The once popular Chitrakathi, storytelling through paintings, is brought back to life by the Gangawane family in Maharashtra’s Sindhudurg. Ketki Gadre interviews the last family practicing this art form to delve into their motivations and the supporters who have aided them on this journey. After a long day of trekking the Western Ghats around Bhogwe Beach in Sindhudurg, my luxury resort, Coco Shambhala, suggested an unusual activity – an art class. They agreed to it and invited Chetan Gangavane, a third-generation Chitrakathi artist working to revive this art form. Chitrakathi Art While setting up the art activity, Mr Chetan briefs me about the 11 art forms his community (Thakar) has been involved with for generations. His family currently practices three art forms unique to Maharashtra: String puppetry, Chitrakathi, and Shadow puppetry. “Chitrakathi involves storytelling through art on a 12×15” or 12×18” canvas, which can take 1-3 days to complete, depending on the painting’s intricacy. Traditionally, these paintings depicted scenes from mythological epics like the Ramayana and Mahabharata, accompanied by live singers playing instruments. Therefore, Chitrakathi artists needed not only painting skills but also the ability to sing and play instruments,” explains Mr. Chetan. The Thakar community, an Adivasi tribe living in the forests, gained recognition for their art from the erstwhile warrior king Chhatrapati Shivaji Maharaj. He brought them out of forests and closer to towns and provided them opportunities to perform art shows during festivals. In return, the community assisted the king by spreading messages of social enlightenment through their art. The artists earned their livelihood for many years through food or monetary donations. However, over time, attitudes shifted, and people stopped donating food and began treating them with disrespect. The Gangavane family is the last Thakar community to practice this centuries-old art form. The rest gave up with

Rooftop is a community-driven art experiences marketplace App that makes traditional Indian art forms accessible to the world. This App is a one-stop destination for all art needs, which is bridging the gap between Indian artisans and art lovers all over the world. This first-of-its-kind art technology company endeavours to curate art and recreational activities based on traditional art. Bindu Gopal Rao in conversation with the Founder of Rooftop, Kartik Gaggar. Rooftop was started to help the arts and artists. “Whilst travelling I came across so many different indigenous artists that were struggling to create value for their crafts. I was impressed with their skills and the passion with which they continued to love their heritage despite the challenges. When I started Rajasthan Studio, I wanted to bring art lovers closer to the artists and regenerate value for the arts. In 2020, when the pandemic hit, this provided me with an opportunity to revamp and pivot to a digital/online space with Rooftop. This enterprise was a brainchild of long hours of work, tears, and a zeal to make Indian traditional arts mainstream again,” explains Kartik Gaggar, CEO & Founder, of Rooftop. So how does it work? Rooftop works for art lovers and artists. It intends to connect the two and create revenue and value for different art forms scattered around the country. Rooftop onboards artists and experts based on their level of skills and love for their craft. The team record either workshops or courses with them to then market the same to different target audiences ranging from simple art lovers to hardcore artists. They also have subscription plans for people who are passionate about learning and upskilling. “Subscription is a great way to consume art and courses are great as it also gives you a personal connection with the

Morangam Khaling (Mo Naga or Mo), a member of the UIPO Naga tribe from Manipur and a fashion apparel graduate from NIFT stumbled upon tattooing during college and was intrigued. After researching its significance, he began studying and travelling to remote villages in North East in 2012 to learn more, eventually dedicating himself to preserving the art form. In conversation with Surabhi Goel, he shares his journey of reviving Naga tattooing. Mo explains that while there is now ample information available online about Naga tattooing, he began researching the art form in 2007 when information was scarce. He espouses the notion that traditions are serving as vital identity markers, abound across India, and tattoos are not an exception. They serve as powerful expressions of one’s status and culture and convey narratives about their persona. In the present era, grasping the significance of tattoos, and how they contribute to the formation of our cultural expression and identity, is crucial. Previously, tattoos had been relegated to insignificance. However, Mo Naga is determined to create awareness and promote the recognition of their importance. The fruits of his labour are becoming evident, with scholars and students increasingly studying this art form, bringing it to the forefront as an indispensable component of India’s cultural heritage. Mo Naga’s approach to incorporating traditional tattoos into his designs involves a deep understanding and appreciation of the art form’s significance in the identity, culture, and expressions of the people. He endeavours to disseminate awareness among those who have discontinued tattooing due to societal influence, which has deemed tattoos to be insignificant in the context of modern-day living. He is meticulous in his approach to avoid appropriating or weakening the integrity of the art, instead inspiring individuals to delve into their ancestral heritage. To achieve this goal, he engages in