Secular Art Movement was set up in 2018 by artist and curator Prabhakar Kamble under the guidance of the Secular Movement, a social organisation engaged in creating a secular society, presided by Gautamiputra Kamble. Since its formation, it has engaged numerous artists in workshops and exhibitions across Maharashtra, on themes of ‘restlessness in contemporary India, ‘revolution and counter-revolution’, and more recently, conceptualising an Ambedkarite discourse of visual art.

I first participated in Secular Art Movement’s activities in 2019 for their workshop by the Ajanta Caves, a monumental 2nd century BC site that remains at the heart of discourse on Buddhist art and aesthetics. I formed some very special friendships, and had the opportunity to see the caves themselves in a new ‘revolutionary’ light. This time round, we hosted the workshop at the Middle Way Retreat Centre, a space primarily used for Ambedkarite Buddhist activities, under the historic Sinhagad fort. The group was full of new faces and old, and unlike the last time where many artists produced new works during the course of the workshop, this time the focus was on learning about one another’s practices. In the retreat’s stupa-shaped meditation hall, 35 artists and academics presented their work to one another. These extended into questions discussed at meal times, on walks, and while lying down in the afternoons – What is an Ambedkarite discourse on arts and aesthetics? Is there a particular kind of symbolism present in all our practices? Is there a need for it? How are our practices affected in the face of atrocities towards members of our communities? How should we protest and mobilise ourselves in these times? Is there space in our art for doubt, hesitation, anxiety, and expressions of joy and happiness too? Do we create, learn and unlearn for ourselves, for our communities, for those on the outside?