With the Tribal Art Fair 2026 in the backdrop, the Minister for Tribal Affairs, Shri Jual Oram, underscores how Tribal Art is emerging as a dynamic force in today’s creative economy and seamlessly aligns with the vision and mission of Viksit Bharat. The minister, in a special interview to Art Soul Life, spoke on a wide range of topics ranging from livelihood creation and cultural identity to tribal knowledge systems. Excerpts from the interview are presented below.
ASL: In your opinion, how can events like the Tribal Art Fest create livelihood opportunities for tribal communities?
The Tribal Art Fest has been a successful initiative. This festival has achieved an important milestone in promoting tribal artists and their work. During the 12-day exhibition, more than 800 artworks were sold, resulting in direct sales of over `1.25 crore. More than 10,000 people participated in the event.
The overwhelming response from art lovers, collectors and visitors reflects the growing appreciation for tribal art. By bringing together the art gallery ecosystem, corporate buyers, and institutional partners, we have created a platform that not only showcases tribal art but also, directly strengthens the livelihood of tribal artists.
ASL: In today’s era of globalization, how do you see the contribution of tribal art to India’s broader cultural identity?
India’s tribal communities possess an extraordinary treasure of art, culture, heritage, food traditions, and traditional knowledge systems, which is truly incomparable. These vibrant traditions reflect a deep connection with nature, community and knowledge passed down through generations.
In line with the Prime Minister’s vision, we are continuously working to create sustainable and ambitious livelihood opportunities for tribal communities. With the support of other ministries at the global level, our tribal artists are gaining recognition worldwide for India’s traditions.
The Tribal Art Fest is one step in this direction. Several conferences are also being organized in the capital where guests from foreign countries are participating.
We will continue such efforts in the future in alignment with the Prime Minister’s vision of Viksit Bharat. This contribution is not only aesthetic but also ecological, economic and culturally significant.
ASL: How do events like the Tribal Art Fest help create livelihood opportunities for tribal communities?
The objective of TAF is to create a fair market environment where tribal artists receive the right value for their artworks. The festival establishes direct connections between artists and art buyers, galleries, corporate partners, institutions, and citizens. As mentioned earlier, many artists have benefited from this platform. Artists representing various traditions participated in the exhibition, including Warli (Maharashtra), Gond (Madhya Pradesh), Bhil (Madhya Pradesh, Rajasthan, Gujarat), Dokra (West Bengal, Chhattisgarh, Odisha), Sohrai (Jharkhand), Koya (Telangana, Andhra Pradesh), Kurumba (Tamil Nadu), Saura (Odisha), Bodo (Assam and Northeast India), Uraon (Jharkhand, Chhattisgarh), Mandana (Rajasthan, Madhya Pradesh), Godna (Bihar, Madhya Pradesh, Chhattisgarh), bamboo crafts from the Northeast.
Earlier, many tribal paintings and artworks were sold at very low prices, often through middlemen who collected them from villages. Now these artists are receiving national-level platforms and are learning the true value of their art. For example, an artwork that may sell for `100 in its local region can fetch ten times or more at national exhibitions. Thus, fairs and exhibitions not only provide recognition to tribal artists but also play a crucial role in improving their livelihoods.
The artists also gain insight into what people appreciate and what kind of artworks they should create—whether it is Dokra craft, Sohrai painting or other regional art forms.
ASL: What plans does the government have to connect the younger generation—both tribal and nontribal— to these traditions and help preserve them?
To preserve tribal culture and traditions, Tribal Research Institutes (TRIs) are documenting and researching tribal languages, traditions, medicinal practices and folk arts. This will create a digital database for future generations to learn about tribal traditions.
The government also celebrates the birth anniversary of Birsa Munda as “Janjatiya Gaurav Divas” (Tribal Pride Day) so that young people can learn about great tribal leaders.
Additionally, Tribal Freedom Fighter Museums have been established in different parts of the country to highlight the contributions of tribal freedom fighters. The Van Dhan Vikas Kendras have also been set up to link traditional skills such as forest produce collection and handicrafts with livelihood opportunities, encouraging youth to adopt traditional activities as businesses.
The ministry has also introduced tribal youth exchange programs, where tribal youth travel across different states to understand other cultures and exchange their own traditions.
Events like Tribal Art Fair and the National Tribal Festival are organized across the country. Young people are also being empowered to sell their local art and products through online platforms such as Tribes India. Additionally, the “Ek Bharat, Shreshtha Bharat” initiative encourages non-tribal youth to learn about different traditions, costumes, and cuisines, helping tribal culture reach a wider audience.
ASL: Are there any special plans to showcase Indian tribal art on the international stage, similar to how Indian classical arts have gained global recognition?
We have invited artists from countries such as Canada and Australia to participate in the Tribal Art Fest. Artists from other countries have also shared their artistic traditions with Indian tribal artists, creating a dialogue between cultures.
Various ministries and organizations are encouraging discussions about the fusion of traditional tribal art with modern techniques. Tribal artists are also being informed about the growing international demand for their work. Keeping global preferences in mind, artists are now creating new products and selling them through e-commerce platforms.
ASL: You have said that tribal art reflects centuries-old civilizational wisdom. How can this knowledge contribute to India’s vision of a “Developed India”?
We are conducting research and documentation of ancient tribal knowledge through excavations, inscriptions, paintings and other mediums. For example, historical evidence shows how houses and bridges were constructed even before the use of cement. Tribal communities still possess immense knowledge in various fields, which needs to be documented. They also have extensive knowledge about traditional medicine, and the Ministry of AYUSH is working to document it.
There is also valuable knowledge related to climate, forests and sustainable living, which needs to be compiled in one place. The government is working to ensure that the benefits of this ancient knowledge reach as many people as possible. The National Tribal Research Institute is conducting continuous research and promotion of tribal literature and art, deepening the understanding of these traditions. Tribal artists are also being issued identity cards so they can receive priority in government schemes and exhibitions.
ASL: Beyond festivals, what steps are being taken to provide permanent platforms for tribal artists, such as year-round exhibitions, art residencies, or collaborations with contemporary art institutions?
Apart from festivals, the ministry and TRIFED’s “Tribes India” network have established showrooms across the country that sell tribal crafts and artworks throughout the year. Through e-commerce platforms, these products are also being connected to the global market.
The Ministry of Culture’s regional cultural centres and the Ministry of Tribal Affairs organize art residencies throughout the year. These residencies allow tribal artists to collaborate with contemporary artists, learn new techniques and adapt their art to modern needs.
Prestigious institutions such as the National Gallery of Modern Art and the Lalit Kala Akademi are also organizing exhibitions of tribal art, helping elevate tribal art from “folk art” to the status of fine art. Efforts are also being made to obtain GI tags for tribal art forms such as Sohrai-Khovar painting and Gond art, ensuring their uniqueness and protection. Digital documentation is also being carried out for preservation.
ASL: The “One District, One Product (ODOP)” initiative aims to promote unique products from each district. How is the ministry ensuring that tribal artisans benefit directly rather than middlemen?
The ODOP initiative is a historic policy designed to link local craftsmanship with the national economic agenda. It was launched in 2018 in Uttar Pradesh and now covers over 770 districts, each defined by a unique regional product.
Through institutional governance, digital platforms, and global outreach, the program empowers artisans, boosts exports, and helps preserve cultural traditions.
Indian embassies in over 80 countries have promoted ODOP crafts, and dedicated outlets in Singapore and Kuwait have strengthened its presence in international markets. Examples include tribal coffee from Koraput (Odisha), lac bangles from Jharkhand, bell metal craft from Bastar (Chhattisgarh), bamboo crafts from Maharashtra, and tribal textiles from Nagaland—many of which were also showcased at the Tribal Art Fest.
ASL: What steps are being taken to protect the intellectual property of tribal artists so their designs and techniques are not commercially exploited without fair compensation?
Under international agreements such as the Dunkel Agreement, efforts are being made to patent and protect traditional arts. Many patents have already been registered. The ministry is paying special attention to documenting tribal art forms to ensure that others cannot misuse them for commercial benefit. Monitoring mechanisms are also being put in place to safeguard the rights of tribal communities.
