(Hi)stories in Pictures
Use of Folk and Tribal Art Forms in Two Pictorial Biographies From India
Bibliographic Data
| ID | 12880368 |
|---|---|
| Authors | Rishav Dutta (0009-0001-6656-6109, Central University of Rajasthan, corresponding author) |
| Year | 2024 |
| Volume | 21 |
| Issue | 7-9 |
| Publication date | 2024-08-13 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Literature Compass (JOURNAL) |
| Journal identifiers | ISSN: 1741-4113 • E-ISSN: 1741-4113 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/lic3.12768 |
| OpenAlex | W4401538787 |
| Language | EN |
| References cited | 14 |
Pictures have always been one of the fundamental tools for storytelling that serve as a spigot for folk narratives and performances. Although in India, folk art styles feature stories from the traditional repertoire, increasing focus on use of folk and tribal art in graphic novels and innovation in esthetic strategies problematize the perceived fixity and primitivity associated with “folk.” To accommodate different stories and audiences, Patachitra (folk) and Pardhan‐Gond (tribal) art forms undergo stylistic changes in storytelling. The paper explores the organic and reflexive nature of these two narrative art forms, focusing particularly on two contemporary manifestations: I See the Promised Land (2013) and Bhimayana (2011)
Aesthetics · Art · Art history · Contemporary art · Folk culture · Literature · Narrative · Narrative Art · Reflexivity · Sociology · Storytelling · Visual arts · Anthropology · Comics and Graphic Narratives · Digital Storytelling and Education · History · Media, Gender, and Advertising · Psychology
Routes
Facing the Pandemic
Tribal Folklore to Aesthetic and Religious Painting
International Handbook of Disaster Research
Radical Graphics
Discussing Cultural Authenticity The “Patachitra” of West Bengal between Globalization and Modern Consumer Society
"From Oral Tradition to "Folk Art
Indian Graphic Novels
Music and Intermediality in Trans-Border Performances
| Highly cited | No |
|---|