Abstract

This study explores the contemporary transformation of Sohrai and Khovar paintings, an indigenous tribal art form practiced by Santhal women of Jharkhand, through the intersecting lenses of gendered knowledge systems, commodification, and Geographical Indication (GI) recognition. Employing a qualitative case-study approach, semi-structured interviews were conducted with 30 participants 25 women & 5 men including traditional women artists, professional practitioners, and community members. Thematic analysis revealed three major shifts. First, these art forms have moved from ritualistic mud-wall practices associated with agrarian and domestic spaces to market-oriented canvases, exhibitions, and public art installations. Second, the traditional matrilineal mode of transmission, often referred to as the Maa-Beti Parampara, is gradually weakening as younger women increasingly pursue formal education and alternative livelihoods. Third, while GI recognition has enhanced the visibility and commercial value of these art forms, its benefits remain unevenly distributed, largely favouring urban-based artists and institutions over rural practitioners. The study argues that commodification creates a paradox by simultaneously fostering women’s economic participation and diluting the ritual, ecological, and community-centred essence of the tradition creating a construct of indigenous feminism. The findings underscore the need for inclusive, context-sensitive cultural policies that safeguard indigenous heritage while supporting adaptive cultural transformation and women’s role as custodians of traditional knowledge.