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 extensive research, travel, and communication to grasp and manifest a creation that respects the people’s sentiments. One can find him on Instagram as Headhuntersink.

The artist clients are a selective group of people who are culturally aware and seek to express themselves in a meaningful way. His tattoos are inspired by the wisdom, knowledge, and lessons passed down by ancestors over hundreds and thousands of years. Despite our modern advancements, Mo Naga believes that we still crave connection and community. His clients come from various parts of the world and relate to his work. The tattoos that he creates convey a way of life and philosophy, and the aesthetics of it reflect the majesty of nature.

Although Mo Naga was once known for his realistic tattoo styles, he has shifted his focus towards promoting traditional art and its importance. Over the past 8-9 years, he has been spreading awareness about traditional art and tribal tattoos, which he specializes in. However, he is still happy to take on special requests from clients who have exciting ideas or want to express themselves through a tattoo that may not be traditional. Despite his main focus being on traditional tribal tattoos, Mo Naga is always happy to take on projects that allow him to express his artistry and create something meaningful and personal to his clients.

Mo Naga is creating the Tattoo Village, a space for traditional tattooing using thorns and natural pigments in a village setting, where people can learn and share. He recognizes the lack of such a space in contemporary society and hopes to preserve and promote the art of traditional tattooing. The Village will also have a Tattoo Garden and serve as a platform for people interested in traditional tattoos. Mo Naga’s ancestral village is the chosen location, and he has been appointed by the Ministry of Textiles Handloom of Manipur to support and promote handloom. Mo Naga plans to work with other cultural expressions of the people in the future, but for now, his focus and priority lie on the Tattoo Village. The Tattoo Village is his priority for now and aims to be fully operational next year.

For tattoo artists interested in incorporating traditional art into their work, Mo Naga emphasizes the significance of investing time and effort into learning and researching traditional art before incorporating it into their designs. He cautions against rushing the process, warning that a lack of research and understanding can result in confusion or even distortion of traditional art.

Who is your favourite tattoo artist?

My favourite artist is a traditional artist who had a significant impact on me, the artist, who was 86 years old, did a tattoo on me in 2016 and sadly passed away soon after. I look up to her and the traditional art and culture that she embodied.

Besides tattooing, what other forms of art do you enjoy, and how do they influence your work?

I am very much interested in making furniture, particularly chairs, but due to my current commitments to travel and generate funds for building the tattoo village, I do not have time to pursue this interest at the moment. Other art forms that I love to work on are making music with my friends and working with women’s organizations to protect handloom.

When you’re not working, how do you like to spend your free time, and do you have any hobbies or interests outside of tattooing?

I enjoy making music and designing, including creating furniture. However, I don’t have much time for these activities because I am focused on studying, promoting, and talking about Naga tattooing, as well as travelling to generate funds for the tattoo village. When I am in the forest, I am busy building the village, which involves cutting trees, building houses, and working on the ground. When not in the forest, I travel to different places.

What is your first love- Creating Music or Designing?

I enjoy music, but the design is an inherent part of my being. Despite not having had much time to pursue it lately, I view my work on the tattoo project as a duty rather than a passion or love.

May 1, 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

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