This statement reflects the ethos of Nandalal Bose, a pivotal figure in Indian art, whose works are celebrated for their deep connection to the cultural and social fabric of India. On March 7, 2026, Droupadi Murmu, India’s first tribal President, delivered a significant address at the International Santhal Conference held at Visva-Bharati University in Santiniketan. This event not only highlighted the rich cultural heritage of the Santhal community but also underscored the ongoing relevance of Bose’s artistic vision.

The conference venue was shifted at the last minute due to a lack of permission, which added a layer of complexity to the proceedings. Despite this setback, Murmu’s presence was a powerful reminder of the importance of representation in Indian politics. She expressed disappointment over the absence of West Bengal’s Chief Minister, Mamata Banerjee, and senior ministers during her visit, stating, “I did not know if Chief Minister Mamata Banerjee was ‘angry’ with her.” This remark pointed to the intricate dynamics of political protocol and respect for constitutional offices.

Murmu’s speech resonated with the themes of cultural identity and the role of technology in interpreting art. As Nidhi Choudhari noted, “Technology is a tool of interpretation. It helps visitors step closer into the world Bose imagined.” This perspective aligns with the ongoing exhibition “Colours of Swades,” which employs Artificial Intelligence to reinterpret Bose’s works, showcasing how modern technology can breathe new life into historical art.

Nandalal Bose, who staged a visual coup at a political gathering in Haripura, Gujarat, in 1938, created 77 posters depicting the life of the soil for the masses. These panels, which will be on display at the National Gallery of Modern Art from March 9 to April 9, serve as a testament to his belief that art should be as common as the air we breathe. His commitment to decolonizing the Indian mind through art remains a relevant discourse in today’s socio-political landscape.

The International Santhal Conference not only celebrated the Santhal culture but also served as a platform for discussing broader issues of representation and identity in India. The absence of key political figures during such a significant event raises questions about the commitment to these discussions at the highest levels of government.

As the conference concluded, the focus remained on the importance of cultural events in fostering dialogue and understanding among diverse communities. The next expected developments include further discussions on how to integrate traditional art forms into contemporary political narratives, ensuring that the voices of marginalized communities are heard and respected.

In a world where art and politics often intersect, the events in Santiniketan remind us of the enduring power of cultural expression and the need for inclusive dialogue in shaping the future of India.

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