Walking a Tightrope

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Acknowledgements

Many thanks to Institut National d’Histoire de l’Art, Paris (INHA) for a research grant to study indigenous Indian art in European collections and exhibitions, and especially to Zahia Rahmani at INHA. Thanks also to CREAM, the University of Westminster, London for a Visiting Research Fellowship and in particular to CREAM Director Professor Rosie Thomas for her continuing support.

Notes

1 For definitions of the ‘indigenous’ and a discussion on why this has emerged as a strong replacement for words like ‘folk’ and ‘tribal’, see Aurogeeta Das. ‘Projections: Of Umbrella Terms and Definitions: Diversity Within a Framework?’. Future(s) of Cohabitation. Guest ed. Bisi Silva. Spec. issue of Manifesta Journal 17 (2014): 77–87.

2 Jawaharlal Nehru introduced five-year plans during his first tenure as Prime Minister of the modern nation-state of India. Ever since, the Indian economy has been premised on the concept of planning, undertaken by India’s Planning Commission. Aims for the art and culture sectors form part of these five-year plans.

3 The name of this organisation is a misnomer, as it sustained scholarly and publication activities far beyond the scope suggested by its title.

4 For a fuller account of the discovery of Jangarh Singh Shyam, see Bowles.

5 Richard Long, Jivya Soma Mashe, Dialog, Museum Kunst Palast, Düsseldorf, 2003.

6 See Pablo Lafuente. ‘Introduction: From the Outside In — “Magiciens de la Terre” and Two Histories of Exhibitions’. Making Art Global (Part 2): ‘Magiciens de la Terre’ 1989. Ed. Lucy Steeds et al. London: Afterall Books, 2013.