No art Wasted

Upcoming sculptor-painter Narayan Sinha creates beauty out of waste material and gives 'recycling' a new meaning. 
Old fashioned iron lock and keys, window and balcony grills - such abandoned household items or automobile scraps. Give them to Narayan Sinha, an upcoming sculpture-painter from Nalhati, a far flung hamlet in Bengal's Birbhum district, and he will turn them into objet-de-art. You can call it a metamorphosis or an evolution of a unique kind where quirky stuffs attain the stature of the exquisite.

A time when going green is the watchword, Sinha's work using recycled products, is all the more relevant. His use of metals like copper and brass which are becoming obsolete in the country also marks his contribution in upholding the cultural heritage. He has used a cart wheel as a chandelier, old window frames for the back rest of furniture. And in his recent interior designing project of transforming an old house into an art boutique named EKRU in Kolkata, he has used materials like cement, gravel, vegetable dye and cloth as raw material.

Creation is what has come best to Sinha since childhood. The journey started with clay modelling during school vacations. But staying at Nalhati he often faced the problem of obtaining clay, the primary raw material. His father was a dealer of automobile parts; so he often toyed with these parts and his imagination used to take flight. The result was new forms made from the unused tools and machines. After his graduation Sinha became a full time sculptor. In order to fine-tune his art he learnt anatomy, clay and charcoal painting from art students of Visva Bharati, Santiniketan. Sinha's work came into limelight with his first exhibition in 2000 at Bajaj Bhavan, Mumbai. Afterwards, there was no looking back. An array of exhibitions including the ones at Nehru Centre, Worli and Jahangir Art Gallery in Mumbai and Birla Academy of Fine Arts in Kolkata, followed. The exhibition at Birla Academy had some of his unique masks made of junk and a new trend was set.

Sinha's subjects are intrinsically traditional and Indian in essence. "I can't work on abstract forms as I can't relate to him. My subjects are emotional responses and I try to reach a Higher Being through sculpture. My other aspiration is to promote Indian art and artists. I have assistants at my workshops who were school dropouts. I gave them the necessary training and they are now artists working with me," he says.

Sinha's sculptures have already adorned Kolkata's sprawling and historic Raj Bhavan (Governor's House) and Writers' Buildings (State government headquarters).

Accolades and recognitions are not new to Sinha as his successful exhibitions in New York, Paris and many other countries have got rave reviews. Four years of research and practice and Sinha now has to his credit as many as 35 different forms of Goddess Durga made from trivia. His exhibition of the forms named 'Debi' was a huge success in Kolkata and has received invitations from the other parts of India and also rest of the world.

Sinha narrates a saga of fusion between craftsmanship and sculpture through his art. "My objective was to endow a contemporary look to the traditional forms and figures," he says. It calls for rigorous research and long hours for each of his creation which varies from three to four days to 3 months. "I spend long hours, sometimes 14 to 18 hours a day, to give shapes to my creations. Collecting and sourcing the unusual stuff was another painstaking and time consuming affair. I have gathered material from different parts of the country like Rajasthan, Gujarat, south India and so on which in turn has added diverse tinge of ethnicity to the end products" tells Sinha.

He has developed these sculptures at his large workshop at Nalhati with his students and team members. Some of these structures are as tall as 9.6 ft to 10 ft. There are some paintings of him as well on the walls to create an overall ambience.

Sinha insists on uniqueness. Not one of his work would find a repetition. It's like a boutique product. He also carefully studies different forms of traditional architecture in different parts of the country and tries to reflect them in his creations.

Sinha is versatile too. His jewellery in brass, pearl and semi precious stones which are available in different boutiques in Kolkata, Delhi, Mumbai, Hyderabad and Pune feature in the well-known fashion show circuit. Handmade jewellery and knick-knacks designed by him have graced Tina Ambani's Harmony Shows and are also used by fashion designer Sabyasachi Mukherjee in his shows.

An Indian at heart, Sinha incubates the dream of representing Indian ethnicity in the global arena through his creations. He further aspires to reach art to the grassroots people. "Art has always been confined to the rich and aristocrats whereas music has transcended all barriers. I as an artist dream of bridging the social gaps through art which is possible just by reviving some everyday commodity like that of a kohl-container which has immense artistic nuances in it," he says.

Art for Change

Art as an agent of change 
Folk art forms have been with rural communities for centuries but now artists have been encouraged to develop them into new forms to ensure commercial success and empowerment, finds Baishali Mukherjee 

Moyna Chitrakar, a patua artist, specialises in scroll painting Photos: TWF

RESIDING in a faraway village in Nadia of West Bengal, nobody knew Golam Fakir as an artist six years ago. Belonging to a marginalised community and without formal education, Golam used to carry dead bodies from the police station to the morgue. His is a fascinating story of transformation - from a non-entity despised by many in the neighbourhood, to a celebrity singer Baul geet, a form of Bengal's folk song, in a span of six years.

He has performed all over India and has travelled to UK, Switzerland, France, Tunisia, Scotland and China. His income has gone up from around Rs 200 a month to Rs 30,000 now.

Golam narrates his experience through this journey in his own fashion, "I never thought of anything beyond my two meals few years back, and now I've the opportunity to travel across the globe and perform on stage with great musicians and performers, and represent my country in front of the global audience. It fills my heart when people appreciate and applaud Baul music," he says.

Moyna Chitrakar is a patua (from patachitra) artist who specialises in scroll painting of Bengal. Her story too reflects how women have been empowered through exposition of their art. Moyna and her husband Malekh used to earn about Rs 1,000 a month six years ago. Today, her family earns many times over. She has travelled with her paintings and other diversified products to different parts of India attending fairs and festivals. She even went to China to attend an industrial fair in Shenzhen. With her money she has also constructed a two-storey house in her village where tourists can stay. Moyna is a confident woman today and says, "We can concentrate on our work now as we don't need to worry about our next meal anymore."

Crafting this change since 2004 is banglanatak dot com, a social development organisation in Kolkata. Elucidating the process of change, Amitabha Bhattacharya, director, says, "Culture is a great enabler. It fosters social inclusion. Oral and performing art traditions are an asset for developing rural enterprise." New markets are created and new brands can be developed to promote traditional performing and visual arts and crafts, he points out. "Heritage becomes a means of livelihood and empowerment. The motto is 'To preserve art, let the artists survive'," he adds.

For Amitabha Bhattacharya, director, banglanatak.com, culture is an enabler

The ministry of culture, West Bengal, supported the initiative between 2005 and 2009. In December, 2009, the European Union provided support to the project named Ethno Magic Going Global (EGG) to take ethno art to the global arena. The project has created a tremendous impact, leading to socio economic development of the beneficiaries and their communities. With identity being changed from "daily unskilled labour" to "artist", they are now coming forward to participate even in the development process.

Revitalising and reviving these heritage skills as means of livelihood necessitates mobilising changes in mindset and attitudes as the folk artists become 'cultural service providers'. A comprehensive training and capacity building programmes was undertaken after the formation of a Self Help Group to help innovate new ways of rendering the traditional art forms. The aim was to establish a guru- shishya parampara- where skilled craftsmen pass on their knowledge to the practising artists.

Winds of change have now started blowing elsewhere too. Recently, LNG Petronet, one of the fastest growing companies in the Indian energy sector, has come up with the documentation of Swang- a popular form of folk theatre in rural Haryana and Punjab and an integral part of their rich cultural heritage. It aims at introducing the form among the connoisseurs to facilitate its preservation and promotion. However, awareness about this form of performing art is low among the urban youth or even among the modern theatre groups. According to Kishan Kumar, a theatre activist of Rohtak, Haryana, the government organizes Swang to raise money from the public for repair or construction of schools or roads. Its popularity may be gauged by the fact that around rupees two to three lakh was raised from a single performance of Swang in Haryana. "If made into compact and short productions, Swang can prove to be a popular entertainment form," feels Kamal Tewari, chairperson of Sangeet Natak Akademi in Chandigarh.

Singer Golam Fakir’s income has risen from Rs 200 to Rs 30,000 per month

Taking the cultural revival a step further, banglanatak dot com has also taken the initiative to incubate and enliven the age old art forms of Bihar from becoming moribund. Apart from the Madhubani painting no other folk form of Bihar is well-known today. Efforts are on to rejuvenate the feisty cultural inventory of Bihar that includes folk songs like Sohar, Nirgun, Kajri, and Byaas, dance like Jhijia, dramas like Ramleela, Nautanki etc, tribal dance like Santhali dance and crafts like sujni (embroidered quilts) and sikki (grass weaving). More than a thousand individuals with knowledge about these art forms have been identified under a project.

Apart from art forms, the scope for developing ethno-cultural tourism offering authentic experience of indigenous life is also being explored. From places like Gorbhanga, a village located in Nadia district that houses a band of Baul artists, Pingla, home to around 300 patuas in West Midnapore district and Jangal Mahal in Bengal, to Tinsukia in Assam and also Goa, are being developed as community led ethno-tourism destinations by exploring the traditional artistic skills of local population as primary resources. The important impact of developing tourism in these places will be restoration of peace in the disturbed areas of Bengal and Assam through inclusive growth of the aboriginal people of those areas.

In today's world of intolerance and unrest culture can prove to be a potential tool for establishing universal peace and brotherhood. For as Johann Wolfgang von Goethe once said "Hatred is something peculiar. You will always find it strongest and most violent where there is the lowest degree of culture." — TWF

Blame Game

When I look back at first year of the ‘age of Poribartan’, like all other educated middle class Bengali people I shudder to apprehend what holds for us in future. In fact this is the first time I am thinking of leaving Bengal more so because of Mohor, my 8 years old daughter. But the thought invariably makes me sad as I love to stay here. And this love is an inherent love of a Bengali for Bengal. It is this love that made me think what it would mean to be way from here. And I realized it would mean a completely different life altogether that starts with adapting the tongue to completely different experience (gastronomic way) and movements (lexicon way). It is not that Bengalis living elsewhere don’t enjoy life, but surely at the cost of missing the intricacies and delicacies typical of the state.  I, for one, am sure, am not prepared for these compromises. Perturbed with the thought I started to think why this had to happen? Why cannot Ms Banerjee be what we all expected her to be? Then it occurred to me – “is anyone in our lives the way we want them to be?” The answer to that, much to our consternation, is a big NO. This deduction made me ponder even further and I started thinking, “is it so that we don’t deserve to be gratified?  Is it that the collective decay of the clan which once dominated the country’s intelligentsia, rendering it moribund?” The mildewed existence that we have brought upon us through ages of mindless vertical growth, self absorption and escapism has perhaps started to boomerang.  It’s strange that we keep up with the unjust ways of people, society and the Dervish dance of the devil called power which has manifested its hideous tendrils in every institution at the micro level and shout out guts out when we see it at the macro one! Is not the macro a manifestation of the micro? And are we not expecting doves from the eggs laid by crows? Blame game can be the smartest and easiest way to stay unaffected, but when the ship sinks no one is spared.

I remember a line from a song by kabir Suman which says- kathar pahar holo (a mountain has been created out of mere words) - and vouch for the same. Orators are ubiquitous here but few are the ones who act. And when it comes for acting on the words which we so ceremoniously proclaim, what a misery it proves to be- such pain! such botheration! Then starts the ‘smarter than thou’ game of ducking and peeping. What a macabre farce our deeds might appear if portrayed in front of us- have we thought of it ever? How ridiculous we would appear to our own selves? It’s a shame that the person who took the simple human initiative to take an accident victim to hospital was given a heroic stature!! Can’t we see the degeneration in us that is reflected in such an effort? That he was lauded because others were playing the obnoxious game of ducking and peeping? Why has the youth, protesting the eve teasing of his sister, to die at broad day light? Doesn’t it reveal the extent to which our morality has been reduced to rubble? How many of us would be prepared to leave our white collared jobs to take up the rugged road of politics in India? Isn’t graffiti (especially in the much hyped virtual wall) more safe and attractive, the likes and mindless appreciations more tempting? That way we can be popular and get aye-sayers galore and what a boost that is to our little ego.

The tolerance we expect from our leaders is hardly shown by us even in the most of simple situations. The way a driver is heckled by others in the same seat if the car takes a little longer to get started at a signal shows our tolerance level, quite disturbingly so. The more powerful is the seat the less is the level of tolerance. Surrounded by sycophants we feel secured of our power and the moment a ‘no’ is uttered our world starts to crumble. The rebel among the tamed ones appears as a great threat and we wield ourselves to make us sure of his doom but remain oblivious of our own face off that results with such an exercise. The inconsistency of character the duel personality, the colossal practise of preaching without practicing, if we think of it, will appear appalling to our own distressed selves. Power makes Demigods out of us and we want absolute supremacy over all earthly beings. This leads towards the indomitable urge to grab and control without sparing a thought about whether we need, can handle or deserve it. The very act of grabbing is so insidiously addictive that in our pursuit we end up acquiring things we have no clue about. The result of this inane act is reflected in the thriving business of the Babas and Mata Jis who take the opportunity of our abject situation and mint money. 

It’s interesting and sad at the same time that we still look back at our past, as we have no options to do otherwise, to find our role models, especially when it comes to moral character. Is it not a hint enough to the mockery of our existence? Before asking the king or the queen about his/her clothes let’s make sure that we are draped properly or at least have covered ourselves enough. Otherwise the covert Sir Epicure Mammon in us will make us look ludicrous perhaps even more than the king or the queen. 

Need- The mirage of life

Need, other than the basic life saving ones, is a mirage. It makes devout out of atheists, believers out of skeptics even beggars out of kings or queens. Egged by it the world shrinks into a single whole and corrodes the human spirit thus peeling it off to a frayed figure. When driven by the force, reason and logic deserts the seeker making the situation all the more dismal and abject. What all can see as sheer futile effort makes the needy turn into a monomaniac and devote the last breath in fulfilling the want. If only the pointlessness of the pursuit dawned upon the pursuers, so much vain effort could be spared. Life is a mirage and most ruin half their life in search of the oasis that doesn’t exist. And even if the oasis is reached it appears shallow and fails to appropriate the efforts taken. Is this the essential tragedy, human life must undergo for tasting the forbidden fruit? 

The Flip Side

An official assignment took me to a slum at the outskirts of Kolkata. Being born in India and living in a Metro slum was not an alien word or concept for me. There are a couple of them in and around my area. My cook and maid come from two such. But the one I visited on the official visit left me dumbfounded to the core. The approach road from the NH that led to the area was enough to give fits but what lay ahead was abominable. The time of my visit being July the area was all the more hellish. No proper road existed except narrow pathways. Children like swarms of flies looked as pathetic as cannot be expressed in words. Each 6-7 yrs was carrying a 1-2 yrs old and almost all were half or full naked. It was a quagmire of phlegm, mud, rain water and other offal. Children smeared in mud and dirt picked ‘Ash phal’ (a seasonal fruit) from the heave of dirt and drank rain water seeping down from the slanting roof of a shabby grocery shop. At the center point was a congregation of young men. Their vain effort at resembling Salman or Shah Rukh made them look vulnerable in a way. As we passed the spot they passed lewd remarks. The decayed red teeth (result of chewing beetle nuts) actually reflected the decay of the society and so instead of irritating me made me thoroughly depressed. I could feel their despair and deprivation and felt a kind of guilt for wearing branded clothes and shoes especially when their feet were bare and soiled. I am no economist and don’t understand the jargons of the subject. But the word ‘inclusive growth’ is too conspicuous now-a-day to skip anyone’s notice. Lot is being said about the importance of the idea but one visit to Maheshtala was enough to see that till now it is just a phrase of two words creating storms over some expensive tea cups in some elite boardrooms. Amazing was the meeting with the father of ten who unflappably says he earns 100 bucks per day and spends most of it in procuring his daily share of country liquor and plans to engage his children in begging in order to fend for themselves. All the while the anemic wife of the haughty husband stood silently beside him with despondency written large in her sunken face. Their little brigade, it appeared to me, was their way of taking revenge to the unknown or may be to us (the favored ones).

On my return journey the faces I met kept popping up and Left me utterly disillusioned. The thing that was loud and clear to me was- My India is definitely not ‘shinning’!!

Small Screen, large lures: look before You Leap

                                           

With the advent of cable television, the small screen is now gained almost as much stardom as the big screen. Last 15-20 years saw a revolution in the essential character of the small screen. From the sedate national channels to the flamboyant cable ones, television has metamorphosed it self in the last decade. This metamorphosis has resulted in severe competition as well as success for the small screen artists.
Taking a candid and intelligent approach
Lot is heard now-a-days about people leaving their successful careers in respective fields in order to be small screen artists and get recognition, success and stardom. With the exponential success of the TV serials more and more young stars are joining this field and emerging as celebrities. While it sounds rosy to hear about the stardom and success of these hitherto ordinary people, the pathway of this kind of success has always been mildewed. Both the film and television industry are infested with cons waiting on prowl to take advantage of the aspiring actor/actresses. The inexperience and hunger for instant recognition and success of the wannabe actors and actresses often land them into the traps skillfully laid by the cons. So it becomes very important for the aspiring artists to be very cautious while embarking on an acting career. A proper homework on the whereabouts of the reputed and authentic persons in this field can prove to be quite handy to people choosing acting as their career. Any lucrative offer at the inchoate of one’s acting career must be treated skeptically as those kinds of offers normally bamboozles in the end.
Reality shows: the inside story
While talking of cons, it must be said that the reality shows are inundated with them. The reality show business in itself is somewhat shrouded, as the reality factor of such shows are to be doubted. The singing and laughter shows are still ok. But the ones that deal with the very idea of trying to make money at the cost of humiliation and suffering of others itself sound immoral. In such cases it becomes the responsibility of the contestants who volunteer and sign in such shows to be sensible about what they are opting, and whether that can spell trouble (physical or mental) to them or to others. The reality shows at times prove to be a threat to the participant’s lives. In their quest for money and popularity the organizers of such shows even put the participants at danger, at times even life threats. It’s also important to be aware of the reputations of the channel and the production house before signing the contract. Total understanding of the contract before signing it is also of utter importance.
The art of balancing                     
Once the acting career of any actor gets rolling, problems of completely different nature come to the fore. The change that comes over an artist’s life leaves the people close to him at an emotional crisis. The hitherto close friend or companion suddenly appears remote and this feeling results in stress in both the person’s life. Such situations are to be tackled very sensibly and with utmost sensitivity. Loved ones are always very special in everyone’s life and they should be treasured life long. No amount of success can replace the warmth and love of the friends and relatives. So it must be kept in mind that success is instant but relationships are forever: while basking in the success of recognition and stardom one has to keep their feet firmly on the ground. Success or moving ahead in life is definitely something to be coveted, but it must be kept in mind that the success should on usher in pain or trouble to people who are close to us. In our country this kind of situation occurs predominantly among women, as we live in a predominantly male dominated society. When a woman gets more success than her male counterpart, the vicious male ego immediately starts working, thus creating a stress in the relationship. An intelligible handling of the situation by giving as much time and comfort level as possible to one’s partner can solve such issues easily.
The secret of success
Every career has its own professional hazards, and professionals in their respective fields need to deal with them. In today’s world of rat race and cut throat competition no amount of success comes easily. Film or television industry is no exception. Rather the stardom involved in these fields makes it a more tough and competitive place. Most of the apparent success stories have a gruesome story to tell. But that doesn’t mean that people in this field have only negative things to share. The very fact of emerging a celebrity from an ordinary person is in itself gripping and worth taking the way however rocky it might be. Besides, with an intelligent, focused and sensible approach towards one’s career and success and also with proper understanding between individual job and personal relationship, anyone can emerge successful both in professional and personal lives. 



 
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Heritage Tourism in Purulia

    

Imagine a pied panorama of pristine splendor unfolding itself in myriad multitudes: a repertoire rich in variety and essence manifested through nature, people, culture and heritage. This is Purulia, a tropical district of West Bengal, which lies in the westernmost region of the state. Rocky hills defining the landscape uphold the wild and unassuming nature of the land and its people while the serene water bodies embody the intangible wealth intrinsically inherent in them. The Pandora’s Box of Purulia remained encased till banglanatak dot com in conjunction with the Government of West Bengal and UNESCO, took the first step to explore the opportunity for an alternative community-led tourism in Purulia, West Bengal, using the traditional artistic skills of local population as primary resources. To achieve the goal effort has been taken to understand the local population and their skills in addition to inventorying heritage places and buildings. The focus of the effort was to make the community the real and the principal beneficiary of tourism development.

The natural attractions of Purulia include flat green agricultural lands or barren arid fields dotted with ponds and transected with rivers are bordered by hills and mountains. The ponds are full of Shaluk and Lotus blooms. Wild flower bushes grow alongside the roads. Subarnarekha and Damodar rivers define the boundaries of the District. Three main rivers of West Bengal have their origin here, namely Kansabati or Kansai, Dwarakeswar or Dhalkishore and Shilabati or Shilai. Hills like Ayodhya, Panchakot and Joychandi stand sentinel to the beauty and treasure of the region. The lakes look beautiful in contrast to the rocky, hard, uneven terrain and are of great attraction to tourists. Another major attraction here is the Built Heritage. History manifests itself in the built heritage of Purulia. Palaces and temples reflect the royal past. The classic architectural splendors primarily constitute of temples of Jain origin and design. The vast treasure house of sculpture and carvings showcase excellent creativity and craftsman-ship of the artisans. The master craftsmanship depicted in the architectural brilliance of the temples of Rekh Deul, Deulghata, Telkupi, Chelyama, Baromasya, Pakbirrah and Garhpanchakot leaves one awestruck.. Kashipur, another integral part of Purulia is famous for the Panchakot palace, a brilliant edifice of architectural wonder.

The ambit of Purulia’s attraction remains deficient with out its people. Nearly one million people living in Purulia district belong to scheduled tribes and castes (36% of the population). While Santhals are the largest tribal group, other tribes are Kurmi (Mahato), Munda , Kheria-Shabar , Ho, Birharh,  Oraon,  Mal, Mahali, Ghasi etc. Some of the tribes like Birharh, Mal or Bedia are quite primitive and lead a nomadic lifestyle. Despite assimilation of diverse cultures, with the passage of time, many tribes still retain their distinct identities in their traditional cultural and religious practices. These comprise their various customs, ceremonies, religious rites, languages, performing arts etc.  Each tribe has its own 'totem' or symbol. Tribal people are extremely poor and are highly dependent on the forests for their livelihood. Kitchen utensils are made with Sal leaves. Timber is collected from the forests. Bidis are made by rolling tobacco in Kendu leaves and is a common livelihood at Jhalda-I and Jhalda- II blocks. This is an extremely unhealthy livelihood leading to the spread of tuberculosis.  The Forest Department is encouraging forest fringe dwellers to adopt sustainable livelihood options based on non timber forest products like lac and Tassar cultivation, eco-tourism etc.

The tribes of the area practice myriad festivals all through the year and each festival is unique in its essence. The traditional dance forms of Purulia like Chau Naach, Jhumur songs and dance, Pata Naach (Line Dance), Bhuang Naach, Kathi Naach, Ghora Naach, Dansai, and Machhani are so rich and vibrant that if presented properly can have a global appeal. This potential was rightly identified by banglanatak who took initiative to safeguard these folk forms by imparting proper training to the artists and also forming resource centers at the area where the form now gets incubated and thrives with flair. Resource Centers at Chelyama and Bamnia were built with the support of European Union as part of the project Ethno-magic Going Global. They offer workshop, exhibition and rehearsal space. They also have rooms for the casual-visitor. The Chau dancers have been capacitated to perform both nationally and globally and that has created interest about the art forms and today a number of visitors visit Purulia to learn more about the cultural and traditional heritages of the region.

Since the past two decades, poverty alleviation and economic development initiatives of the Government have successfully mobilized local population to be conscious about the potential of their natural and cultural resources and work collectively to better manage them. The availability of such local human resources constitutes a promising basis for a community-led cultural tourism. 122 SHGs of folk artists formed and art skills are strengthened. Art forms are revitalized and there is growing interest among local youth to learn their traditional folk arts for augmenting income opportunities.  Folk Art Hubs have been established and are being managed by the folk artists. Art is becoming a means of livelihood. However, the place being economically poor and the people being unaware about the potentials of the intangible cultural heritage of the place, a number of challenges were faced. Banglanatak successfully handled them by creating mass awareness and building capacity for local entrepreneurship that included:

• Training of SHGs (self help groups) to overlook the protection of heritage sites, work as tourist guides, manage tourist lodges etc.
• Skill building of crafts person and artisans to create souvenirs and mementos out of local handicrafts.
• Developing the local performing art groups to be more functional, skilled and professional.
• Strengthening Community Based Organization by strengthening linkages and forming formal networks like SHG Federations, Activity Clusters, and Cooperatives.
• Facilitating access to Government Schemes by mobilising Panchayat participation.
• Encourage Sustainable Pathways of Development

Once the community was aware about their potential, efforts were taken to promote community festivities and rituals replete with grandeur and pomp which gradually built a sense of pride among the people. The local cultural activities of the inhabitants were made an agenda for building up a mainline economic activity involving tourism as the pivotal point. Promoting festivals as heritage tourism destinations highlighted the fact that, shows of cultural performances are not about instant gratification nor one-off commercial events  for  single audience but a round the year activity and a way of life for the people. New contexts and events were created to revitalize the social functions which are being naturally obliterated with changing times. The Holi Festival has been a roaring success. The festival is gaining huge popularity among locals and outsiders since last nine years. The fair is organised by local organizations like Anneshwa and Lok Sanskriti Mancha. It is held at Deulghata of Garhjoypur on the bank of Kansabati river for three days starting from a day prior to Holi (in the month of March) when the red 'Palash' flowers are in full bloom. It is one of the most colourful, vibrant and entertaining festivals that have attracted more than 12000 rural and around 200 urban tourists.  About 300 folk artists come from various districts of West Bengal and perform Chau, Jhumur, Nachni, Natua, Baul-Fakiri, Gambhira and Domni throughout the night at different locations of the fair ground. During the day, tourists celebrate 'Holi' with 'Abir' on the banks of Kansabati or at the local royal palace. Stay arrangements for boarding and lodging are made on site, at the tents.  The concept of tourism here is unique as the Tourist here can participate in tribal way of life, lac cultivation, mask making or Tassar weaving processes will develop a niche market and promote unique participatory tourism. It may be developed in the model of 'mushroom picking' or 'berry picking' (common in U.S.A) that are popular among tourists as well as local residents. The leisure Activities include learning steps of Jhumur or Chau., Making natural colours from leaves, flowers and barks, Playing ethnic instruments, Making paper-mâché masks., Making  strands of silk yarn. Visitors can have comfortable stay in village homes (bed and breakfast style) with proper sanitation, electricity (solar) and other essential amenities.

Four to five hours from Kolkata, Purulia waits for you, to unfold its intricate tapestry, dappled drawn with exotic bounty and unadulterated bliss!!