NAGPUR

Khadi Gammat is a folk performance tradition from Nagpur that combines musical elements with comedic acting. These performances are commonly organized during celebrations and are based on local cultural themes.

Thumri in Nagpur is a local performance tradition, distinct from the classical North Indian vocal genre of the same name. It is typically a solo act which is often performed by a male artist who interweaves humor with pointed social observation. Central to the performance is a wooden box filled with stones, used percussively to maintain rhythm. Through song and narration, the performer addresses issues rooted in everyday life, such as child marriage and the dowry system.

Zadipatti Rangbhumi is a traditional form of theater performed primarily in the districts of Gondia, Gadchiroli, Bhandara, and Chandrapur.  According to local accounts, many artists associated with this form are based in Nagpur.

The plays are performed in regional language varieties and are based on regional folklore and everyday life. They are often staged during festivals and cultural gatherings. For many artists, participation in Zadipatti Rangbhumi is a source of livelihood, and audiences from across Maharashtra attend these performances.

Nakkal  is a comedic form of performance where the artist mimics real-life or fictional characters. The performances often include a social message, blending humor with commentary. Some prominent Nakkal artists from Nagpur include Nana Retar, Dada Kothivan, and Rajabhau Chitnis.

The Kashta saree, also known as the nine-yard saree, is a traditional Maharashtrian garment which holds great historical importance. It has been associated with various roles throughout history and it was notably also used by women who participated in warfare. In fact, it is said that even Rani Lakshmibai, famously known as Jhansi Ki Rani, wore a Kashta saree while leading her troops in battle.

The name Kashta is believed to have been derived from Kosa, a type of silk obtained from silkworms, traditionally woven in central and southern India. While Kosa silk once defined saree weaving in the region, the material landscape evolved, especially in Nagpur, where local cotton gradually replaced silk in the weaving of Kashta sarees.

In Nagpur, the weaving of the Kashta saree has a long-standing tradition. Notably, it is mentioned in the Nagpur district Gazetteer (1971), that “Weaving was one of the most important cottage industries of the district in the early 20th century. Weaving of silk-bordered cloth had a long and remarkable past.” Although the industry faced a decline before 1872 due to the rise of machine-made goods, it is noted to have recovered in the early 1900s.

The district Gazetteer (1971) also mentions that among the various weaving communities in the region, the Koshtis formed the majority. They have long been central to the production of Kashta sarees and are organized into regional sub-groups with each having their own distinctive weaving styles. These include Lad Koshtis from southern Gujarat, Garhewal Koshtis from Jabalpur, Deshkar Koshtis from Marathwada, Dewangan Koshtis from Chhattisgarh and Wardha, and Halba Koshtis from Nagpur and southern Chhattisgarh.

Halba Koshtis, as mentioned above, are a sub-group of the broader Koshti community and are based in Nagpur and southern Chhattisgarh. In Nagpur, they are noted for producing a distinct variant of the Kashta saree, crafted not from silk but cotton. Interestingly, this material shift aligns directly with changes in agriculture and socio-economic landscape that took place in the region.

According to Nikhil Nandanwar (2021), the Halba Koshtis originally wove Kosa silk sarees, using silk sourced locally from central India. However, with the expansion of cotton cultivation in Vidarbha, especially around Nagpur, they transitioned to cotton weaving. This shift was significant—not only in terms of material and aesthetic—but also in its social impact, as it is noted to have lowered production costs and made the saree affordable and accessible to women across castes and communities.

The cotton Kashta sarees are distinct in design, typically featuring pale, muted colors, in contrast to the bright and dark tones that the saree is usually associated with. These sarees are woven on Mangtha looms, made from locally sourced teak wood, which is termite-resistant and treated with varnish for durability. There is a very intriguing proverb that connotes how sturdy the looms are: “Janmabhar purbala Mangtha has ka tu" ("you are not a Mangtha to be immortal").

The Mominpura locality in Nagpur is another center of Kashta saree weaving, renowned for its Momin weavers. The area is believed to have taken its name from this community, who have practiced their weaving traditions here for generations.

The Pune district Gazetteer (1883) documents that Momin and Julaha Muslim weavers migrated from the Nizam’s territories such as Hyderabad, Dharwar, and Narayan Peth and settled in Kamptee town where they formed an artisan cluster. These artisans, alongside Hindu weavers (Khatris, Koshtis, and Salis), sustained the region's textile economy.

The Khasdar Sanskrutik Mahotsav is an annual cultural festival held in Nagpur, typically between November and December. The event features a variety of performances, including music, dance, theatre, and sports-related presentations. Artists from various parts of India and occasionally from other countries participate in the festival.

It is held at the Ishwar Deshmukh College Ground, serving as a venue for the presentation of diverse art forms and public attendance.

Bhatkhande Sangeet Mahavidyalaya is one of the oldest institutions dedicated to Hindustani Classical Music in Nagpur. It was founded by Pt. Prabhakar Khardenavis, with the aim of fostering comprehensive knowledge of classical music. The Mahavidyalaya continues its educational activities, supporting learners in the study and practice of classical music.

Sudhir Phadke (1919–2002) was a singer and composer active in Marathi and Hindi music. He was born in Kolhapur and spent part of his professional life in Nagpur.

He is particularly noted for his work on Geet Ramayan, a musical adaptation of the Ramayan, which gained widespread popularity in Maharashtra. Phadke composed music for various films in both Marathi and Hindi languages. In addition to his musical pursuits, he was involved in social and political movements in support of nationalist causes.

Valay Shende is an Indian sculptor and video artist, born in Nagpur in 1980. He completed a Diploma in Art Education in Nagpur in 2000, followed by a Bachelor of Fine Arts in sculpture from Sir J.J. School of Art in Mumbai.

Shende’s works address contemporary themes, particularly the interplay between industrial development and traditional values in India. His art is characterized by the use of unconventional materials such as metal discs, pocket watches, and copper-plated fiberglass, often combining video elements with large-scale installations.

One of his notable works, Transit (2010), is a life-size sculpture of a truck carrying 22 human figures. Constructed over 18 months, it features thousands of stainless steel discs, each individually spot-welded. The truck includes rearview mirrors fitted with video screens showing road footage from London, Mumbai, and Dubai, creating the illusion of movement from the driver’s perspective. The work references the rise in farmer suicides in India and presents a visual juxtaposition of mobility and stasis.

Ramani Rao is an artist based in Nagpur who has worked with papier-mache for over thirty years. Initially inspired by her mother, Rao developed her craft into a livelihood, involving 16 women with disabilities in the production of handcrafted dolls. Her work has been displayed in exhibitions across India and internationally, including in Norway, the United States of America, and Denmark.

Rao specializes in creating paper-mache dolls in traditional and cultural attire, often depicting themes such as classical dance forms, folk traditions, weddings, epic narratives from the Mahabharat and Ramayan, and rural life in India. Her collection also includes dolls themed around foreign cultures. The dolls are designed to reflect the diversity of Indian customs, attire, and storytelling traditions.