'A plane taking off is as much of a miracle as an elephant flying...' |
ORDINARY phrases cannot quite sum
up the charm of Bhajju Shyam. It seems unfair to describe his adventures in London as those of an
innocent in wonderland. Or to paraphrase his take on the British capital across
the urban-rural global divide. Or to negotiate his unusual vision of western
mores as the quirky insights of a Gond tribal artist from Madhya Pradesh.
Bhajju’s first publication, “The London Jungle Book,” co-published by
Chennai-based Tara Publishing and the Museum of London,
was released at Barista’s on St. Mark’s Road on March 5, courtesy the British
Council.
His very individualistic travelogue
brilliantly recreates Bhajju’s first trip abroad in 2002 to paint traditional
Gond panels at London’s
Masala Zone restaurant over two months with fellow adivasi painter Ram Singh
Urvethi, at the instance of cultural czar Rajeev Sethi. While Bhajju’s
interpretative visuals are stunning, his narrative ~ fine-tuned by Tara’s Sirish Rao and Gita Wolf ~ is deeply autobiographical.
On 33-year-old Bhajju’s pages, London becomes a brilliant
bestiary. He interprets Big Ben as a rooster, the Gond symbol for time. His
complex emotions at leaving his village
of Patangarh are rendered
as a sad-happy face, whose banyan-like strands of hair connect with
culture-specific images like a mango for food, a porcupine to ward off the evil
eye, or a cart loaded with life’s essentials. The black-clad London crowds who disappear into pubs each
evening are interpreted as bats.
Even a random sampling captures
this wide-eyed traveler’s zest for the experience. Under a picture of an ornate
blue-grey elephant in flight, Bhajju writes, “The heaviest animal I have ever
seen is an elephant. So that is the creature that came to my mind when I painted
the plane. A plane taking off is as much of a miracle as an elephant flying. I
have put the trees upside-down in the sky, and the clouds below, because flying
turned my world upside down.”
Speaking in Hindi, Bhajju later
explains during an interview at Hotel Grand Ashok, “I’ve only painted in my
village on festive or ritual occasions. When I didn’t earn enough, I even
worked as a security guard. At Patangarh, we work mainly with four natural
pigments. But now, I use so many acrylic colours.”
It was during a Tara-sparked 2003
illustrators’ workshop at Dakshinachitra, outside Chennai, that the publishers
first shared Bhajju’s London
experience. Over three months, the book finally took shape, a giant leap from
his inherited visual vocabulary.
Pointing to a tongue-in-cheek
self-portrait in orange legwear and fluorescent headgear, a black (very
British) brolly in hand, Bhajju says, “Here, I see myself as a Londoner on my
first trip. But when I went back in November 2004 for the book release at the Museum of London, there was less wonder in that
journey.”
“I got tired of telling my London stories to the
proud Patangarh villagers,” smiles Bhajju. “Instead of the traditional Gond
bard or bhujrukh, suddenly everyone ~ even the elders ~ wanted to listen to me.
I’m a villager who has traveled, but I know Patangarh is where I’ll always
belong. My parampara, my inheritance, is important to me.”
How does Bhajju feel about his
book’s Italian and Dutch translations?
Or the ongoing nine-month traveling UK exhibition of his art? “How
could I dream that my book would be so well-received? You know, there was an
English lady in a wheelchair who would visit the exhibition every day?”
exclaims Bhajju.
In Chennai, Tara
is already engaged with his second visual book ~ of fantastical creatures
created in his inimitable vein. And from March 8, an exhibition of Bhajju’s
drawings about the reach of radio, done for the BBC, will tour Madhya Pradesh
and Jharkhand.
Bhajju’s book raises core issues
within the visual debate. Is the contemporary-folk schism widening? Are we
re-tribalizing these artists by limiting their reach? How do we gauge
authenticity and ethnicity? Iconic crafts interpreter Jyotindra Jain brought
these into focus at the launch.
Last century, English anthropologist
Verrier Elwin married a Gond and settled among them. Today, as Bhajju observed
to his Tara editors, “Elwin sahib wrote about
my tribe; now it is my turn to write about his!” A case of tilting scales? Or
one in which the former empire bites back?
(The Hindu Metroplus, Bangalore, March 2005)
(The Hindu Metroplus, Bangalore, March 2005)
This is one of my favourite books and I was happy to 'meet' the author in this interview.
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