Sanatan Dinda, one of the artists credited with changing the very concept of Durga idols, has won the World Bodypainting Festival for two years in a row.
Dinda won in the brush/sponge painting category in the 2022 edition of the festival held in Austria in July. This is his fifth award at the bodypainting festival.
This is not surprising considering how he has consistently displayed pioneering artistry, creativity and innovation in his 25 years of association with Durga Puja — be it Durga suspended in mid-air, defying gravity and every hitherto-known image of the goddess or the overpowering presence of a giant Shivlinga in a puja pandal or the Devi representing the global water crisis.
My Kolkata caught up with the artist to know more about his art and discover the man behind the artist…
My Kolkata: Congratulations on winning the World Bodypainting Festival. How does it feel?
Sanatan Dinda: It’s a beautiful feeling. The festival could not be held for two years because of the pandemic. It resumed this year and I bagged my fifth award. After the competition, there were masterclasses and a chance to meet artists from all over the world. It was an enriching experience. The competition takes place in Austria and from there we went to France for a short holiday.
Sanatan Dinda’s award-winning creation at the World Bodypainting Festival 2022 in Austria
When did you start body painting and why?
I remember trying out body painting as a child, but it was not an organised attempt. Much later in 2013, a festival was organised at Nicco Park and there was a segment for body painting with a fashion show. That was the beginning. Then I got to know about the World Bodypainting Festival on the internet and decided to participate. I had to submit five sample photos of body paintings, but I didn’t have that many. I submitted three and the other two were just paintings. Without any experience, I had participated and lost.
Since then, I kept on practising. I finally won the competition in 2015. This is the second time I finished as a winner and it could be the last, because I think I should stop and create opportunities for the next generation of artists.
I am very restless as an artist. I don’t want to bind my work to any particular medium or form. That was the primary reason for taking up body painting along with traditional painting and sculpting.
Sanatan Dinda with Panchali Banerjee in Austria
Is there a difference between Sanatan Dinda the Puja artist and Sanatan Dinda the body painter?
The approach is different. In Durga Puja work, the organisers usually have a wish list. But when I am painting or sculpting, I am free to do what I want. That’s why body painting and sculpting are closer to my heart. It’s creativity at its best.
Durga Puja, on the other hand, has given artists like me a platform and a source of income. This is rare. In the body painting competition, artists participate from across the world and almost all of them have government sponsorships. But nowhere in the world, are artists are paid for creating such huge installations as Durga Puja.
You don’t have any grievances for not getting a sponsorship?
No, because I don’t have any expectations. I think it is enough for artists like me to be able to earn a living and stay alive. I earn, I pay taxes and I participate in competitions and conduct workshops. I am respected by my fellow artists from other countries and that’s all I can ask for.
Sanatan Dinda at the Musée d'Orsay in Paris, in front of a portrait of Van Gogh, whose ‘The Starry Night’ is one of Dinda’s inspirations for this year’s Durga Puja
You will be completing 25 years working for Durga Pujas this year. How are you celebrating?
With my work of course! On this occasion, I have decided to blend the works of two of my gurus — Rabindranath Tagore and Vincent Van Gogh — in one pandal. I will recreating The Starry Night with some influences from Tagore’s Akash bhara surya tara. This is going to be really special. Besides, I am making a 25-foot idol for a Behala puja.
You have been witness to a lot of changes in Durga Pujas. What are your thoughts on these changes?
Till the 1980s, Durga Puja was a regional celebration. People were unhappy about the extortion in the name of chanda collection and the loudspeakers blaring Bollywood music for a week. Then came the Asian Paints Sharad Shamman and puja organisers realised that Durga Puja can be a source of fame and money, and they started creating something new. However, it was no more than thematic craftsmanship at that point of time
In the next few years, with puja organisers hiring artists, the craft started turning into art. College students started getting jobs and artists earned money. COVID brought some big changes and then with UNESCO’s heritage tag, Durga Puja has become a universal celebration.
What was the effect of Covid?
The two years of Covid proved that pujas can be held on a small budget as well. It was challenging for the artists and organisers, but we did it. However, I don’t believe in the concept of online pujas. This celebration is the source of living for thousands of people and online pujas would take that away.
In the past, you had decided to quit Puja work. What made you return?
After the Posta flyover collapsed, I had created a video and posted it on social media. After that, for two years, almost all puja organisers refused to work with me. There were threats and I decided to stop Puja work completely and even considered taking political refuge in some other country. But a few clubs like Behala Nutan Sangha compelled me to begin afresh. I am forever grateful to them.
Has there been any change in the approach of puja organisers?
Not really. There are clubs that regard the artist as the captain of the ship and there are also those who see us as nothing more than a decorator. If you ask me, this is going to stay because the newer generation is not taking much interest in Pujas. If these same people stay, then the attitude will also stay.
What is the future of Durga Puja?
It is difficult to say, but with the UNESCO heritage tag, I'd say Durga Puja is going to get bigger.
