Santiniketan
Art and Politics Converge in Santiniketan
“I did not know if Chief Minister Mamata Banerjee was ‘angry’ with her,” remarked Droupadi Murmu, India’s first tribal President, during her address at the International Santhal Conference held at Visva-Bharati University in Santiniketan on March 7, 2026. Her statement highlighted the absence of significant political figures from West Bengal, which she found disappointing, especially given the importance of the event.
The International Santhal Conference, a gathering aimed at celebrating and discussing the rich cultural heritage of the Santhal community, was marked by a last-minute venue change due to permission issues. Despite these challenges, Murmu’s presence underscored the significance of the event in the context of India’s diverse cultural tapestry.
Murmu’s visit coincided with an exhibition titled “Colours of Swades,” which employs Artificial Intelligence to reinterpret the works of Nandalal Bose, a pivotal figure in Indian art history. Bose staged a visual coup at a political gathering in 1938 in Haripura, Gujarat, creating 77 posters that depicted the life of the soil for the masses. His belief that art should be accessible to all aimed to decolonize the Indian mind, making his work particularly relevant in today’s context.
Nidhi Choudhari, a curator involved in the exhibition, stated, “The Haripura panels were never intended to be museum objects in the conventional sense.” This perspective aligns with Bose’s vision of art as a living, breathing entity that engages with the public rather than being confined to galleries.
Choudhari further elaborated, saying, “Technology is a tool of interpretation. It helps visitors step closer into the world Bose imagined.” This innovative approach to showcasing Bose’s work reflects a modern understanding of art’s role in society, bridging the gap between historical significance and contemporary relevance.
As the exhibition runs from March 9 to April 9 at the National Gallery of Modern Art, it offers a unique opportunity for visitors to engage with Bose’s legacy through the lens of modern technology. The juxtaposition of Murmu’s political presence and the artistic celebration of Bose’s work creates a rich narrative about the intersection of culture and governance in India.
While Murmu’s remarks regarding the absence of West Bengal’s Chief Minister may have stirred conversations about political protocol, they also reflect a deeper issue of respect for constitutional offices and the institutions they represent. As the event unfolds, the implications of these discussions may resonate beyond the walls of Santiniketan.
Details remain unconfirmed regarding the future engagements of Murmu and the potential responses from the West Bengal government. However, the International Santhal Conference and the accompanying exhibition serve as a reminder of the enduring legacy of Nandalal Bose and the ongoing dialogue about art, culture, and politics in India.
