Helle Bundgaard’s Painting Stories: Lives and Legacies from an Indian Crafts Village provides a vivid and insightful portrayal of the lives and everyday activities of craft makers and painters residing in a remote hamlet on the east coast of India. This impressive compilation spans over three decades and encompasses the author’s personal experiences along with the narratives, experiences, and life stories of the painters themselves. As Bundgaard points out, these stories serve as an embodiment and reflection of the philosophical ideologies of pragmatism and phenomenology, which posit that human experience is firmly grounded in the actual occurrences of every life (10). Of particular significance is the fact that the stories are readily accessible and appealing to a diverse readership, ranging from anthropologists and South Asia specialists to scholars of traditional art and everyday readers. Concerning the interests of folklorists, Painting Stories transcends mere ingenuity, as it delves deeply into the bedrock of our discipline, namely the exploration of material culture and the intricate customs, traditions, and beliefs that envelop it.
The introduction commences with the author’s initial impressions of Raghurajpur during the winter of 1988, and the subsequent events that motivated her to investigate and document the lives of the local painters and their crafts. Nearly three decades later, having made numerous visits to the place, Bundgaard decides to take her “lifelong engagement with the painters,” and bring it to a symbolic closure: “Perhaps writing for the future will allow me to give something back” (3). Drawing on her recollections of the hamlet and the lives of its artisans, Bundgaard skillfully observes the social, cultural, and economic changes that have occurred over time.
Throughout the book, Bundgaard deftly articulates the voices and experiences of these artisans, capturing the intricacies of their lives, their struggles, and their moments of triumph. Two of the standout stories in this regard are “A Craving for Idlis,” and “A Long Journey,” which chronicle the journeys of Tophan and Bhaskar, respectively. These stories poignantly depict the challenges faced by these aspiring young artists as they navigate the complexities of living and working in the hamlet, slowly mastering the art of patta chitra painting. However, the stories also reveal how some of the painters are unable to invest the necessary time and effort to paint a patta chitra. Instead, they turn to other traditional crafts, such as papier-mâché birds and masks, which lack both prestige and economic value (11). These contingencies can have profound implications for the painters’ lives, shaping their opportunities, aspirations, and even their sense of self-worth.
The book also includes some poignant stories (“A Foreign Bird,” “The Helmet,” “A Convenient Arrangement,” “Still Standing,” and “Something to Celebrate”) that pay tribute to the resourcefulness and resilience of women. The women in these stories are well acquainted with life’s precariousness, and when they face adversity, like Sula does in “Still Standing,” they must find the strength to carry on: “What shall I otherwise do? I might as well work” (136). The intricate rice paste designs painted by Sobha in preparation for Lakshmi Puja, similarly offer little material reward (65-66). As Bundgaard observes, both men and women bear the weight of the world on their shoulders, as mere skill and enterprise are often insufficient to succeed as a patta chitra painter. While some may leverage modern social media platforms like Instagram and WhatsApp to their advantage (128), only a select few painters are fortunate enough to be noticed by individuals with the power to make a difference. For many, making a living is a constant struggle.
Selected stories within the book, namely “A Foreign Bird,” “A Ladies’ Bicycle,” “The Helmet,” and “Spectator Bird,” provide a unique window into Bundgaard’s personal journey of self-discovery, as she traverses the complex terrain of womanhood, and academia. Here, Bundgaard demonstrates a remarkable capacity for continual learning and introspection, which underpins her ingenuity. Within the social and gender-stratified context of the hamlet, the author’s presence may be perceived as a potential source of danger and contamination, both figuratively and literally, as evidenced in “The Helmet.” However, Bundgaard deftly navigates these challenges, and in doing so, uncovers a sense of freedom and liberation that is transformative (48). Furthermore, the author candidly acknowledges moments of personal misjudgment, lack of decorum, and even insensitivity (17-18, 25, 69, 98). In essence, the journey of self-discovery that unfolds is not merely a personal one, but rather an exploration of the interconnectedness of diverse lifeworlds, marked by geographical and cultural boundaries (156).
Painting Stories: Lives and Legacies from an Indian Crafts Village is a captivating and insightful exploration of the lives of traditional Indian painters, their struggles, triumphs, and the complex social and economic context in which they operate. While the order in which some stories are presented could be improved, the book’s strengths far outweigh this minor flaw. Painting Stories is a rare gem that not only enriches academic scholarship but also serves as an invaluable asset to anyone interested in gaining a deeper appreciation and understanding of people’s everyday lives, challenges, and experiences.
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[Review length: 837 words • Review posted on June 7, 2023]