Technological pathways in tribal art: transformations of livelihood and gender among the Gond of Central India

Abstract

Abstract Technology has become a decisive force reshaping the practices, livelihoods, and identities of indigenous artists. Gond paintings, once confined to the walls and floors of homes in Central India, now circulate globally through exhibitions, digital marketplaces, and online platforms. Drawing on 96 interviews and qualitative fieldwork conducted in Patangarh Mal village and Bhopal, this study investigates how technological pathways intersect with cultural expression, economic survival, gendered experiences, and power dynamics among Gond artists. Framed by Appadurai’s theory of global cultural flows, Gell’s concept of art as agency, Jain’s work on popular aesthetics, Abu-Lughod’s situated cultural analysis, and Sen’s capability approach, the article demonstrates how technology simultaneously expands opportunities and reproduces inequalities. The findings reveal three interrelated processes through which technology transforms Gond painting. First, technology expands livelihood opportunities through new markets, collaborations, and design innovations. Second, these changes strengthen artistic identity as Gond painting acquires greater symbolic capital in national and global cultural spaces. Third, unequal access to digital resources reproduces persistent inequalities that disproportionately affect women and less literate artists. Together, these processes demonstrate that technology functions not only as a medium of artistic circulation but also as a transformative force that reshapes cultural value, social inclusion, and the future development of Gond painting. The study contributes to anthropological debates on technological mediation by showing how technology reorganises power, inclusion, and cultural value within indigenous communities.