BEED

Mukundaraj is regarded by scholars as one of the earliest poets in the Marathi language. Associated with the Nath sect, he is known for two significant works: Vivekasindhu, considered the earliest prose text in Marathi, and Paramamrta, a pioneering attempt to articulate Vedantic philosophy in Marathi. His writings engage with Hindu philosophy and the path of yoga, drawing influence from the teachings of Adi Shankaracharya. The town of Ambajogai in Beed district is traditionally linked to his legacy.

Beed's literary landscape was further shaped by the influence of Bhakti movements, particularly the Mahanubhav and Warakari sects. The Mahanubhav sect, founded by Chakradhar Swami in the 13th century, contributed to devotional literature, including Lilacharitra, which chronicles spiritual journeys and philosophical discourse. Historical accounts suggest Chakradhar Swami travelled through the Marathwada region, including Beed, during the composition of this text.

In contemporary times, Chakrapani Yellambkar, a poet from Beed, is associated with the Mahanubhav tradition. His Hindi poetry collection Teesa comprises 30 stanzas exploring moral and philosophical themes.

Kasuti embroidery is a craft that has developed a significant presence in the Beed district in recent years. Renowned for its intricate patterns and vibrant motifs, Kasuti is prominently featured on sarees, traditional garments, and accessories, making it a prominent craft in the region.

According to the Craft of Clusters website, over 300 artisans and 15 self-help groups (SHGs) operate within Beed’s embroidery sector, supporting skill-sharing and collective production. SHGs aid in marketing and resource mobilization, contributing to the region’s reputation as a center for embroidery in Maharashtra.

Gormati embroidery is a traditional craft of the Banjara community, passed down through generations, particularly among women. Known for its vibrant colors and detailed motifs, this form of embroidery reflects cultural narratives and symbols specific to Banjara life. The techniques are typically learned within families, often from mothers and grandmothers. Artisan Vijaya Pawar describes it as a form of hastakala, or handicraft, underscoring its manual, skill-based nature.

Through the years, Gormati art has lamentably seen a decline in practice, with fewer opportunities for artisans to sustain their work through traditional means. Recognizing this, an artist named Vijaya Pawar began efforts in 2000 to revitalize the craft by engaging women in her village in Beed district. Her efforts later expanded across the broader Banjara community, focusing on both the preservation of traditional techniques and their adaptation for contemporary use.

Through her NGO, she organizes training workshops that teach traditional embroidery while encouraging artisans to create products suited to modern markets. Her initiatives have supported over 450 Banjara women in achieving financial independence through their craft. 

Dimdi and Kanjiri are traditional percussion instruments used in Indian folk music. Dimdi consists of a wooden ring with a leather membrane, while Kanjiri features additional metal plates or ghungroos on its outer ring. These instruments often accompany storytelling and devotional songs.

While many artists across India are known for playing these instruments, one prominent figure from Beed is Meerabai Umap. At the age of seven, she was gifted a Kanjiri by Sant Tukdoji Maharaj following a performance, marking the beginning of her journey as a folk artist. She is among the few women in Maharashtra formally recognized for playing these instruments. Passionate about traditional instruments and lamenting their decreasing importance in the contemporary landscape, Umap advocates and wishes to establish an institute where younger generations can learn these instruments.

Atmaram Salve, born in 1953 in Bhatwadgaon, Beed district, is a poet and shahir associated with the Dalit Panther movement and the Namantar agitation for renaming Marathwada University. Influenced by Dr. B.R. Ambedkar’s ideology, Salve’s poetry often revolves around issues like caste violence and social injustice. His performances have drawn significant public engagement and have been linked to political activism. He is credited with composing over 300 songs, many of which remain in circulation.

Meerabai Umap, born in 1965 in Antarwali village, Gevrai taluka, is a folk singer from the Matang community in Beed district. Her parents, Wamanrao and Reshmabai, travelled across the region performing bhajans and abhangs and were part of the guru gharana tradition of musical instruction in Dalit communities. From an early age, Umap was immersed in devotional and folk music, with her style shaped in part by the teachings of Sant Tukdoji Maharaj.

She is particularly known for her performances in bharud, a traditional art form that blends music, satire, and social themes. While Bharud has historically been performed by men, especially songi bharud, which involves cross-gender roles, Umap is one of the few women to actively participate in and gain recognition within this tradition. Her repertoire includes both bhajani and bharud, focused on spiritual subjects, and its more theatrical counterpart.

For her work, Meerabai has received numerous awards, including the Annabhau Sathe Award and the Maharashtra Government State Award for Cultural Work.

Ankur Tangade is a comedian from Beed whose performances engage with themes of caste, identity, and queerness. She began her stand-up career in 2018, initially focusing on mainstream material, but during the COVID-19 pandemic, she began to draw more directly from her own experiences as a queer Dalit artist. This shift allowed her to bring new perspectives to her work, using humor as a way to explore personal narratives and social issues.

In 2021, Tangade co-founded Blue Material, a comedy collective featuring an all-Dalit lineup. The initiative was created to highlight diverse voices and create space for performers from backgrounds that are often underrepresented in the comedy scene.

Tangade’s work balances entertainment with commentary, using comedy to navigate complex topics such as discrimination and visibility. As an openly Dalit and queer performer, she has often spoken about the challenges she faces within the comedy circuit, including limited opportunities and hesitation from some organizers to feature her due to the themes she explores. In response, she has emphasized the need for a more inclusive performance landscape. Her ongoing work with Blue Material, in many ways, reflects a broader commitment to expanding opportunities and reshaping the space for diverse voices within contemporary Indian comedy.