In the earlier chapter, it has been stated that the Khasi indigenous community does not have any distinct visual art tradition as compared with the other indigenous communities in the region. The Khasi philosophy prohibited any image-making practice, especially the image of any divine entities including the ancestors. It is sacrilege to create the image of gods, deities, ancestors, or any entities that are being revered by the people. Therefore, the visual art tradition of the Khasi people is to discover from the present indigenous artists that they are conscious and sensitive to the roots. In this regard, there is a need to quest from the roots of the ethnic folk culture. The exposure to contemporary art could be a hindrance to many local artists to even think of the ethnic tradition and therefore only few serious artists with the passion and profound knowledge about the myth and legends, culture and tradition or any ethnic element available in other mode of expression that can facilitate to discover a new identity of Khasi ethnic art.
There is an interesting incident at Jowai that could provide inspiration to society, particularly the art fraternity. During the latter part of the twentieth century, the family members of Mr. Kambel Shullai are not aware of ethnic visual vocabulary, even though they are familiar with the other aspects of the traditional culture. It is a common phenomenon that the popular culture of the west and the modern world influence society. Bollywood celebrities are very popular among the masses and it happened in the house of Mr Kambel Shullai that everybody in the family is not mindful of the pictorial posters of Hindi cinema celebrities adorning the drawing room. However, Mr Kambel Shullai was affected by that and felt ashamed that such cheap posters are hung in almost every room. Usually, the female members of the family are instrumental in decorating the room with such images, which disturbed Mr Kambel Shullai. On one occasion he complained and vehemently objected after he had witnessed it for years and never wanted to acknowledge such feelings. When he objected to the pictures, his sisters defended and sought from him alternative objects that they could decorate the rooms with. He had taken it to himself and pledged that he shall provide an alternative that will lay an indelible impression upon the family. He was a jeweler by profession and took some time from his usual occupation with a rigorous attempt to create something worthy of the sanctity of his house. It took him six months to prove his proficiency and to convince his family members to honour his noble effort. He would rise up earlier than usual and work late after his goldsmith job, for the entire period of six months.
Mr Kambel Shullai fetched a log from the nearby jungle and began to carve images of rural life and local landscape including a traditional hut with people in their folk lifestyle and occupation. The intricate carving with textures and patterns of every component from the single log is a masterpiece in itself. When he finished and brought it home, everybody was so dumbfounded at the dexterity and finesse of his artwork, that his sisters instantly brought down all the posters and bowed before him with the utmost respect to take charge of the drawing room. He was not excited and smoothly hung the artwork on the facade of the main room, while his sisters vowed not to keep any other articles more than his works of art. Further inquiries revealed that Mr Kambel Shullai is a master craftsman par excellence. He was instrumental in some of the significant artistic, engineering, and folk technological endeavours in Meghalaya. During the latter part of the twentieth century, Kambel Shullai designed and carved several magnificent artworks for the Behdeinkhlam festival every year and most of them are his own creative innovations rarely found today. The materials that he used are local stuff available in the surrounding environment with few common materials from the market, but the end products were awesome sculptural pieces. Sometimes, he derived ideas from local folktales and created majestic tableaus for the festival. He was one of the finest goldsmiths and righteous human beings ever lived and the most outstanding architectural and engineering wonder that he created is the crematorium, which is christened as the eco-friendly and most effective structural construction for incinerating dead bodies. He has conferred the National Innovation Award for the design and it was incorporated by the indigenous Khasi Pnar religion for construction of the crematorium all over the State. Another creative design is the sculptural monument of U Kiang Nangbah, a Pnar freedom fighter of Meghalaya, who was executed by someone else due to his deteriorated health condition. Kambel Shullai was born on February 8, 1939, and passed away on June 16, 2012, at Jowai.
Apart from visual art, Kambel Shullai was also an ardent theater person with his involvement in making the stage props, stage lighting design, and creating stories for numerous plays during the annual folk feast celebration called ‘Bam Phalar’ where some of the localities in Jowai town hosted the drama performances prior to the Behdeinkhlam festival. The Bam Phalar is still a vibrant tradition today with contemporary themes being showcased in the plays. Kambel Shullai had a Midas touch in every creative pursuit and among the most popular novelty is the art of kite making and indigenous hot-air balloons that the people of Jowai town would acquire for their leisurely pastime, particularly during festive seasons. Another spectacular discovery is the homemade camera that he experimented with locally available articles and succeeded to expose images in the latent film. Kambel Shullai would have been a great inventor like Leonardo Da Vinci, had he lived in the time and space of relevant atmosphere and situation to explore his brilliant talent. Nevertheless, he had created a legacy for the next generation to cherish and enjoy.
The Khasi people are no dearth of talents through the ages and few of them could have created history even in the national arena, but destiny is being shaped by various factors and proven otherwise; even as they have made a mark for posterity. Another genius that the Khasi community needs to remember is Mr Bashai Rai Dohling. He is an artist par excellence and had already established his name in the visual culture of India, but unfortunately, he is from the remotest region of the country and belonged to the least known community in the mainstream Indian dominion. Before his venture into the mainland, he had displayed many facets of creativity in visual and performing arts at his hometown Shillong. During the early 1980s he created shadow plays with Biblical themes and created an immediate impact in society. Subsequently, in 1952 he created the theater play on the resistance movement of U Tirot Sing Syiem against the British colonial imperialists, and the play was appreciated by a cross-section of society. The play was also performed at the All India Radio with widespread accolades from all over the land. Thereafter, he took a brief sojourn at Santiniketan to refine his skill, but he was not comfortable due to various reasons. He was frustrated with the cultural disparity and returned to Shillong, but destiny led him to another ambiance of liberation. He got the offer at the Film Division of India, Directorate of Field Publicity, Bombay as an artist and exhibited his mettle instantly. He was instrumental in the creation of some of the most reputed brands of Indian entrepreneurship. Bashai Rai Dohling designed the Maharaja logo for Air India, the sheep for Merino Wool, and a few other designs. He was the man who introduced animation in India with many of the animated advertising films publicised in cinema halls across the country during the celluloid film regime. Bashai Rai Dohling made the spectacular animation film Synthesis which was awarded the National Film Award in 1974. It is pertinent to note that during the making of the film, he was officially subordinated to some senior officials of the department; however, he was totally in control of everything on the film and for that matter, he deserved to have received the National Film Awards in person from the President of India, Dr. Shankar Dayal Sharma.
One of the most noteworthy incidents at that point of time in the Film Division, Government of India was when the Walt Disney team under the Indo-American Technical Programme conducted the workshop on Cartoon Animation, and they discovered that the works of Bashai Rai Dohling are commendable and of international standard. One of the experts remarked that Bashai Rai Dohling and his team had already spearheaded the elementary knowledge of the work and made it easier to further the workshop. Subsequently, he had made few other cartoon animation films; unfortunately, he could not pursue further due to deteriorated ill health. Consequently, he was compelled to return to his hometown Shillong and could hardly continue his passion until he died.
