tribal art museum-bhopal

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Transcript of tribal art museum-bhopal

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TRIBAL ART MUSEUMCASE STUDY ON

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INTRODUCTIONThe Museum of Tribal Heritage at Bhopal was commissioned

by the Government of Madhya Pradesh in 2004 since over 30% of the population of the state is tribal. It’s architecture was informed by their rich culture, evolved over millennia.

The architecture of the museum, integrates seamlessly into a continuum, the outside with the inside, the natural with the human construct, the tribal with the urban and the viewer

with the viewed.

The cultural diversity seen in Madhya Pradesh is hard to find anywhere else. Almost oblivious of political boundaries,

communities living in states’ peripheries, tribal communities continue linguistic, lifestyle, music and cultural exchanges.

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SITE LOCATIONLOCATION:-LONGITUDE:-

LATITUDE:-ALTITUDE:-

Madhya Pradesh Tribal MuseumShyamala Hills, Bhopal 462002, Madhya Pradesh.

77° 23‘05.16 E23° 14’04.23 N1856 FT

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DESIGN FEATURESThe architecture of the Museum is inspired by tribal rhythms,

geometries, materials, forms, aesthetics and spatial consciousness, these very qualities are now acting as points of inspiration for the

display materials being created by tribal artisans, supported by anthropologists, sociologists and social workers.

The structure is built of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. Steel seemed to be a natural choice in the land & location of ancient Iron Age & Bronze Age civilizations, and

the contemporary truck body building industry.

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SIMILAR BUILDING NEAR BYThe State Museum of Bhopal.

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SIMILAR BUILDING NEAR BYThe State Museum of Bhopal is amongst the best-designed

museums in India. The museum has 16 different theme galleries, showcasing the

State's sculptural masterpieces, pre-historic articles and fossils, excavated objects, epigraphs, manuscripts, paintings, royal

collection, textile, documents, postal stamps, autographs, miniature paintings, coins, arms and weapons, articles associated with India's freedom struggle. The museum also has reproductions of the now-destroyed Buddhist Bagh Cave paintings, 84 rare Jaina bronzes of the 8th to 11th centuries, Avalokesteshwaras of Lamaism, Saivite

sculptures and miniature paintings showing the graceful lifestyles of those distant days.

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LAND MARK NEAR THE SITE1.REGIONAL COLLEDGE OF BHOPAL

2.SRC BHARAT SCOUT AND GUIDE M.P.

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CULTURAL DIVERSITYGALLERY 1

The task of establishing this specialty of Madhya Pradesh and better understanding and display of its multi-dimensional culture will be accomplished in Gallery -1. The gallery will be arranged in manner that will leave a deep impact on visitors about Madhya Pradesh’s multi-pronged cultural presence. Like shoots of banyan tree spread far and wide and are not confined to some definite limits, in the same way culture of various tribes of Madhya Pradesh will be put on display over there. Visitors will directly observe here as to how cultural offshoots of a tribal community crawl into other tribes beyond borders of neighboring state. Pattern of the gallery will be briefly as under:-

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CULTURAL DIVERSITYGALLERY 1

1.A glimpse of Madhya Pradesh’s map will be put up in entire middle part of the gallery in such a way that a visitor will have inkling about state’s geographical contours, hills, plateaus, forest and serpentine path of lifeline Narmada. Despite being map of Madhya Pradesh, it will give visual effect of an uneven hillock.

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CULTURAL DIVERSITYGALLERY 1

2. A banyan tree will be built amidst this map or hillock. Offshoots of the banyan tree will be spread up to sky (gallery’s high ceiling) and surrounding states’ tribal culture (whose glimpse will be shown on the gallery’s walls) whereas roots will be spread on the gallery’s floor. This vast tree will be made a via media for various mediums so that there is no excessive burden despite it being strong so that gigantic and majestic look of the banyan tree (which is also state tree and state’s emblem) is maintained.

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CULTURAL DIVERSITYGALLERY 1

3.Geographical presence of all the major tribes living in Madhya Pradesh will be symbolically shown on the map drawn in the lower part of the gallery with the help of their important symbols.

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CULTURAL DIVERSITYGALLERY 1

4.Gallery’s vastness and high ceiling motivates for making innovations and there is scope for it also. A staircase will rise from

a place in the gallery and then join ramps built above around entire gallery. Visitors will climb up the ramps and have a bird’s eye view of Madhya Pradesh’s map. They will also feel themselves as a

part of this vast cultural banyan tree.Down there at the places adjoining walls, there will be various sculptures etc. showing tribal life and culture of the state and

bordering states, which will help visitors analyze differences and similarities between both the cultures.

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CULTURAL DIVERSITYGALLERY 1

5.Flag-like maps will be hanged from branches of banyan tree showing special features/similarities between various tribal

communities. These will be displayed in the form of banners and scrolls.

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TRIBAL LIFEGALLERY 2

A mammoth container for storing food grains has been built in the gallery from where one enters gallery -2 from gallery -1. This food grains container is used in Gond tribal homes for creating a partition, keeping food grains safe, as a canvas for wall paining and keeping household things in cavities made on it while the vacant space in between is used for moving in and out.

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TRIBAL LIFEGALLERY 2

1.Artists from Mandla have painted various images on its walls with clay and colours , which also give an insight on production of food grains and the methods a Gond woman uses for keeping the grains safe. Information about exhibits on various diverse aspects of tribal culture shown in gallery -2 will be given with the help of

ultramodern mediums and equipments.

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TRIBAL LIFEGALLERY 2

2.It explicit that neither can types of houses of all the tribes of Madhya Pradesh be shown in the limited area of gallery nor it is desirable in the context of this museum. Here, only hints are being given about these houses’ architectural, style-related, behavioral and material features.

Changes underwent by dwellings or homes of these tribal communities are also being highlighted here. For examples, walls of Baiga dwellings

were earlier made with some strong plant parts or grass. Later, they started making walls by applying mud on bamboo grills and finally walls

were made of mud and then with bricks. Earlier, leaves were used to make a thatch followed by some specific types of grass and then with factory-made English tiles. Analysis of this process of change will also

help understand changes witnessed in tribal areas.

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TRIBAL LIFEGALLERY 2

3.In these dwellings, importance of open courtyard, trees in the courtyard, presence of cattle in homes like family members is also being displayed properly. Impression of only outer portion of some houses will be made while effort will be made to create geographical dimensions of some houses. For example, dwellings of Bhil tribe are lonely and on some small hillock and effort is being made here to show a similar look. Paintings of important household things are also being made. Specialties of these simple dwellings and natural material used over there like innumerable possibilities of wood and clay can also being targeted here.

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TRIBAL LIFEGALLERY 2

4.This gallery serves as a courtyard where dwellings of various tribal communities are adjoining, peeping into each other and

creating each other’s neighborhood. You will enter from the door of some tribe’s dwelling and come out into some other tribe’s

house and sometimes into a lane of Baiga locality will assure to take you to a lone hillock of some Bhil dwelling.

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TRIBAL AESTHETICGALLERY 3

Tribal jewellery and other make-up paraphernalia will be inlaid between two layers of glasses on the windows of corridors from

where one enters this aesthetically decorated gallery. In a sense, it will be a lattice made from jewelry and cosmetics. The gallery will

also have wooden or terracotta mannequins with tattoo marks. The first canvas for expression of art is, perhaps, the human body.

Therefore, its use for displaying various hues of adornments on human body seems justified at the entry point of aesthetics.

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TRIBAL AESTHETICGALLERY 3

1.As pointed out earlier, there no such thing as art separately in tribal life. But if look inversely, not even simplest of things like

broom or sil-batta (grinding stone) are not untouched by aesthetics. Under these circumstances, it is difficult to decide what

to include and what to leave. Therefore, we have set a target to collect rituals of life cycle and songs of season cycle in aesthetics gallery. There is a marriage canopy in the midst of gallery, which

will be under the shades of four vast trees, each having identification emblem of four different tribes. It will be more appropriate to say that myths about origination of nature will

bless marriage, which is symbol of completeness and continuity of life.

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TRIBAL AESTHETICGALLERY 3

2.Efforts are being made to provide opportunities to witness all the hues and gallery from all angles from below or above in one way or other. Two levels are being built in the marriage canopy being created in the midst of the gallery so that visitor can see

not only marriage rituals and symbols ingrained on trees, but will also have an overall minute view of entire gallery. At one door of the gallery, terracotta images depicting Bhil death rituals and concept of world of the dead. These images are dedicated to souls of the dead persons and in a sense this a short-term habitat for these souls. These terracotta images are generally installed on ground. But idea behind their

installation here has been conceived with a view to giving opportunity to viewers to understand its basic concept with a different angle. It is as if we are watching this

world of the dead from any other plain or the Earth from any other planet. There is also a possibility to watch this world of the dead moving in the space like a

constellation. There is concept of a separate world for the dead in Bhil and Bhilal myths. Invitation is extended to these dead persons in specific language of the dead

called “Muruwa” on special occasions. Earthen lamps are also placed on these images on special occasion, which will be arranged in the gallery with lighting arrangements.

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TRIBAL AESTHETICGALLERY 3

3.On the occasion of marriage, new daughter-in-law is given brass bracelet or ring in tribal communities on which symbols of productively

like well/stairwell/ploughing pair of bullocks/farmer/field etc are ingrained. This bracelet is very small and is not worn. She keep the

bracelet in her hand at the time of preparing seeds. A large image of this bracelet has been made in the gallery. Besides marriage, rituals

pertaining to birth of children and death of people will also be shown in totality in the gallery. Here, folklores linked to these, rituals and rites, and all and aspects of its process through physical things will be seen

and understood.

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TRIBAL AESTHETICGALLERY 3

4.Efforts will also be made to give concrete shape to tribal festivals and events related to seasons and cultivation, dances, songs and attires

linked to them. Process is also underway to develop enlarged images of Bhils’ myths about making percussion instruments, Gonds’ myth about

Badadev residing in Saja tree and making of a percussion instrument called “Bana” from the same tree to appease Badadev. Hollow of a dried tree trunk is being used to give impression of a large dried up tree. It will

offer a better opportunity to understand natural vastness of small percussion instrument “Bana”, capture its rhythm and assimilate

inherent intricacies of the instrument.

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TRIBAL SPIRITUAL WORLDGALLERY 4

Images of a thorny tree has been made on the wall of the corridor leading from Aesthetics gallery to Devlok. Thorns remind people of pain and strength to bear pain and remain unmoved by it is received from Devlok, where this ‘thorny’ corridor is leading.

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TRIBAL SPIRITUAL WORLDGALLERY 4

1.It is hard nut to crack to conceptualise Devok in a modern building and that too a Devlok where tribal people avoid to enter a concrete place of worship whose vague image is often seen in the

form of a rostrum, a raw stone, a fluttering flag, a stick, a pillar, trident, earthen lamp or terracotta offering is seen on the side of

roads, amidst jungles, on the bank of a small pond and sometimes on invisible boundary of village in which deity is totally absent.

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2.The shorthand language of symbols and signs in which these tribal communities have writing constitution of their Devlok

borders on unending and unlimited possibilities of time and space. Possibly for this reasons they did never attempt to build any

massive Devlok since the most massive of a building will be like a dust particle in the context of these unlimited vastitude.

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TRIBAL SPIRITUAL WORLDGALLERY 4

3.Therefore, all good and bad spirits of jungles, ponds, rivers, hills have been invoked at Devlok Gallery. These inputs and symbols as

mentioned above are rostrums beneath trees, terracotta officerings, tridents, earthen lamps, Meghnath Khamb of Korku tribe, Sarag Naseni of Gonds, Gul of Bhils, Tatal Dev’s place, Dev

Gudi of Baigas etc. There are souls of ancestors, wandering spirits, spooks and ghosts, innumerable saviour gods. Some are protecting

seeds, some bringing strayed cattle back home, some will repair and restore broken hand or leg and some god will free village from

epidemic.

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TRIBAL SPIRITUAL WORLDGALLERY 4

4.During visit to tribal Devlok gallery it become explicit that it is more a world to experience than watch. Therefore, it is more

important to create that particular climate for making it feel or experience in which inanimate stone, a rostrum and offerings

made to gods can start breathing like an animate.

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TRIBAL SPIRITUAL WORLDGALLERY 4

5.As said above earlier also, more than one storeys have been prepared in each gallery so that visitors can view it from various

angles from below and above. Deliberate effort has been made to disturb the feeling if one is on the eartj and seeing everything

from some other plane. The same is the reason behind covering iron grills ordinarily or partially with barbed chains so that

continuity of this experience is not only maintained but also strengthened the chains which are symbols of deity’s power.

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EXHIBITION AND GUEST GALLERYGALLERY 5

Under the initiative of setting up a gallery for guest state, first of all life of tribal communities of Chhattisgarh state is being depicted in this gallery. That is why the corridor leading from Devlok to this gallery has been converted into courtyard and corridor adjoining it of Rajwar tribe of Sarguja in Chhattisgarh. Rajwar dwellings style

of bamboo and clay lattices and way of coating is highly specialized and has the honour of becoming an identity of not only

its community, but also entire state.

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EXHIBITION AND GUEST GALLERYGALLERY 5

1.Chhattisgarh is a tribal-dominated state and a large population of these tribes lives in Bastar area. All the tribes have a specific role

to play in preparing Dussehra Rath over there at the time of Dussehra right from identifying trees in jungles for it, upto

collection of leaves for covering it, driving nails home, preparing various parts of the rath, brinking Maoli Mata’s Chhatra from

Jagdalpur, bending and pulling it on roads etc. Efforts are being made to grasp specialities of all the tribal communities by linking them with this meaningful exhibit depicting tribal affinity through

physical objects.

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EXHIBITION AND GUEST GALLERYGALLERY 5

2.Besides, Maoli Mata ki Gudi, Sheetla Mata ka Sthan, Karmseni Vraksh and a lane with dwellings of potter, washerman,

ironsmith/blacksmith and their tools have also been displayed. Gudi of Adhishthata Devi Danteashwari is inside the door of

Rajwada of Bastar and since there is no major role of Bastar royal family in bringing Danteshwari Mata to Bastar, preparation of

Dussehra Rath, celebrating the festival in this way and due to deep attachment of all the tribal communities with these festivals and rituals, consent has been reached give shape to entry door of the

gallery on the lines of entry gate of Bastar Rajwada.

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EXHIBITION AND GUEST GALLERYGALLERY 5

Pictorial and written documentation of games of children of various tribal communities like Baiga, Gond, Saharia, Kol, Korko,

Bharia etc has been made by visiting their areas. Since there are a number of games of tribal children but only a few toys, this display is being shaped with paintings, photographs and other means well

besides toys.

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EXHIBITION AND GUEST GALLERYGALLERY 5

1.Playing images have been prepared using terracotta, hollows of dried gourd, hemp, papier-mâché etc. with a view to make

understand nature of game. Images jumping, swaying on trees can be seen to understand games played on trees. Wrestling images

smeared in mud can also be seen. Images of games played on ground like gippa, goti, chaupad etc. will be shown on the ground.

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EXHIBITION AND GUEST GALLERYGALLERY 5

2.Use of earthen pitchers made by potters of western Madhya Pradesh in improving gallery’s acoustics and lighting arrangements is worth noticing. Despite being a part of indigenous knowledge, this can open a new important and innovative vista of using the technique in modern context. A partition made of pieces of dry

bamboo will be effective in maintaining gallery’s light, warmth and environment.

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ENTERANCE GATE

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ENTERANCE PLAZA

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ENTERANCE TO MUSIUM

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LIBERARY

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SEMINAR HALL

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AMPHITHEATRE

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CENTRAL AMPHITHEATRE

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AUDITORIUM

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DORMITORY

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CAFETERIA

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OFFICES

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OFFICES

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WORKSHOPS1.METAL WORKSHOP:-

2.TERACOTA AND EARTH WORKSHOP:-

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WORKSHOPS1.WOOD AND BAMBOO WORKSHOP:-

2.PHOTOGRAPHY WORKSHOP:-

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WORKSHOPS1.HANDMADE PAPER DISPLAY AND WORKSHOP:-

2.DANCE AND MUSIC WORKSHOP:-

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DISPLAY AREA

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RESERVE COLLECTION

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COURTYARDS

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SHOPS AND STORES

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STORAGE

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PARKING