‘Masks share an analogous history and have been recoursed for diverse yet universal functions,’ says Neelam Malhotra. By Team Viva
Art and culture have always been an excellent blend. Neelam Malhotra, a local artist and an emerging curator introduced the culture of masks through her exhibition, Mukhosh. It showcased 123 conventional masks, reflecting the inheritance of ancient culture and the legacy of the tribal art.
When asked about the idea behind the exhibition, Malhotra shared, “Masks are very rare. People don’t know much about folk, traditional or tribal masks, their idea of masks is limited to props, decorations and sometimes protection. I wanted people to learn about their significance in our culture. Apparently, artists who make masks aren’t much recognised as they usually belong to remote areas which are not easily accessible.”
Each mask carried it’s own unique identity, reflecting the persona of the artists. A mask from Nepal had an elephant head, highlighting the human-animal relationship. The earliest mask to be discovered had pre-historic rock paintings, dating back to 3000 BC. “Masks share an analogous history and have been recoursed for diverse yet universal functions. Even the tradition of Halloween dates back to the ancient Celtic festival of Samhain. During that time people felt that the spirits were very active, so the people started wearing masks so that the spirits wouldn’t recognise them.”
The masks were carved, painted and decorated yet, they maintained a sense of simplicity. They exhibited an elaborative cultural detailing and an inclination to the geographical region they belonged to. Talking about the intense detailing that the masks exhibited, she said, “They have been passed on since ages. All vary greatly in appearance, raw material and utility in accordance to whoever adopted them, including their culture, belief system and ecology. Some are often paired with costumes, significantly in rituals or performances for consummate characterisation. Fundamentally, the costume completes the new identity exemplified by the mask, and usually tradition prescribes its appearance and construction to the same extent as the mask itself. Costumes, like the masks, come from a diverse plethora of material, all of which has a symbolic connection with the mask’s veritable imagery.
When asked about the modern trends in mask making she explained, “lately, mask makers are resorting to paper mache as a medium, because it is easier, cheaper and quicker to make. Unfortunately they don’t have much life when compared to brass and wooden mask. Brass and wooden masks are reducing in number now because of the high cost.”
The awestruck faces of the visitor definitely showed their wonder and amusement. She said, “As a human being it is important to know the history of one’s own culture. It’s amazing to look back at our own heritage, along with the tribal, and realise their simplicity and beauty. Using masks as a medium we are trying to make people aware of our inheritance. Wearing masks and performing rituals is something that started centuries ago. The western world has recognised Indian art and artists more than India has. France and Norway are celebrating more of our Indian textiles. So, I think museums and galleries and even documentaries too should bring it forward and talk more about such issues. But, all the same, seeing the response towards the exhibition makes me content. I am expecting more Indians to visit.”
Talking about her future plans, Malhotra said, “I am working on the Santhal tribal art of Bengal as well as the show on puppetry and Phulkari textiles of north east.”
The exhibition is open till June 10 and is definitely a must-see for art enthusiast.