I had the honour of presenting my documentary, Purulia Chhau Dance and the Mask Makers: A Reflective Story, at the Global dis:connect Summer School 2024 at Ludwig Maximilian University, Munich. It was an enriching experience to screen my film, which has been a two-decade-long journey documenting the Purulia Chhau dance culture of West Bengal, India. This summer school brought together an inspiring group of scholars, creative professionals, and artists to explore disconnection and connection in cultural infrastructures—a theme that deeply connects with the narrative of my film.
The documentary explores the heritage of Purulia Chhau, a traditional martial dance-drama rooted in ancient mythologies, and the rituals that are integral to this art form. Through the lens of my film, I invited the audience into the lives of two artisans, Jaggu and Somu Sutradhar, a father and son duo from Choridah village. This community has, for generations, created the elaborate masks that define the characters of Chhau dance. For me, Choridah represents an alternative form of cultural infrastructure—one that operates with limited external support yet sustains itself through sheer dedication, skill, and passion.
Presenting this work at the Global dis:connect platform was particularly meaningful as the event sought to address the dynamics of cultural infrastructure in the context of globalisation. My documentary reflects the very essence of this theme: how a remote village like Choridah is influenced by globalisation, while still preserving its traditional identity. The internet, tourism, and modern demands have brought new challenges, but the artisans and performers continue their work with great patience and hope. It was gratifying to share with the participants how traditional practices like mask-making are being redefined by younger generations, particularly the increasing involvement of women both as mask makers and Chhau dancers, which is a significant shift in a historically male-dominated sphere.
The summer school attracted a diverse group of participants, including MA and PhD students, academics, and artists from various disciplines. The discussions following the screening were thought-provoking. Many were interested in how rural communities like Choridah navigate external pressures while maintaining their identity and heritage. There were also questions about whether these traditions can survive in their true form or if they will gradually transform into something entirely different. This has been a key theme in my film, and I was glad to see it connecting with the audience.
For me, Purulia Chhau Dance and the Mask Makers: A Reflective Story is not just a film, it is a tribute to the remarkable artists, performers, and artisans who keep the Chhau tradition alive despite the hardships they face. It also honours my parents, Vijoy Kishore and Mira Kishore, whose commitment to promoting Purulia Chhau deeply influenced my work. My journey documenting Chhau began under the tutelage of Padma Shri Nepal Mahato and Lalit Mahato, and over the years, it has evolved into a lifelong passion.
The summer school provided a platform to discuss broader themes of cultural infrastructure and the impact of globalisation, but it also brought the personal stories of communities like Choridah into focus. I look forward to furthering these discussions in the future and continuing to advocate for the recognition and preservation of such invaluable cultural practices.
For those interested, the documentary will continue to be screened at various cultural and academic events, and I hope it sparks further dialogue about the importance of supporting and preserving traditional arts in a rapidly changing world.
コメント