksha emphasises that innovation does not mean erasure but rather a reimagining of heritage. “Artisans must feel empowered to experiment while staying true to their roots,” adds Mukesh.

Looking ahead, both organisations recognise that collaboration, education, and market integration are essential for sustainability. Bridge Bharat envisions greater interdisciplinary work, blending traditional arts with modern mediums to “reinterpret these forms for today’s world.” Meanwhile, Kalaraksha focuses on connecting artisans to exhibitions and online platforms, advocating for stronger partnerships between organisations, governments, and craft communities. Education remains central to their efforts. Bridge Bharat prioritises documenting histories through workshops and films while Kalaraksha’s museum stands as a testament to their commitment to awareness.

A CALL TO ACTION

Bridge Bharat and Kalaraksha remind us that safeguarding heritage means safeguarding the people behind it. Protecting art cannot exist in isolation from protecting the artist. For every Gond painting, Phad scroll, or Dhokra sculpture to survive, there must be a community of support, advocacy, and opportunity standing behind it. It is a call to all—to safeguard not just what we create, but the very essence of who we are.

Images: Courtesy Bridge Bharat, Kalaraksha Foundation, and Getty Images

This piece originally appeared in the January-February print edition of Harper's Bazaar India.

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