Mauri refers to the traditional headgear, intricately embroidered by hand, and worn by the bridegroom on his wedding. The headgear is usually about a foot-high and woven around bamboo sticks - an art only a few today have the skill to perform. Traditionally crafted out of mango or date leaves, the mauri has now evolved into a fancier version made out of gilded papers and mirrors. The art of Mauri has been kept alive by artisans and craftsmen labouring through the year. Be it in the crowded Mauri Gali of Patna or the Chhata Bazaar of Muzaffarpur, these artists are highly in demand, especially during wedding season when it is a must-have accessory.
But despite the popularity of Mauri, its history and legacy remains largely unknown and its creators get no seat at the table of high art. Objects like Mauris, despite being part of everyday human existence, often remain aloof from spaces of history’s agglomeration. Like art galleries, or museums.
The Delhi event will also become a museological space for an evening to look at everyday objects from Bihar from a not-so-distant past and their relationship with memory and culture and inclusive representation of various identities and crafts.
Outlook’s latest initiative in collaboration with Bihar Museum attempts to piece together this unspoken history of Bihar, and of India in extension, through the lens of the everyday. Join us at the Bikaner House on June 24, 6 pm onward, for a discussion on the Bihar Museum Biennale and how museums can become more inclusive spaces for the art of everyday.
Together, We Art.
