How Krishen Khanna's signature ‘bandwallas' became enduring emblems of othering
Khanna is renowned for his sensitive observation of society and unwavering compassion for the marginalised, as epitomised by his signature motif of bandwallas (musicians in wedding brass bands). These figures first appeared in his art in the 1970s, and have continued to feature prominently ever since.
One evening, as he was on his way home from Garhi Studios in Delhi, Khanna got stuck in traffic caused by a wedding procession. He witnessed the wedding party dancing to tunes belted by the bandwallas, and was struck with the irony of the situation.
'They [the bandwallas] dress up but are actually in tatters. It's grandiose and comic, but also tragic at the same time. They are poor chaps…. It proves that life is neither comedy nor tragedy all the way through, it's Chaplin-esque,' Khanna said in an interview to The Indian Express in 2015.
Established in Mumbai in 1947, the Progressive Artists' Group was an art collective which aimed to discover a vocabulary for the modern art of Independent India. Stalwarts such as F N Souza, S H Raza, and M F Husain were all members of PAG.
'They created a unique Indian modernity that was full of plurality, bearing comradeship with the West, but remaining deeply Indian,' cultural critic Ashok Vajpeyi told The Indian Express in 2022.
Art critic and curator Kishore Singh said of Khanna's choice of protagonist: 'They are an essential part of one's festivities and look celebratory. At the same time, they are never invited within the venue: once their purpose is served, they just melt away in the backdrop'.
'This level of marginalisation where we can overlook a group of people so vital to our celebrations struck him [Khanna] hugely, and that's how the bandwallas series emerged,' Singh stated. This is at the heart of the appeal of the series.
As Singh put it, 'Bandwallas serve as his emblem for othering… Most viewers will look at the bandwalla and smile, because they look so joyous and colourful, but the discerning viewer who can decode its deeper meaning can actually stand in front of a bandwalla painting and cry.'
Legacy of British rule
Born in Faisalabad, Khanna was among the millions of refugees to have been displaced during the Partition. Like many of his peers, Khanna has frequently explored the subject of Partition and the enduring legacy of British rule in the subcontinent.
Bandwallas are also a part of this story. During the Raj, brass bands were employed by the colonial rulers for grand public events and parades. After Independence, several of these bands pivoted to belting out filmy tunes at weddings in order to make ends meet.
In an interview in 2022, Khanna said: 'In a way, bandwallas are a relic of the past, a legacy of British rule… The uniform adds grandeur but also gives them a kind of anonymity. Now, of course, they have moved away from the British regimental marches to belting out film songs.'
'When the Partition happened, they too had to get out, like the rest of us.'
Usually seen playing their instruments, every iteration of the bandwalla in Khanna's works is unique. In his earliest portrayals, Khanna's bandwallas are depicted in small isolated groups, appearing melancholic despite their flamboyant appearance and faded red uniforms.
Later on, however, Khanna's palette became more muted and the contours of the figures began to disappear with the artist lending them semi-abstract forms with thick strokes.
By the 1990s, Khanna's focus shifted to solitary figures. But more recent works have seen bandwallas appear in overlapping compositions in bold colours, and also as arresting figures standing in bronze.
The titles are usually descriptive. Some notable ones are: Untitled (Bandwala with Dog), Bandwalla With French Horn, Untitled (Bandwalla playing the sousaphone), and A Bandwalla Dozes While a Monkey Lifts His Headgear.
Singh said, 'Initially full of gestural abstraction, as the figures became more popular, the colours became more primary.'
'Each bandwalla is an entity with a distinct personality. Even though the subject remains the same, the story of each work is different,' Sunaina Anand, Director of Delhi-based Art Alive Gallery, said. 'Its a unique subject extensively explored by Khanna, and draws constant enquiries from collectors.'
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