Democracy and culture are two distinct but very fundamental aspects of human society. Democracy, as a political system, provides the framework for governance, while culture encompasses the collective beliefs, values, customs, and traditions of a society. Democracy and culture share a complex and reciprocal relationship. On one hand, culture influences the functioning and evolution of democracy, while on the other, democracy shapes and moulds cultural practices and vice versa. The interaction between the two can be observed in various ways. This essay is a brief reflection on the interaction and interrelation between democracy and culture, highlighting how governments can potentially intervene and regulate cultural practices with the example of Madhubani and Warli art.
The interaction between democracy and culture can understood through various perspectives. One is related to cultural modernization which suggests that societies adopt democratic principles and values due to factors like urbanization, education, and globalization. Ideas and perspectives flow through culture and influence the way individuals perceive their rights and responsibilities within society which may evoke a need to have a democratic society. Another is based on cultural defence which emphasizes the need for democratic institutions to accommodate cultural diversity and provide opportunities for expression and representation within the political and social sphere and so on. Through democratic processes, cultural groups get the opportunity and liberty to assert their rights and preserve their unique identities, promote their heritage, and challenge dominant narratives that may marginalize their traditions. However, governments can intervene and regulate cultural practices based on public interest, social cohesion, and human rights considerations. They may enact legislation to protect cultural heritage like GI tags like The Madhubani Painting of Bihar is the first item from the state to get the Geographical Indication tag which has further popularized and preserved the art form. ( https://www.dnaindia.com/india/report-madhubani-painting-will-be-patented-1142370) They may also establish institutions and policies to integrate diverse cultural groups into society or maybe promote nationalistic narratives. Government intervention may also involve restrictions or regulations in cases where cultural practices violate human rights, pose a threat to public safety, or perpetuate discrimination. Furthermore, democratic institutions, such as education and media, can shape cultural values and norms by promoting inclusivity, tolerance, and pluralism. In all, government interaction and intervention in some cases is justified while in others it may be a violation and it requires careful consideration to strike a balance between preserving cultural diversity and ensuring the protection of human rights. An understanding of this interaction is pivotal for understanding democratic governance dynamics, and socio-political formations, ensuring inclusive and representative institutions for all cultural groups and ways to promote and preserve one’s traditions.
One specific example of government interaction and intervention is the incorporation of Madhubani art and Warli art to add illustrations into school textbooks. Madhubani art is a traditional folk art form originating from the Mithila region of Bihar, India. It is characterized by intricate line drawings and vibrant colours depicting various themes such as nature, mythology, and social customs. Similarly, Warli art is a tribal art form practised by the Warli community in Maharashtra, India. It employs simple geometric shapes and patterns to portray scenes from everyday life, rituals, and folklore. The government plays a significant role in the inclusion of cultural art forms like Madhubani and Warli art in school textbooks. 
The image on the left illustrates a page from the first standard Hindi NCERT book which incorporates Madhubani art while the image on the right illustrates a page with Warli art. The decision to incorporate these art forms from one perspective can be seen as driven by the objective of preserving cultural heritage, promoting diversity, and fostering a sense of identity among students while making the book and the text visually appealing and engaging. However, it is important to understand that government bodies responsible for curriculum development collaborate with art experts, cultural organizations, and community representatives to determine the content and presentation of these art forms in textbooks. In this case, government intervention in the inclusion of Madhubani and Warli art in school textbooks can influence the interpretation and ideology surrounding these art traditions. The process of selecting and curating artworks for educational purposes may prioritize certain themes or styles, potentially emphasizing cultural or nationalistic narratives. This can lead to a standardized interpretation of Madhubani and Warli art, potentially overshadowing alternative interpretations or lesser-known facets of these art forms, the interest experiences of the artisans that drive these traditions. Further, the simplified representations and academic context may lead to a commodification or dilution of the original cultural and social significance of these art forms.
Further, Madhubani paintings have been prominently displayed in various locations, including street walls, and railway stations in Patna. (https://indianexpress.com/photos/lifestyle-gallery/mithila-artist-transforms-madhubani-railway-station-with-traditional-madhubani-paintings-for-free-4930059/2/) “In 2015, Prime Minister Narendra Modi presented a Madhubani painting to the Lord Mayor of Hannover”, featuring various life stages, nature associations, and interconnectedness. The paintings of this art form were also adorned by Gram Vikas Parishad, an NGO, to promotes tree conservation. An example of the same can be seen in the image at the left. The forest stretch from Rampatti to Rajnagar became a tourist attraction, showcasing the artistry of painters who used their skills for a greater cause. “The late Satya Narain Lal Karn, a national award-winning artist, depicted the 4th Sustainable Goal of the United Nations on reducing child mortality, showcasing the instincts of animals to protect their young”. 
Also, Madhubani art is displayed in museums worldwide, including Tokamachi Hills in Japan. The paintings are exported worldwide, with major export centres including Kalakriti, Vaidehi, Benipatti, and Gram Vikas Parishad. So, on one hand, the intervention of the government in the Madhubani art tradition contributes to their revival, preservation, and wider recognition. This exposure can create economic opportunities for artists, encourage community engagement, and promote intergenerational transmission of knowledge and skills. On the other hand, government intervention and standardization can inadvertently lead to the commercialization and commodification of these art forms leading to the loss of essence of such traditions therefore they must be engaged with utmost care and awareness.
In conclusion, government intervention in cultural art practices like the incorporation of Madhubani has a profound impact on the interpretation, ideology, and sustainability of these art traditions. It has positive as well as negative effects on the art traditions themselves. While it provides opportunities for recognition and preservation, there is a need for careful consideration to ensure that the cultural integrity and authenticity of these art forms are maintained. An equitable negotiation between artists, community representatives, and experts in decision-making processes can ensure a culturally sensitive and favourable result. This can further be aided through initiatives that support the training and development of artists, encourage the documentation and preservation of traditional techniques, and promote the understanding and significance of these art forms beyond their aesthetic appeal.
Reference(s) and Source(s)
- Devi, Ganga. (1997). “Tradition and Expression in Mithila Painting”. United States of America, Grantha Corporation in association, Mapin Publishing Pvt. Ltd (Ahmedabad) and The Mithila Museum (Japan)
- Jha, Manisha. “Mithila Paintings: Depicting the Monsoon Festival of BiharMadhushravani”.
- Thakur, Meenakshi. (2017). ‘MITHILA- A GLOBALIZED ART FORM’, International Journal of Research – Granthaalayah, 5(2), 208-212. https://doi.org/10.29121/granthaalayah.v5.i2.2017.1725
- Inglehart, Ronal and Welzel, Christian. “Modernization, Cultural Change, and Democracy: The Human Development Sequence”. Cambridge University Press. (Introduction)
- Hindi ncert book Madhubani drawings – Bing
