Art Must Reflect Relevance and Commitment to Cultural Roots, Say Leading Educators and Curators
Barabanki: Veteran folk artist Dr. Kumud Singh emphasized the urgent need to recognize and promote Uttar Pradesh’s traditional folk paintings like Kohbar, Chowk Poornna, Pidiya, and Godan Puja, calling them living expressions of India’s ancient cultural continuity. She was speaking at the inauguration of a five-day Kohbar painting workshop hosted by Floroscence Art Gallery in collaboration with Lucknow Public School, Barabanki.
“These art forms are not just decorative—they embody a symbolic language rooted in ritual, community, and identity,” Kumud Singh said.
“Unfortunately, while people continue to use these art forms during festivals and rituals, they remain unaware of the aesthetic and cultural value of the symbols and compositions.”
Bringing Kohbar Art to Classrooms: Bridging Heritage and Education
The workshop was inaugurated in the presence of renowned educators and cultural figures. Neha Singh, Director of Floroscence Art Gallery, underlined the importance of nurturing creativity among children:
“Tomorrow’s artists are in today’s classrooms. It is our responsibility to equip them with both the tools and the imagination inherited from tradition.”
Dr. Ritu Singh, Principal of Lucknow Public School, Barabanki, echoed the sentiment, saying:
“Art is not just a subject—it’s a life skill. Through workshops like this, we are not just teaching art—we are reviving cultural identity and promoting artistic sensitivity and cultural literacy among students.”
She emphasized the need to incorporate such traditional art forms into the formal education system to instill empathy, creativity, and awareness of cultural roots.
Kohbar Art: A Living Tradition Reimagined
The Kohbar style, traditionally associated with wedding rituals and fertility symbols, uses rich iconography and natural colors to depict divine union, prosperity, and cosmic harmony. Dr. Kumud Singh—a retired head of the Fine Arts Department at Saket PG College, Ayodhya, and a nationally recognized Bhojpuri folk art practitioner—led the workshop as the subject expert.
In her detailed session, she explained how Uttar Pradesh’s folk paintings differ from those in other regions, focusing on the use of colors, regional symbols, and ritual context.
She also raised concerns:
“Despite their rich symbolism and cultural value, folk painters of Uttar Pradesh have received little recognition or institutional support, unlike their counterparts in other states where national awards have honored such traditions.”
Students and Parents Engage Hands-On with Heritage
The workshop attracted a large number of students and their parents, many of whom participated actively in learning and painting in the Kohbar style. Curator Bhupendra Kumar Asthana described Dr. Kumud Singh as one of the most credible interpreters of Bhojpuri visual traditions, bringing together roles of artist, commentator, and analyst—a rare and essential combination for reviving dying art forms.
A Curriculum That Honors the Past While Embracing the Future
Rajesh Kumar, Head of the Art Department, highlighted the importance of integrating indigenous art forms like Kohbar into the contemporary curriculum:
“Modern classrooms are full of technology and global influences, but traditional art connects students to their roots, enhances cultural literacy, and builds respect for indigenous knowledge systems. Through hands-on experience, students learn the deeper meanings and symbolic value of heritage.”
This collaborative initiative is more than a workshop—it is a vision to create a culturally aware generation, blending academic rigor with heritage education. The event reflects a shared commitment between institutions and artists to preserve and propagate traditional knowledge.
Preserving the Voice of Tradition
In her closing remarks, Kumud Singh urged the government, art institutions, and senior artists to take tangible steps toward mainstreaming folk painting, as has been done for folk music and dance. She criticized the lack of awards and recognition for artists in this domain, noting that:
“Research is abundant, but often lacks depth and sincerity. We need to support art not just for employment, but for its role in preserving identity.”
She called the workshop a bridge between the forgotten past and an enlightened future, made possible by the efforts of Neha Singh, Dr. Pooja, Rajesh Kumar, and Bhupendra Asthana.
A Step Toward Cultural Revival
The Kohbar art workshop stands as a beacon of cultural education and preservation, reminding us that tradition and innovation are not opposites—but companions. By reviving lost practices through education, Uttar Pradesh takes one more step toward artistic self-reliance and cultural pride.
