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  1. 1. Mail Today, Friday, October 24, 2008Page 30 its friday! culture S HE STANDS naked on a 56 x 31 inch canvas; her bangled hand gingerly holding her right breast, her hair combed care- lessly, a necklace falling seductively and a maroon cloth tied casually around the navel. Her skin, the colour of wheat, is set against a background spla- shed with blue, red, black and beige. FN Souza painted her in 1962 and called her Nude. The streets are red, a woman in a green saree is walking by and a man stands at the black door, his paint brush dripping with green, the colour seemingly bor- rowed from the womans saree. This is Vivan Sundarams interpretation of Pas- sage. Not too far, countless computer- generated human figures frolic in a play- ground muddy with plaster and acrylic on paper. This is Nataraj Sharmas canvas, titled Playground. At the Frame, Figure, Field, a group exhibition at Delhi Art Gallery (DAG) these are part of the 22 large-format works on display. Not only are the can- vases large, even the names are luminous MF Husain, Rabin Mondal, Satish Gujral, Gogi Saroj Pal, Jaya Ganguly, Shobha Broota, Altaf Mohammedi, Pari- tosh Sen Frame, Figure, Field. The lyrically allit- erative tag piques me. I ask curator Roobina Karode if it is picked off a son- net. No, says Karode, It is a summing up of the gamut of art and artists on dis- play. For Karode, the parameters were set: large canvases. The concept: To dis- play the pictorial vocabulary that has evolved over the ages. Souzas strokes are vehemently anti-academic; Satish Gujrals architectonic sculptural piece blurs the divide between painting and sculpture while Jaya Ganguly uses white on a black canvas intrepidly. Each artist narrates his own personal script, adds Karode. Walk by frames and you can pick the intricacies of this personal script. Sovan Kumar uses the truck to tell the tale of the destruction of rural life, Sohan Qadri lets colour percolate through handmade paper, Gogi Saroj Pals Valley of Flowers oozes dark red and a woman with red wings hovers in a red sky while P Khem- rajs Charpai looks mysterious in its beige and crimson. Every frame comes from collection of Ashish Anand, Direc- tor, Delhi Art Gallery. For Anand, DAG began as an entrepre- neurial risk, on way he fell in love with art. This exhibition is an effort to address the diverse range of initiatives and con- cerns that make perceptible the elusive- ness of Indian Modernism. On the wall in gold is an honest state- ment: The artistic purpose is not to dis- play brilliant renderings and drafting skills. But when you look into the large eyes of Souzas Nude, questions about skills become redundant. I stand mes- merised near the Nude. And for her to speak. Frame. Figure. Field. is on at the Delhi Art Gallery, 11, Hauz Khas Village, till November 20 DelhiArtGalleryputsupagroupshowbystalwartsfromtheartworld (Above) Pull, an oil on canvas by GR Santosh, and Niamagiri (top left), an acrylic on canvas by Sovan Kumar, are part of Delhi Art Gallerys group show, Frame. Figure. Field. that features big names from the world of art An untitled oil on canvas by MF Husain Big canvas for great names by Preeti Verma Lal When it comes to showcasing exuberant folk culture, no other state does it better than Rajasthan. The states heritage of traditional music and dance is as rich as its colourful fabrics and stories of valour. Thats what was on display in full spirit at the recently con- cluded exhibition, A Musical Journey Through Rajasthan, which showcased the states folklore and music culture. The exhibition, from the col- lection of the Sangeet Natak Akademi and Rupayan Sanst- han, the Rajasthan Institute of Folklore, Jodhpur, was dedicat- ed to the memory of Komal Kothari, who had founded this institute four decades ago. Kothari, an eminent ethno- musicolgist and folklorist, will long be remebered in the annals of Rajasthan as he dedi- cated his life to the preserva- tion and continuity of folk music and tradition in the state. This encompassed musi- cal instruments, puppets, tex- tiles, ornaments as rural archi- tecture, traditional knowledge and indigenous, local flora. He combined this integrated vision with scholarship and a humane insiders view, which led to a meticulous folk tradi- tion research. Curated by Kuldeep Kothari, secretary of the Rupayan Sansthan and Suneera Kasli- wal, senior artist and Professor at the Department of Music, Arts Faculty, Delhi University, the exhibition focussed on the musical traditions of some groups of the state who have practised music traditionally. The Langas and Manganiyars, for instance, are the tradi- tional caste musicians. The renowned Nimbuda song pop- ularised by the Bollywood flick Hum Dil De Chuke Sanam origi- nally belongs to the Mangani- yars. There are the Bhopas, narrators of the epics of Pabuji and Dev Narayan. The other groups include the Teratali, Kalbelias and the Hindu and Muslim jogis. The instruments used by these musicians the Sidhi Sarangi, Surnai, Ravanhatta, Surinda and Dhak, were on dis- play. Through folk instruments, painted scrolls, photographs, live and recorded music and films, this exhibition narrated the story of these musicians. A live performance of Pabuji ka Pad by Bhopa musicians, narrated by Sugna Ram on the Ravanhatta instrument, marked the conclusion of this unqiue exhibition. The songs were dedicated to their lord Pabuji. A lively Ram taught the tricks of making the Ravan- hatta with bamboo, coconut, goat skin and horses hair. The unique instrument with its mesmerising melody was also available on sale at the venue. [email protected] by Megha Paul Bhopa musicians performed on the concluding day of the exhibition, showcasing the musical heritage of Rajasthan Musical heritage from the sand dunes of RajasthanRAHUL IRANI