Folk and Tribal Art of India

Course Type	Course Code	No. Of Credits
Discipline Elective	SCC2VA208	4

Course coordinator and team: Dr. Kshama Divedi

1. Does the course connect to, build on or overlap with any other courses offered in AUD?

This course complements studio practice, visual culture, and contemporary art courses offered within the Visual Art programme by introducing students to indigenous visual traditions and community-based knowledge systems. It connects with courses dealing with material practices, cultural studies, and heritage discourse by situating art within social, ecological, and ritual contexts. Rather than overlapping, it expands the curriculum by integrating Indian Knowledge Systems, field research, and community-based visual practices into contemporary artistic inquiry.

2. Specific requirements on the part of students who can be admitted to this course:

students and related disciplines Basic familiarity with drawing, painting, or visual analysis Ability to engage with historical texts and visual material. Willingness to undertak research-based and practice-led inquiry

3. No. of students to be admitted (with justification if lower than usual cohort size is proposed):

1The limited intake is necessary due to the intensive nature of visual analysis sessions, close reading of manuscripts and paintings, seminar-based discussions, and individualized feedback on research and practice-based projects.

4. Course scheduling:

(winter/mansoon course; semester-long course; half-semester course; workshop mode; seminar mode; any other ) Winter Semeste, Semester-long course, Studio and Seminar Mode

5. Proposed date of launch:

Proposed for launch; submitted for review and approval

6. How does the course link with the vision of AUD and the specific programme(s) where it is being offered?

The course aligns with AUD’s vision of interdisciplinary, socially engaged, and experiential learning by emphasizing field-based research, cultural diversity, and ecological awareness. It supports the Visual Art programme by fostering critical understanding of indigenous aesthetics, sustainability, and ethical artistic engagement. By connecting traditional knowledge with contemporary practice, the course promotes cultural sensitivity, research-based learning, and creative innovation consistent with NEP 2020 and AUD’s commitment to inclusive and context-responsive education.

course Introduction

India’s folk and tribal art traditions are living reflections of the social, spiritual, and ecological harmony that defines its cultural identity. Each form—whether painted, carved, woven, or performed—embodies the rhythm of local life, communal values, and the cosmology of indigenous people. This course approaches these artistic practices not only as visual expressions but as integral elements of India’s cultural and philosophical worldview.

Students will engage critically and creatively with folk and tribal arts through documentation, analysis, and studio practice, while understanding how these forms have evolved, adapted, and continue to influence contemporary art and design practices in India.

Aim of the Course

The course aims to cultivate a comprehensive, critical, and creative understanding of India’s folk and tribal art traditions as living visual systems deeply intertwined with community, ecology, ritual, and everyday life.

Specifically, the course intends to:

Develop deep insight into the symbolic, spiritual, and socio-cultural dimensions of folk and tribal art, exploring how visual forms articulate beliefs, values, and communal identity.2. Examine the interplay between environment, resources, and artistic production, highlighting the sustainable and ecological practices embedded in these traditions.
Encourage students to critically engage with issues of authenticity, representation, gender roles, authorship, and cultural ownership in indigenous art.
Foster field-based learning, documentation, and critical observation to understand living traditions beyond textual knowledge.
Promote creative reinterpretation of traditional motifs, patterns, and processes in contemporary art, design, and visual research.
Inspire a reflective understanding of how folk and tribal arts sustain cultural memory, foster social cohesion, and contribute to national and global artistic heritage.
Equip students to develop a responsible, ethically-informed, and culturally-sensitive approach to integrating traditional visual knowledge into their professional artistic practice.

Course Outcomes

By the end of the course, students will be able to:

Demonstrate a scholarly and artistic understanding of India’s diverse folk and tribal visual traditions.
Analyze symbolism, materials, techniques, and processes within specific regional and community contexts.
Connect visual expressions to social, religious, ecological, and economic dimensions of community life.
Produce creative projects inspired by folk and tribal art, integrating traditional aesthetics with contemporary interpretation.
Conduct critical field research, documentation, and analysis of indigenous visual practices.
Evaluate issues of cultural preservation, sustainability, and global representation, understanding the ethical dimensions of artistic engagement with living traditions.
Develop a personal artistic vocabulary enriched by traditional forms, fostering innovation while respecting cultural integrity.
Present their work and research with academic rigor, visual clarity, and contextual understanding, suitable for both scholarly and professional forums.

Modules

Module 1: Understanding with Origin of Folk and Tribal Art in India – Theoretical Frameworks, Defining Folk, Tribal, and Indigenous Art within Indian context.The aesthetics of community and collective creativity.Oral traditions, symbolism, and mythic imagination. Anthropological and art historical perspectives on traditional visual cultures.

Module 2: Regional Case Studies – Diversity of Artistic Practices

In-depth study of selected traditions: Madhubani (Bihar), Gond (Madhya Pradesh), Warli (Maharashtra), Pattachitra (Odisha), Phad (Rajasthan), Kalamkari (Andhra Pradesh/Telangana), Sohrai (Jharkhand).

Techniques, motifs, materials, and narrative traditions. Comparative study of visual languages and cosmological frameworks.

Module 3: Materiality, Process, and the Role of Women's Community.Understanding the role of materials, tools, and natural pigments.The ritual, performative, and participatory nature of creation.Women’s role and gendered space in traditional art-making. Relationship between art, livelihood, and ecology.

Module 4: Folk and Tribal Art in Contemporary Discourse

The transition of traditional art into the modern market.The role of museums, cultural institutions, and NGOs.Issues of authenticity, commodification, and cultural ownership. Case studies of artists bridging traditional and modern expressions (e.g., Jivya Soma Mashe, Bhajju Shyam, Baua Devi).

Teaching Methods

Illustrated lectures and visual analysis
Field visits and community interaction
Studio-based workshops integrating folk motifs and techniques
Group discussions and critical reflections
Visual documentation and reflective journals

Evaluation Scheme

Class participation and discussions: 20%
Fieldwork documentation/report: 20%
Studio-based creative project: 40%
Final presentation and viva voce: 20%

Suggested Readings

Coomaraswamy, Ananda K. The Transformation of Nature in Art. Dover Publications, 1956. Recommended Chapters: The Nature of Traditional Art, The Theory of Traditional Art”Symbolism and Visual Form”(These chapters help students understand Indian aesthetic philosophy and symbolic frameworks.)
Jain, Jyotindra. Indian Folk Art and Culture. National Book Trust, India, 2012. Recommended Chapters: Defining Folk and Tribal Art, Ritual and Community Practices, Art and Everyday Life (Useful for Module 1 and Module 3 discussions.)
Sharma, Jyotsna. Folk and Tribal Art of India. National Museum Institute Publication, 2018. Recommended Chapters: Regional Diversity in Folk Traditions, Materiality and Indigenous Techniques, Contemporary Challenges”
R. C. Sharma, editor. Folk Art Traditions of India. IGNCA, 2010. Recommended Chapters: Community and Collective Creativity, Women and Folk Traditions, Art and Ecology”
Devy, G. N., editor. Painted Words: An Anthology of Tribal Literature. Penguin India, 2002. Recommended Sections: Selected tribal myths and narratives connected to Gond and Warli traditions (Useful for understanding oral tradition and narrative frameworks.) Regional Case Study Readings (Module 2)
Neumayer, Erwin, and Christine Schelberger. Warli: Painted World. Prestel Publishing, 1994. Recommended Chapters Cosmology of the Warli World, Techniques and Ritual Context”
Devi, Ganga. Mithila Painting: Tradition and Innovation. Mapin Publishing, 1994. Recommended Chapters Women and Mithila Art,Transformation in the Modern Market”
Dutta, Ranjan, and Jyotindra Dutta. Handcrafted Heritage of India. Rupa Publications, 2015. Recommended Chapters Kalamkari Traditions, Phad and Narrative Scroll Painting,Pattachitra of Odisha”
Jangid, Narayan. Lok Kala aur Lok Sanskriti. Rajkamal Prakashan, 2008. Recommended Chapters: Lok Kala ka Samajik Sandarbh, Rajasthan ki Phad Parampara”
Trivedi, Kapila. Bharatiya Lok Kala: Ek Samajik Drishti. Bharatiya Vidya Bhavan, 1990. Recommended Chapters Lok Kala aur Samaj, Mahilaon ka Yogdan, Broader Art Historical Context 11.Goetz, Hermann. The Arts and Crafts of India and Tibet. Yale University Press, 1955. Recommended Chapters Traditional Craft Practices, Rural Artistic Systems”
Kramrisch, Stella. The Art of India: Traditions of Indian Sculpture and Painting. Phaidon Press, 1954. Recommended Chapters Indian Concepts of Form, Myth and Image” (Optional Addition for Contemporary Discourse Module 4) Mitter, Partha. Indian Art. Oxford University Press, 2001. Recommended Chapter The Modern Encounter and Indigenous Traditions.