Arts and Theater

Art on Your Fingertips

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 artist as it has more immersive depth. We have an art inspiration feature where we ask the artists questions about the art form, which can be consumed by anyone on the app,” says Gaggar.

The Rooftop team believes in being completely transparent with the artists and keeping an open, clear line of communication and work based on trust. “Our journey to onboard artists for maestro courses is manifold. First, we create a list of all artists who have been practising the art for at least a decade if not more. Furthermore, we research their achievements and awards and based on the level of that we set up intensive meetings with them between the arts research team and me. I also make it a point to visit them at their homes to create a relationship that will put them at ease and help them understand Rooftop’s mission,” says Gaggar.

To ensure that they are putting out the best material, they have an in-house arts research team that works with the operations team to plan and structure the courses. They have set up a framework for their courses that they follow to create a standard process. There are four stages comprising the making of the maestro course – research, pre-production planning, shooting the course and post-production management. “Our core revenue comes from B2B and in the last 12 months, we have done workshops for corporates, for institutions as well as the Ministry of Culture, and about 80% of the revenue has come from there. From B2C we get money from workshop registrations and courses. Courses we assume will be one of the main revenue-generating sources. Award-winning artists who are part of courses make a royalty for life and in cases where there are multiple artists from the same family, we have bought that content because of that there are no issues. The Cheriyal family from Andhra Pradesh lived at different places, but we got the whole family together and we bought the content,” explains Gaggar.

The team has recently finished shooting Tibetan Thangka with Padmashree awardee Shri Wangchuk Bhutia. The next few courses that they plan to start researching are Kerala Mural and Kalamkari. The target groups include students, hobby artists, professional artists, art enthusiasts, art explorers like interior designers and architects and people who are just curious about art. Hobby artists get paid between ₹800 and ₹2000 and master artists get anywhere from ₹5000 to ₹20,000 and more but to be honest, the artists have never demanded that they be paid a specific amount.”

Customer feedback and vendor feedback are important aspects that they consider. For someone who wants to try the app, they offer a free workshop and an option to upload their work on the community space where they can take feedback from others. “We are looking at creating engagement first. Over the last three years, we have worked with over 2500 artists and we have created a supply of artists who can give art courses in India so we know whom we can work with,” says Gaggar. The team is also planning to organise and host multiple offline art workshops and talks in different cities in India. Currently, they are looking at Mumbai, Delhi, Pune, and Bangalore to start the schedule.

Gaggar has robust plans for the app going forward. “We want to work towards enhancing user experience, expanding market reach, building a strong online community, improving data analytics and insights, exploring commercial opportunities, and generating trust and value among the artisan community. With blockchain technology coming into the whole art space and the world of NFTs, we are excited to see the possibilities for creators,” he concludes.

June 29, 2023

Reviving the art of storytelling: Chitrakathi

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

Arts and Theater

Nurturing Artistic Talent: Sunaina Misra’s Vision for Artiste Culture

In the vibrant world of contemporary art, one name stands out for its unique approach to nurturing and managing artistic talent: Goa-based Sunaina Misra. As the founder of Artiste Culture, Sunaina has revolutionized how artists are managed, helping them navigate the complexities of the art industry. Her agency works directly with artists worldwide, assisting them in making connections and developing the skills needed to elevate their creative careers. Surabhi Goel had the pleasure of sitting down with Sunaina to discuss her background, the origin of Artiste Culture, and her vision for the future. I always grew up in an environment where my mother encouraged me to explore art in various forms, painting or visiting galleries. She wanted me to find my passion, so she enrolled me in different classes, from basketball to art. By age 15, I started working with an artist in Lucknow, helping him in his studio. There, I discovered my knack for organizing and managing artistic tasks, such as typing resumes and basic computer tasks. This experience sparked my interest in art management. Later, I pursued my Master’s in Art and Design Management in Newcastle, which solidified my understanding of the field. After various roles, including working for an art start-up and a museum, COVID-19 hit, leading me to start Artiste Culture. A blend of necessity and passion drove me to create a platform to support artists during uncertain times. The inspiration came from identifying gaps within the industry. Artists often struggled with managing their careers while focusing on their art. I wanted to create a space where artists could focus on creating while we took care of everything else—finding exhibitions, writing citations, and managing logistics. My vision was to build a multicultural and diverse environment that supports artists from all over the world. Over time, Artiste

Arts and Theater

5 Prolific Women Contemporary Indian Artists to Watch for in 2024

In 2023, women artists from India achieved new heights and were lauded worldwide. With Amrita Sher-Gil’s work ‘The Story Teller’ becoming the most expensive Indian artwork ever sold, Google honouring Zarina Hashmi for her life’s work, and Nalini Malani winning the 2023 Kyoto Prize, Indian women artists in both modern and contemporary art are gaining momentum. This year, contemporary Indian women artists continued to wield their creativity as a powerful force, shaping the art scene and contributing to the evolution of societal narratives. With 2024 upon us, the recognition and interest Indian women artists receive will only continue to rise. Sneha Gautam, Senior Vice President at AstaGuru Auction House, lists some eminent women artists whom art enthusiasts and collectors should watch for in this year. Nalini Malani: Among the trailblazers in the contemporary art scene who are making an impact on a global scale is painter and multimedia artist Nalini Malani, recognised for her innovative use of technology and distinctive visual language. Born in Karachi in 1946, she studied at Sir J.J. School of Arts and became one of India’s video art pioneers. Malani’s work often explores themes of feminism, war, and the human condition, challenging viewers to engage with complex issues in new and thought-provoking ways. Her dedication to seeing the artist as an activist and her exploration of womanhood through various media has indelibly impacted India’s contemporary art. Bharti Kher: Influential contemporary Indian artist Bharti Kher was born in London to Indian immigrant parents in 1969. She captivates with her avant-garde creations that transcend traditional boundaries and is best known for works constructed with many bindis. Renowned for her thought-provoking sculptures and installations, Kher often explores themes of identity, mythology, and the female form. With a unique artistic vocabulary, she challenges conventional notions, using unconventional materials to craft

Arts and Theater

Resurrecting the Art of Naga Tattooing

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