Documenting The Culture
April 14, 2025
The Archival Aspects of Agwma Basumatari’s Prints
Written by Juhi Mathur
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When deciphering each hue and detail of Agwma Basumatari’s intricate woodcut print, one is drawn to the tedious process of creation, delving into the vision of the artist and his quest to present a fragment from his community in a visual language. Born in Udalguri, Assam, Agwma’s practice documents the history of Bodo community, specifically focusing on the material history of the tribe. Through the process of woodcut printmaking, Agwma has presented different aspects and essence of the Bodo tribe.
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Agwma uses a vibrant colour palette to represent the traditional textile of the Bodo tribe, known as Dokhona, while simultaneously embedding his prints with a similar texture, form, and materiality bringing it closer to its authentic origins by using the dokhona cloth as the canvas for his prints. The meticulously carved woodcuts pay homage to the rich cultural legacy of his people and also work as tokens of historical documentation. The colours also imitate the agor (bodo textile design) and the composition itself is a mix of surreal elements along with the representation of people from Agwma’s community. Agwma’s journey of documenting the Bodo community began with his readings of the work The Kacharis by Reverand Endle, who extensively researched and documented the Bodo-Kachari or Bodo tribe of Assam, delineating the cultural nuances of the tribe, ranging from their social, cultural and religious practices to their day-to-day rituals. His anthropological accounts inspired Agwma’s interest into the lives and history of Bodo-Kachari people, using colour and textures to document their existence while infusing life into his creative expression, in his series – Pucker Face Identity of Bodo. The series has mapped out the history of Bodo-Kachari community and used Dokhona textile as an homage to the people while presenting his thoughts through vibrant colours and woodcuts.
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The history of woodcut printmaking in India goes back to 1556, around 100 years after the production of the first Bible, and the accessibility of print led to the mass production and commercialisation of art and prints, which was popularised by artists like Raja Ravi Varma with the set up lithographic press in Lonavala in Maharashtra. During the1920s with the rise of India freedom movement, the medium of woodcut was seen as a device of documentation and expression notably in works of Nandalal Bose, Chittaprosad, and Gaganendranath Tagore. The medium was used to present ideas as opposed to the mere method of reproduction. This provides more context to the practice of printmaking as it has captured a different notion of presentation and delineation.
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In a similar manner, Agwma’s art captures facets .of history and industrialisation in the regions of Assam covering various episodes from the yore, delving into the spiritual and cultural world of his people. Predominantly covering the weaving history of the Bodo tribe, Agwma has highlighted the world of weaving and north eastern textiles which are defined by the colours, textures, and designs of the particular tribe, focusing on the role of women in the weaving industry.
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Dokhona is worn by the women of the Bodo community, and the weaving celebrates various elements of their culture and heritage, paying homage to the history of the Bodo community. Agwma’s woodcut prints track the archival photographs and documentation of the community in Kindle’s book, and presents them in the colours of Dokhona textiles and uses the cloth weaved by his community, bringing together the material culture and ethnographic history of the Bodo-Kachari people. The political history of the Bodo-Kachari community and the establishment of Bodoland has been essential to the legacy of Assam, largely agrarian in nature, the community has kept its traditions and practices intact through the passage of time.
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In Assam, woodcut printing began in the 19th century, when the region came under the control of the British and led to the introduction of printing presses; thus began the publication of Arunodoi magazine by the American Baptist Mission in 1846 which featured woodcut prints of animals, people, plants and bible illustrations. The first half of the nineteenth century in Assam was known as the ‘Orunodoi era’ given the rise of mechanical print in the region. This element of nostalgia and history is perfectly captured in Agwma’s prints as he brings back the history of space while employing methods that have been used to contribute to the development of the state. There is a certain materiality to the aspect of printmaking that makes it more commercial than other artforms, it is also more democratic in nature as its production and dissemination is faster and accessible, hence the visual illustrations can be used as tools of knowledge. Similarly, Agwma’s prints also delve into the history of Bodoland, producing it as an art piece while providing more context about the people of the land and their cultural and spiritual existence. This is done through immortalising smallest acts and rituals in his prints.
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Print has always been a tool for change, the democratization of visual media specifically of graphic art has heralded change in regime. In the pages of history, Gaganendranath Tagore’s name is etched as one of the first practitioners in the country who had employed printmaking as a medium of personal expression, as opposed to the mere means of reproduction. He had set up a lithographic press, later known as Bichitra Club, where he produced various prints and series on the British – a clever satire on political and societal norms. Similarly, Nandalal Bose had set up a graphic arts department in Kala Bhavana, after his visit to Japan and China, infusing the principles of eastern aesthetics in the vocabulary of printmaking and moving beyond the constraints of aesthetic realism. The connection between a more impressionistic approach and the Japanese woodcuts, gave a modern vocabulary to Bengal woodcuts. Implementing his studies of modernism in his documentation, Agwma has also used the history of woodcut printing to add depth to his subject matter, the legacy of printmaking in Assam began in the mid-19th century, popularly known as ‘Orunodoi era’, with the introduction of printing press by the American Baptist Missionaries, leading to the establishment of Oronudoi Magazine and resulting in rise of woodcut printing and graphic arts in the state. Hailing from the Bodo community, Agwma’s artistic practice deals with the ecological impact of human activities, presenting an eco-political stance by using the wood sourced ethically which is then carved and preserved as part of the artwork, capturing the essence of his visual documentation in different formats.
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Through a thoroughly studied history of the community and its people, Agwma focuses on the heritage of Bodo-Kachari people, and points to the exoticisation of their life which is a result of the documentation from western lens. By focusing on the spiritual and mythical histories, Agwma infused life in the archival data through a narrative that transcends the rules of realism and naturalism, creating a visual representation which is along the lines of experimentation with mediums, colour palettes, and aesthetics – uncovering his own personhood through a creative and structuralist lens as he moves towards the world of abstraction and deconstruction.
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About the artist:
Born in Assam in 1995, Agwma’s artistic practice encapsulates the essence of the Bodo people and their unique historical journey. He completed his Bachelors in Fine Arts from Kokrajhar Music & Fine Arts College, Bodoland Territorial Region, Kokrajhar, Assam and a masters in printmaking from Sir J.J. School Of Art, Mumbai. Agwma was one of the Solo Show Awardees of Inception Grant 2024.
Primarily, his process is driven by a profound connection with colour, form, texture, and the meticulous medium of wood cut-a traditional process that pays respect to the environment. The focus lies in the realm of colour printmaking, and drawing inspiration from the natural hues found in the traditional attire of Bodo women, the Dokhona. Through his art, he aims to capture the authentic origins of the Bodo culture, paying homage to their rich heritage and history that has often been obscured by the passage of time. He is currently based and practices in Mumbai.