Itinerant Oralities “Each element of a painting or sculpture, interior installation or technical equipment, is conceived not as the exclusive expression of a single function, but as a nucleus of possibilities which will be developed through coordination with other elements.” - Frederick Keissler Storytelling, a timeless oral art form is a conduit for society’s collective memories and inclinations. Rooted in the Kaavad tradition of Rajasthan, such oral narratives are vitalized through the sacred performances of the Kaavadiya Bhats, transmitting folklore and communal identity oscillating between the Suthars and the Jajmans. Jyotindra Jain in “Picture Showmen: Insights into the Narrative Tradition in Indian Art” elucidates that these beliefs, practices, and terminologies associated with the ritual context of some of the painted panels and scrolls of storytellers, reveal that these not only serve as visual aids to stories narrated but have the status of a sacred object or shrine. Kaavad symbolizes collective identity while embodying fluidity and resilience in response to socio-cultural dynamics, where the symbiotic relationships observed through the framework of the Actor-Network Theory within this craft highlight diverse actors of the environment, people, and technology shaping the cultural phenomenon intertwined in complex networks. The curatorial proclivity is rooted in the concept of Keissler’s ‘Endless House’, where the exhibition space is envisioned as the shrine. As the viewers embark on a sacred pilgrimage, progressing through ‘kiwads’, the visual journey unfurls the layers of artistic symphonies showcasing the practices of ‘makers’ dedicated to this living tradition that mirrors the multisensorial storytelling of the Kaavad folk art. The viewers veneer through the contemporary collaborative practices of the academic explorations of Nina Sabnani, who broadened the horizons of this tradition within and beyond its origin; revitalizing the interests of the makers and patrons alike, narrating its relevance through myriad mediums. Transcending the contemporary nuances, are the practices rooted in genealogies of the traditional makers like Satya Narayan Suthar and Dwarika Prasad Jangid, the award-winning practitioners of the art form. The acme of this exhibition is realized inside the ‘sanctum’, where the kaavadiya bhat, or the ‘teller’ awaits the viewers, who become his ‘jajmans’ as they engage in the sacred storytelling of this living tradition. This interplay of tacit knowledge, artistic practices, and cultural evolution prompts critical reflection on various other traditions rooted in storytelling amidst societal changes, emphasizing the gradual divorce of the performative involvement of the ‘tellers’ from the material culture.