Mati Manas (1985) (The Mind Of Clay)
Commissioned by NFDC and the handicrafts division of Ministry of Textiles, Mani Kaul’s Mati Manas centers on potters and terra cotta artisans located in and around Rajasthan and unfolds as a fictionalized version of Kaul’s journey into the region as an outsider and a documentary filmmaker. We have documentary passages that elaborately detail the art and business of terra cotta making and the way of life that revolves around it interspersed with sections where we see the in-movie documentary crew shuttling between museums showcasing earthenware from the Indus Valley civilization, excavation sites and various potter villages while narrating to us the various myths, legends and folk tales of the region that reveal how mud/earth has become, for these artisans, an element inextricable from imagination and practice and has gone on to develop maternal associations with its capacity to nurture, shelter and produce. Suffused with Cezanne-like still life and images of potters at work, especially the weary, skillful hands that lovingly, spontaneously shape raw earth into little, wondrous artifacts, Mati Manas comes across as a tribute to the dignity and grace of human labour. Perhaps more importantly, Kaul’s return-to-zero film unveils a society where people’s relationship to art is still habitual and tactile, a pre-reflective, non-reductive, phenomenological way of experiencing art that stands in opposition to modern, appropriative, optical approaches – a split that is reflected in the chasm between how ancient pottery is exhibited in museums and sketched in textbooks as icons of heritage and triumph of archaeology and how it might have been perceived by people of its time.