DEGREE PROJECT Product Development in Dhokra Craft
Sponsor : Self Sponsored (supported by Chhattisgarh Handicraft Development Board)
Volume : 1 of 1 STUDENT : NIVIDA MALHOTRA PROGRAMME : Bachelor of Design (B. Des) GUIDE : P RAMA KRISHNA RAO
2017 INDUSTRIAL DESIGN FACULTY (FURNITURE DESIGN)
National Institute of Design Ahmedabad
Copyright Š 2017 Student document publication meant for private circulation only No part of this document can be reproduced or transmitted in any formor by any means electronically or mechanichally, including photocopying, xerography or video recording without permission from the publisher Nivida Malhotra and National Institute of Design Edited and Designed by Nivida Malhotra nividamalhotra@gmail.com Processed and published by National Institute of Design Paldi, Ahmedabad - 380007 Gujarat, India www.nid.edu
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“A country remains poor in wealth, both materially and intellectually, if it does not develop its handicrafts and its industries.� -M.K. Gandhi
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Product Development in Dhokra Craft Chhattisgarh
Contents 1. National Institute of Design 20 Furniture Design at NID 22 Project Context 24 Objective 26 Methodology 27
3. Indian Handicraft 40 Value Chain 42 SWOT Analysis • Strengths 44 • Weaknesses 46 • Opportunities 48 • Threats 50 What Works 52
2. Handicraft 30 Craft in the Past 32 Sustainability and Craft 34 Sustainability and Wellbeing 36
4. The State of Chhattisgarh 56 Crafts of Chhattisgarh 58 • Iron Craft 60 • Wood Carving 61 • Clay Pottery and Terracotta 62 • Bamboo 63 • Painting 64 • Stone Carving 65 • Tattooing 66 • Tumba 67 • Bell Metal 68
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5. Dhokra 72 History and Tradition 74 Raw Materials 76 Tools 78 Process 80 • Clay Preparation 81 • Base Mould 82 • Second Layer 83 • Shaping 84 • Preparation of Wax 85 • Wax Strings 86 • Designs in Wax 87 • Third Layer 88 • Fourth Layer 89 • Casting 90 • Finishing 91 Existing Product Range 92
10. Ideation 140 Floor Lamp 142 Hanging Lamps 158 Side Table 170 Planter 184 Costing 193
6. Devrai Art Village 96 Kondagaon and Ekatal 100 Craft Stores 106 Possible Areas of Intervension 110 Final Direction 111
8. Worshop 1 118
7. The Wait 115
9. Chhattisgarh Hastshilp Vikas Board 124 Reflections 194 Workshop 2 126 Way Forward 196 Ideation 130 Bibliography 197 Sketches 132 Workshop Products 134
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Preface The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the graduation project, after which, students are awarded NID’s professional education programme final graduation. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design.
This specific project looks upon the handicraft industry in India, and then further goes ahead with the traditional Dhokra craft practiced in Chhattisgarh. The aim is to spread awareness about the craft and re-contextualize it by developing products that are rich in cultural identity and relevent for the consumers. It also focuses on helping the Dhokra community to expand their design sensibility to target a new and upcoming market.
The project must be done with academic rigour incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method by which the student must carry out his/her project. The graduation project should reflect the thought leadership manifested through creativity and innovation. It should lead to new knowledge creation and align with broader objectives of the institute.
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Acknowledgement I believe all the events which happened during the course of my project were for the good and for leading me towards the right path. The beginnings were tough, but the company with which I initiated my project let me choose the craft sector and I thank them for that. For setting the boundary of metal work, which eventually led me to Dhokra Craft. And finally, for letting me go, when things weren’t working out and letting me decide the course of my work for myself. Through all of the difficulties, there was one support who was always there for me and gave me courage to handle tough situations, while standing in the same pit. I want to thank Radhika for being such a caring and strong soul. My parents and my sister for being so understanding and helping me through every possible way. Bharti for being my companion on research trips, when there was no one to go with and bearing extremities like no train tickets for coming back from Chhattisgarh. Dimple and Pallavi for just being there in my life. Aaditya and Vikasitha for the constant motivational text messages.
Vishnu, Kush and Bobby for giving me a shelter at the time of need, feeding me and listening to all my babble about my project. Madhu for brain storming solutions with me. Heta and Gargi for being loving and supportive as always. Rohan for showing his enthusiasm and positivity in every situation. Shyam for all the wise advises and words of encouragement given to me through phone calls. Pravinsinh Solanki for advising me about different options for graduation project and pushing me towards my goal. Pravin Nahar for sharing his knowledge about Dhokra Craft with me. L.C. Ujjawne for all the help in developing the student's base. And P Rama Krishna Rao, my guide for having faith in me, solving all my queries, showing me the direction and giving me the opportunity to take a craft workshop in NID Vijayawada. Mandakini, Rudransh and Rukmani of Devrai Art Village, in Panchgani for being so co-operative and sharing so much of their data with me. Rajiv Jassal, Ashok Mondal and Shubro for helping me in conducting the dhokra workshop in Vijayawada. All the students there who made my stay more fun and welcomed me whole heartedly.
Shradha for being so interesting and impactful for those 2-weeks that we met. Parimal and his family for letting me stay and celebrate an amazing Diwali with them. Himani and Abhishek Nirala for helping me with the product shoot. Saumya, Prachi and Aarushi for always being there for me. Chhattisgarh Hastshilp Vikas Board and its members for letting me conduct a 3-month workshop with the craftsmen of Ekatal Village and arranging everything required for the workshop on time and effortlessly. A special thanks to Shyam Dhawde, the managing director of the board for letting me stay in the Raigarh rest house, regularly checking with me about my needs and comfortability and trusting me with the responsibilities. Waris Khan, Bhubneshwar and Ramesh for cooking such delicious food for me and giving me good company during the evenings. Sudarshan for taking me daily to the village and then dropping me back. And last but not the least, all the artisans who helped me in the craft and have been doing such amazing work.
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Synopsis This project focuses on the need of pulling out the Dhokra craftsmen from the cycle of making same products since a long time. The need is to add variety in their product range according to the current trend in design. Subsequent handicraft study has been conducted to understand the importance of craft and why more attention should be payed towards it. The scenario of the Indian handicraft industry was studied to pinpoint the strengths, weaknesses, opportunities and threats that it has to offer.
with the students of NID in Vijayawada which went on for two weeks. It was a dhokra workshop where they were introduced to the craft and their designs were developed through the process. Also, time was devoted towards the final range of dhokra products, according to the brief. All the products which were developed during the workshop would be further produced and sold through Shabri Emporium of Chhattisgarh Hastshilp Vikas Board.
Then the craft Dhokra was researched on by visiting places in Chhattisgarh, a dhokra craft center and craft stores. The main processes and the different problem areas where intervention is needed were highlighted to get the final direction or the brief for the project. Two workshops were also conducted. One with the craftsmen in Ekatal village which went on for three months. It was a design workshop to broaden their perspective, teach them new designs and update them with new market trends. The other
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National Institute of Design
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Furniture Design at NID
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Project Context
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Objective
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Methodology
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National Institute of Design On April 7, 1958, the Eameses presented the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India. The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time. Based on the recommendations made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai family established the National Institute of Industrial Design, as it was originally called as an autonomous all-India body in September 1961 at Ahmedabad. Gautam Sarabhai and his sister Gira were played a major role in the establishment and early years of NID. Gautam Sarabhai sidestepped the accepted wisdom and conventional method of education . He revived the philosophy of the Bauhaus design movement which was learning by doing. This unique curriculum and revolutionary
educational philosophy remain part of NID to the present day. Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014.
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Furniture Design at NID The Discipline of Furniture and Interior Design deals with the creation and evolution of objects, structures and systems at human scale that aim to improve the quality of life in the immediate living and working environment, while looking at sustainable and innovative use of diverse materials and processes. It believes in a broad and interdisciplinary attitude for enriching the design activity and draws from experiences of Industrial and Environmental Design professions. Special emphasis is placed on the ability to develop self-made prototypes in order to test human and functional factors v/s aesthetics and use of materials. Students are not only expected to complete specific courses but also to develop critical and analytical abilities together with educational values that contribute to a lifelong learning attitude.
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Out of many crafts one is Dhokra, facing the same problems and struggles and in need of attention so that it too can be uplifted and gain a better market.
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Project Context Craft is a way of life, a way chosen by a craftsperson to remain connected to his tradition, to himself through his craft. He devotes all his time, his emotions, his love into the making of the craft piece and makes the process his life. His tools are an extension of his body and his work his holiness. Craft is like a meditation, one of the many things in this world which gives peace to mind and helps connect to the nature. The touch makes the entire difference. The guidance given by his hands to craft beautiful things can never be compared to industrial products. The handicrafts carry the ageold tradition, the integrity and the emotions of the craftsperson. It is an art with a purpose. Handicraft is the mother of industries and nothing would have existed without it. With time and rise of the industries it took a backseat and people started preferring machine produced items as they were cheaper and more refined than handmade products. No introduction of innovative methods and technology advancement in this sector are also the reasons, because of which craft became stagnant. But through the last decades efforts are being made
to raise the market of these goods and overcome the struggles of the artisans. The government of India has accorded utmost importance for the growth of these industries through five-year plans, and industrial policies because of their high employment intensity. This sector has huge market potential in all Indian states, and abroad. As Indians move towards global lifestyles, home decor has started gaining importance. People have started shifting patterns and are becoming more concerned about their surroundings. They want their environment to be more sustainable and their surroundings more sensitive. Handicraft is one of the ways to produce more sustainable and sensitive products. And better design is the only way to link the craftsmen and their art with the market outside; to rejuvenate the craft so that people again get attracted to it. This will not only help the craftsmen make a good living, but also help in restoring the cultural heritage and boosting up the economy.
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Objective The entire project will serve the following purposes. •• Help in the promotion of the Dhokra Craft which has been there for 4000 years but still very few know about it. •• Help the Dhokra community to expand their design sensibility to target a new and upcoming market.
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Methodology Research •• Understanding Dhokra Craft, the technologies involved and exploring its limitations and strengths, by primary and secondary research methods. •• Studying the handicraft industry in depth, to figure out the problems and the initiatives that are being taken. •• Understanding the target market and how the craft fulfills their demand. Product Development •• Concept generation and ideation. •• Collecting feedback on the designs from craftsmen and involving them in further conceptualization. •• Final product development.
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Handicraft
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Craft in the Past
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Sustainability and Craft
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Sustainability and Wellbeing
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Handicraft Handicraft is one of the oldest tradition in this world. It encompasses a wide range of artefacts and the crafts all across the world are as varied as their culture. The word itself means a unique expression that represents a culture and tradition of a country expressed through art or artisanry items which are completely made by hand or using simple tools. One of the best definitions is that adopted by the UNESCO/CCI Symposium “Crafts and the International Market: Trade and Customs Codification” (Manila, 1997), “handicrafts are the ones produced by artisans, either completely handmade or with the help of manual or mechanical tools, as long as the direct manual contribution of the artisan remains the most substantial component of the finished product. Handicrafts are made without restriction in terms of quantity and using raw materials from sustainable resources. The special nature of artisanal products derives from their distinctive features, which can be utilitarian, aesthetic, artistic, creative, culturally significant, decorative, functional, traditional, religiously and socially symbolic and significant.”
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Detail from a season ticket for The Arts & Crafts Exhibition Society, by Walter Crane, England, UK, 1890. Image Source: Museum no. E.4164-1915. Š Victoria & Albert Museum, London; {http://www.vam.ac.uk/content/articles/t/thearts-and-crafts-movement/}
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Craft in the Past
“We do not reject the machine, we welcome it. But we would desire to see it mastered.� -William Morris
With the Industrial Revolution which started in 1760, the crafts started losing its charm. The traditional crafts remained just that traditional, therefore history. People started preferring machine produced items as they were cheaper and more refined than handmade products. Though fine arts still remained in the fore-front with its rich buyers and a separate community, the crafts were looked down upon and not served well by the historians. With the end of the Industrial Revolution in 1840 the Arts and Crafts movement started flourishing by 1880. It developed from the views of people such as William Morris and John Ruskin who believed that industrially manufactured products lacked the honesty of traditional craft work and wanted to enhance the lives of ordinary people by providing decent employment to craftsmen. However, only a few craftsmen could be employed as the pieces could only be afforded by the wealthy.
knowledge economy calls for. The educational systems in developed countries sanctified intellectual intelligence and looked down on manual skills. In the arts, conceptual innovation had overtaken craftsmanship as the core competence. All this is changing. Now the trend in consumer culture is stressing upon authenticity and quality. The creative economy is in need of skills that are characteristic for craftsmanship. Their skills satisfy the need for meaningful work. Mastery provides a sense of self-worth. Politicians, therefore, are speaking about the importance of craftsmanship, and artists are reevaluating the craft in their work.
Utilitarian crafts (think of plumbers, housepainters, roof workers, dental technicians and so on) continued to do their thing, but such work, at least that was the reigning impression, was intended for those who cannot do the intellectual work that a
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Sustainability and Craft Craft is a form of production in which culturally significant designs, products and practices can be manifested. The relationship between craft and sustainability has been extensively discussed in recent decades and, as a consequence, there is currently a revival of interest in traditional craft practices all over the world.
“The earth has music for those who listen.� -George Santayana
Both craft and sustainable development are intricately connected with the way human beings create and interpret life; with culture and social relations; with use of and relationship with natural materials; and with livelihood and broader economic opportunities. Also, craft is an alternative economic activity that has the potential to be developed and to grow in villages. It has characteristics like it is labor intensive, requires low technology and investment and abundance of local material input which makes craft suitable for villages’ living conditions and growth prospects. Craft has the potential to create jobs, lift people out of poverty and also sustain their livelihoods, without disturbing the environment.
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Sustainability and Wellbeing To achieve sustainable development, links between the environment and development must be examined. It is also important to consider the end point of development: human wellbeing. Wellbeing is highest when a person is able to meet their material, social and psychological needs.
“What works good is better than what looks good. Because what works good lasts.” -Ray Eames
Wellbeing is always related to the fulfilment of needs, and to say that something is needed implies an end that is considered good. There are both material and non-material needs. Our wellbeing is dependent on the resources and services provided by ecosystems, and that our activities have an impact on them. Also, when human wellbeing is perceived multidimensionally, i.e. as consisting of the fulfilment of different interdependent categories of needs. We emphasize that nature plays a vital role in fulfilling all of these needs, and not only the material needs. In underlining the dependency of human wellbeing on the ecosystems, the relational approach is closely connected to strong sustainability. Our wellbeing is influenced by a number of factors including genes, experiences and environments
(work, financial situation and where we live). More importantly, our wellbeing is influenced by the actions we take and the way we think. The objects which surround the body reflect the possible actions upon them. The surroundings initiate, direct and organizes behavior and movement of our bodies. We respond much more powerfully to our environment than we realize. While it may not be possible to create things that aesthetically please every user, but something can certainly be made that consciously manipulate aesthetic elements to encourage more meaningful, satisfying and joyful experiences. Craft can combine utility and beauty to become a distinct alternative to mass produced goods, without disrupting the ecological balance of nature. It tells a story of the person designing it, making it, which makes it even more relatable and heartwarming. The need to make things with hands defines who we are—it’s a vital expression of humanity. When we transform ordinary materials into something new, we reimagine what’s possible and change how we experience the world around us.
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Indian Handicraft
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Value Chain
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SWOT Analysis 1. Strengths 2. Weaknesses 3. Opportunities 4. Threats
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What Works
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Indian Handicarft India is a country with great culture and tradition. A diverse tradition from which the world takes inspiration. Handicrafts are the unique possessions of this country, which should be taken care of. It has been practiced on this land since centuries with precision and care. A certain standard of the crafts was set and had to be achieved. It is all written in the Shilpa Shastras, about the processes, the tools and materials, measurements and every tiny detail to achieve a certain standard. The sustainable goods were made by the craftsmen for their own community and hence portrayed their inner self. They made daily use items, worship idols and also practiced the craft in their architecture. The craftsmen took inspiration from the nature and the knowledge processed by them, which was passed on for generations as hereditary wealth of the family and that of the community. With time, the knowledge of these crafts spread within India and across Asia. People started trading these artifacts. There grew a huge demand in the foreign market for the Indian handicraft items. But with the industrial revolution, the speed and precision of manufacturing items grew which lead
to an increase in the export of the raw materials from India to Britain and a decline in the handicraft industry. Through the last decades efforts are being made to raise the market of these goods and overcome the struggles of the artisans. This is an unorganized, decentralized and labor-intensive cottage industry, as written in the Handbook of Statistics and Indian Economy, 2006. The UN report of the World Commission on Culture and Development (1995) has admitted solemnly that because of the underestimation of the importance of culture many development projects had failed. Culture, which is the soul of development, can no longer be ignored and needs to be expressed clearly in the impression of human development.
cheap labor in the country, use of local resources, low capital investment and unique craftsmanship, the Indian handicraft export comprises of a meager 1.2% of the world’s market for handicraft & 1.5% of the country’s overall exports. The encouraging growth statistics at the macro level no longer stand true when micro level needs are ignored.
Indian handicraft industry involves large number of artisans from rural and semi urban areas. The rural segment accounts for 78.2% of the units produced and 76.5% of the artisans while the urban segment accounts for the rest. (Ernst & Young, 2012) Most of these are women & people from the economically disadvantaged groups. In spite of the strengths such as availability of abundant &
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Value Chain The crafts value chain comprises of all the activities required to bring a handicraft product from conception through production to delivery to consumers. •• Input Supply All the raw materials generally required for making a craft product are available locally. Sometimes the NGOs' and government organisations also provide help to the craftsmen to procure those materials for either cheaper prices or for free. These two organisations also help them in providing technology and techniques update and organize various design workshops to make their products better.
•• Procurement The selling of the product is mainly through three channels. The products are sold to traders and government organisations as per orders. these two further sell the products to export houses, retailers, haats and government emporiums. And then there are locals and tourists who visit the villages and buy directly from them.
•• Production Craft products are produced by artisans either by themselves, in collaboration among themselves, self help groups formed by them or in the workshops organized for them by the NGOs' or government organisations.
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Strengths Handicrafts an integral part of nation’s heritage, is founded on a well-established body of indigenous knowledge and skills possessed by many local and rural communities. The following are the strengths of the handicrafts in India. •• All the raw materials which are required for making handicraft products are generally available locally. •• There are a lot crafts in India, due to India's diverse culture and with each craft there are a large variety of products and ranges. •• Also, the market of these goods is huge and diversified. There is a huge demand in the maket. It holds a lot of potential in it to grow further.
es, and the family members help each other during work, which also strengthens their community spirit. •• All the the products made are unique in their own way, and are beautifully made, both aesthetically and for utilitarian purposes. •• As the handicrafts are made manually and are connected to the past, the products carry the essence of the craftsmen and their culture and tradition, which attracts people. •• Crafts also serve as seasonal mode of income for many agriculture households.
•• All the crafts have sustainable processes as they are made by locally available materials and have been going on since ages. •• As the craftsmen work from their houses they have more flexibility with production process-
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Weaknesses The handicraft sector has some weaknesses as well, which have been listed down below. •• The handicraft industry is a largely unorganized sector, and faces a lot of problems, such as lack of storage space, difficulty in shipment, etc. •• In many crafts the entire household participates in the production processes, due to which a lot of children miss schools. Lack of education makes it difficult for them to access various schemes and opportunities made for them. •• To reduce the production costs many times the craftsmen use low quality raw materials or are not able to access good quality materials, which degrades the quality of the products. •• Craftsmen suffer a major setback due to the lack of funding, which makes things even more difficult for them and loose opportunities. They end up taking loans and only are able to repay the loans along with interests
with great difficulty. •• They are unaware about the international requirements and market trends, due to which it gets difficult for them to tailor their products to changing demands. •• There is a decline in the interest of their young generations in crafts, as they have seen their families struggle to make money and get fair prices for their work. •• The production processes of the crafts is very time consuming, which makes them more expensive. •• The general population has very less knowledge about different types of crafts and the hard work which goes into it. Due to which they always think that the crafts are expensive and are never ready to pay the value of any craft product.
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Opportunities The following are the opportunities which a craft sector can provide. •• Despite the large production in the handicraft sector, a huge market at the international level is still unexplored and so, the sector has a tremendous growth opportunity. •• Promoting handicraft in the rural area and increasing its demand would also help check the migration of people from villages in search of work.
sources, there is a possibility of collaborating different design processes and come out with better results. •• Handicrafts represent India's age old culture and tradition. The fact that this culture has been passed down from generations and has been preserved since centuries serves as a unique cultural wealth for India.
•• As the demand is increasing there is a hugescope of providing a stable employment and income generating opportunity to the craftsmen and the other communities who want to enter this sector. •• As the craft production is generally home based, this provides the otherwise neglected women to empower themselves and gain a status. •• Now with the improved technologies and re-
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Threats The following are the threats faced by the handicraft sector. •• There is an increased competition with the cheaper industrial products available in the market. •• There is a better market and facilities for craft products and producers, internationally than in India. •• A lot of duplication is being done of the craft products, which makes it difficult for the craftsmen to get a true value for their work. •• Due to the poor management in the handicraft industry, the balance between demand and supply is difficult to maintain.
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“Design is more important than technology in most consumer applications.� -Dave McClure
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What Works After having a look at this data from Crafting a Livelihood, a documentation done by Dasara, one gets an idea of the problems in the sector of handicrafts which are multi-faceted and highly complex. There are several organizations that are working in this area and trying to solve the problems but a lot more work needs to be done in different areas ranging from design to marketing. From the analysis it becomes clear that improving product design is an impactful and a scalable intervention that can be made in the area.
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The State of Chhattisgarh
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Crafts of Chhattisgarh 1. Iron Craft 2. Wood Carving 3. Clay Pottery and Terracotta 4. Bamboo 5. Painting 6. Stone Carving 7. Tattooing 8. Tumba 9. Bell Metal
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The State of Chhattisgarh Chhattisgarh is the 10th largest state in India. On 1st November, 2000 a part ofMadhya Pradesh was made into Chhattisgarh with 16 Chhattisgarhi speaking districts. In ancient time the region was known as Dakshin Kosala according to theaccounts of foreign travelers, literary works and inscriptions. Raipur the capital city of Chhattisgarh, is the center of all the trade, economy and administration. Chhattisgarhi is the mative language of Chhattisgarh but Hindi is spoken more often there. Chhattisgarh is mainly famous for its agriculture accounting for about 80% of the work force. It is also known as Dhan Ka Katora (meaning Bowl Of Rice) for the production of Rice.
berates with the beats of the drum. Chhattisgarh is also famous for its country dances. The state of Chhattisgarh is full of spectacular colours, with the people wearing colorful attires and the nature with lush green forests. Some women in the rural areas also wear garlands made of one-rupee coins. But now this trend is dying down. There are a lot of beautifully and skilfully made crafts which add a limelight to the culture of Chhattisgarh.
Major population in Chhattisgarh comprises of the local tribal groups. The largest group among the natural residents of Chhattisgarh are the Gonds, followed by Oraon, Kanwar, Baiga, Kamar, Birhar Saura, Role and so many other tribes. The state has a rich reservoir of minerals, and an equally rich culture and heritage, which is manifested by its tribal population. It often resounds and rever-
Image Source: Chhattisgarh Tourism; {http://cgtourism.choice.gov. in/images/customs-big.jpg}
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Location Map of Chhattisgarh Image Source: Location Map of Chhattisgarh; {https://www.mapsofindia.com/maps/chhattisgarh/chhattisgarh-location.jpg}
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Crafts of Chhattisgarh Chhattisgarh nurtures some unique kinds of handicrafts that are integral part of the tradition of the state. Chhattisgarh handicrafts are well known in the country, especially the traditional bell metal, bamboo craft and the craft items made out of wood. The beautiful forms of handicrafts in Chhattisgarh or Chhattisgarh crafts are popular for its intricate work. The arts and crafts of Chhattisgarh truly represent the dexterity of its artisans. Chhattisgarh is well known for the metal crafts, jewellery and paintings. The people of Chhattisgarh have proved their mastery in the making of these wonderful art and craft items. Amazing wood carvings, bamboo work/ furniture, bell metal handicraft, figures of terracotta, tribal jewellery, paintings, and clay pieces are some of the specialties from the state. Chhattisgarh is a place to behold the ancient as well as refined form of arts and crafts. All this information related to craft has been acquired from a book published by Sampan Media Pvt. Ltd. for Chhattisgarh Tourism Board.
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Iron Craft In Kondagaon in Bastar, there are a lot of lohars, engaged in their age old craft of iron for generations, indulged in making farming tools, lamps and other household objects. They have also started combinig this iron craft with dhokra craft, which adds to the beauty of this craft.
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Wood Carving The tribe of Badhais from Chhattisgarh, are the people to go to for wood carving. Over the years they started using wood carving objects and other forms of carpentary. Life size figures of animals, birds, gods, goddesses and humans are made in Raigarh and Sarguja.
Image Source: Chhattisgarh Tourism; {http://cgtourism.choice.gov. in/view/art-crafts.php}
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Clay Pottery and Terracotta This is among the oldest and most widespread form of handicrafts. Terracotta figures are found widely in the districts of Bastar. Clay masks is one of the things which is popular among young men and women in the Chher Chhera festival. They are also used in folk plays and dances with red paint on the masks. Handicraft grain storage bins, carved with animal and human figures are made by the tribal groups of Gond and Baiga.
Image Source: Chhattisgarh Tourism; {http://cgtourism.choice.gov. in/view/art-crafts.php}
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Bamboo Kamars of Raipur are famous for working with Bamboo.Bamboo is abundantly found in the forests of Chhattisgarh and are widely used in the onstruction of houses and fences as well as for making bows and arrows, hunting tools, fish and bird traps.
Image Source: Chhattisgarh Tourism; {http://cgtourism.choice.gov. in/view/art-crafts.php}
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Painting There is the tradition of painting the walls of houses on the occasion of marriages, childbirth and other occasions of fulfillment of wish etc. The paintings are made using natural colours. This tradition originated in the tribal regions of central India, as offering to gods.
Image Source: Gond painting – Tree of Life; Jangarh Singh Shyam; {http://isha.sadhguru.org/blog/inside-isha/isha-yoga-center/ gond-art-painting/}
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Stone Carving Basulas, the large tools are used for cutting the pink and white stone available in Bastar called sudapaal. The artisans make fine details and embelishments using chisels. various idols are carved out of stones and then polishing is done other stones called battas.
Image Source: Stone Carving; {https://www.quora.com/What-arethe-amazing-facts-of-Stone-Carving-of-Chhattisgarh}
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Tattooing Tattos are considered as a mark of social importance among the tribals and are done almost all over the body, except on the waist and hips. They belive that a woman is only left with the tattos as ornaments which can be carried to the next world after death.
Image Source: Chhattisgarh Tourism; {http://cgtourism.choice.gov. in/view/art-crafts.php}
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Tumba The origin of this craft begin with the use of hollow gourd shells as containers by the tribals to store water and salfi. It is practiced in Bastar region.
Image Source: Chhattisgarh Tourism; {http://cgtourism.choice.gov. in/view/art-crafts.php}
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Bell Metal Dhokra also known as bell metal craft is the oldest form of metal casting done by the process of lost wax casting technique which is still practiced in Madhya Pradesh, West Bengal, Orissa and parts of Vindhya mountain range. Taking inspiration from nature, mostly local decorative items and local deities are made from this craft.
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“The hand of a craftsman engaged in his craft is always pure.” -Manu
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5
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Dhokra
7. Designs in Wax
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History and Tradition
8. Third Layer
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Raw Materials
9. Fourth Layer
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Tools
10. Casting
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Process
11. Finishing
1. Clay Preparation
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Existing Product Range
2. Base Mould 3. Second Layer 4. Shaping 5. Preparation of Wax 6. Wax Strings
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Dhokra Dhokra is one such craft which dates back to 4000 years. It is a non-ferrous metal casting using the lost wax casting technique. Dhokra, also known as ‘cire perdue’ in French is one of the oldest and most advanced metallurgical art. Chapter 68 of the ancient Sanskrit text Manasara Silpasastra entitled Maduchchhista vidhanam (lost wax method) elaborates on the wax casting process. Apart from India it was common in ancient Egypt, Mesopotamia, China and Greece. It also flourished in some other parts of the world. One fine example of this craft is the famous bronze figurine called the Dancing Girl of Mohenjo-daro, produced during the Indus Valley civilization. The craft takes its name from the Dhokra Damar tribe of West Bengal, distant relatives of the Gonds and Ghadwas of Central India. The tribal metal workers are also known as Kasars, Mals, Malhars, Ghasia, Khaser, Mangan and Vishwakarma. The original home of Dhokra is probably Bastar in Chhattisgarh from where it has believed to spread to Jharkhand, Orissa, West Bengal and parts of Andhra Pradesh through migration.
In the lost wax process, a clay core is covered with strands of wax. Then a thick coat of clay is applied on top and left outside to be sun dried, which is later baked in the flames so that the wax melts and comes out of the opening left for pouring melted brass. When the metal cools down the mold is broken to obtain the final brass figure which is then buffed and polished to give it a shine. These handicrafts include items like ornamental animals and tribal figures of varying sizes. People worship the sun, moon, fields, mountain, jungle, and flora and fauna, which form a major part of their designs and motifs. The traditional products are mostly decorative items. Traditionally, idols of the local deities, utilitarian products like containers to measure rice or grains, jewellery, etc. were made by using this technique.
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The Dancing Girl of Mohenjodaro. Source: Image 7; {https://i0.wp.com/scienceheathen.com/wp-content/uploads/2015/01/image7.jpg}
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History and Tradition The Dhokra craft has been discovered in the relics of the Mohenjodaro and Harappan civilizations, which proves the historical and traditional importance of the industry. The statue of the dancing girl, unearthed at Mohenjodaro is proof of the origin and continuity of the craft. It is this continuity of tradition, coupled with the intrinsic starkness and vitality of the art form, which makes Dhokra products coveted collectors‘ items in India and abroad for connoisseurs, scholars and laypersons alike. The Dhokra art is a major attraction in Bastar. The Ghadwas are small artisan groups who produce brass or bell metal objects. In Bastar, many folk stories are told about the origins of the Ghadwas, the foremost among which is the following tale: three hundred years ago, the ruler of Bastar, Bhan Chand was presented a gift, a necklace crafted in Dhokra craft for his beloved wife, which made him aware of the beauty of the craft. To honour the craftsman, he decided to bestow the title of Ghadwa on him, which is derived from the word ghalna, meaning to melt and work with wax. Therefore, since these people prepare the craft items by
melting the metal through the use of the lost wax technique, they are given the name 'Ghadwa'. Another derivation of the name comes from the word gadhna, which means to make‘. The Ekatal Village near Raigarh is occupied by the community of Jhorkas, also known as Jharas. The Jharas are originally from Orissa and the story goes that some 30-40 years ago 3 brothers of Jhara tribe came to Raigarh while looking for work. A government official saw these people and liked their craft so the person asked them to make more of the same craft pieces for the government. So those 3-people settled in Ekatal with their families and developed the entire community which is now known as Jhara-Para.
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Husk
Riverside Soil
Gobar
Red Soil
Termite Soil
Source: {http://www.merinews.com/upload/ thumbimage/1490179279311.jpg}
Source: {http://blog.wildaboutants.com/ wp-content/uploads/2010/11/dorymyrmex-mound.jpg}
Source: {https://pxhere.com/en/photo/997795}
Wax
Sem Patta
Fuel
Black Soil Source: {https://cf.ltkcdn.net/garden/images/slide/112059-828x580-Topsoil.jpg}
Source: {https://smedia2.intoday. in/aajtak/images/Photo_gallery/062016/4_062816023239.jpg} 72
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Raw Materials The process of casting remains the same but the types of soils used and the names of the raw materials vary from place to place, as in case of Bastar and Ekatal. The basic raw material which is used is brass, in the form of used brass utensils or brass scrap. The brass scraps are available locally from traders who either collect them locally or source them from Raigarh. The brass scrap is available for Rs. 280 to Rs. 300 per kg of scrap. The other raw materials required are: •• Kali Mitti (Black Soil): This soil io obtained from the nearby fields and needs precision in selection. •• Bhoosa (Rice Husk): Husk obtained from the nearby villages and is mixed with the soil to make it stronger and lighter. •• Chikni Mitti (Riverside Soil): The soil is obtained from the river banks and is used for making the base. It is mixed with husk and deemak mitti to make it stronger. •• Gobar (Cow-dung): Cow-dung is mixed with
the black soil and redsoil to prevent the wax from getting stuck to the mould. •• Lal Mitti (Red Soil): This soil is available above ant homes in the soil. •• Deemak Mitti: This soil is available above termite homes in the soil. •• Sem Patta (Bean Leaves): These are lima bean leaves picked up from the plants. Other plant leaves too could serve the same purpose, but only bean leaves are chosen because of their high water content.
•• Lakdi (Fire Wood): This is generally obtained from the nearby forests. •• Koyla (Wood Coal): This is used to light fire. *Wax, metal and fire wood are used in a fixed proportion of 1:10:100; which means that for every kg of wax, 10 kg of metal is required, and for every kg of metal, 10 kg of fire wood is consumed.
•• Mome (Wax): Wax of two different types is used, both of which serve the same purpose. The first type is madhumakkhi ka mome (Bees wax), which is extracted directly from the hives available in the forests, while the second type is the mombatti ka mome (Paraffin or Candle Wax). Since candle wax breaks easily, it is mixed with Damar (coal tar) and Agarbatti Dhoop (incense stick powder)/ sal tree sap.
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Tools
Hammer: used for breaking molds
Patri: used to draw strands of different thickness
Pichki-pharni: used to draw wax strands
Khipchi: used to make designs in wax
Blower: used during casting Source: {https://5.imimg.com/data5/YK/QR/ MY-44441803/hand-air-blower-250x250.jpg}
Chisel: used for cleaning of craft pieces Source: {https://woodandshop.com/ wp-content/uploads/2013/12/Witherby-paring-chisel-1.jpg}
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Tongs: used to hold hot mould during casting
Crucible: used to melt brass
Wire brushes: used for cleaning after casting
Container: used to melt wax
Source: {http://www.foundry101.com/ cruciblecasting%20014.jpgv}
Parat: used to put melted wax in water
Cloth Piece: used to sieve melted wax
Source: {https://images-na.ssl-images-amazon.com/images/I/716AQEoU9yL._ SL1500_.jpg}
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Process There are two main processes of lost-wax casting: solid casting and hollow casting. While the former is predominant in southern India, the latter is more common in central and eastern India. In solid casting, instead of a clay core a solid piece of wax is used to create the mould; hollow casting, on the other hand, is the more traditional method and entails the use of the clay core. The entire process can be broadly divided into the following eleven major parts:
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Clay Prepartion The first step is to procure different kinds of soil which will be used in the process of Dhokra. Then for the base mould riverside soil, deemak mitti and smaller husk is mixed together with the help of water. This mixture remains strong and due to deemak mitti and husk and becomes lighter after casting.
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Base Mould Then with the riverside soil mixture a basic structure of the object is made, which is then left to dry in the sun.
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Second Layer After the structure dries black soil is mixed with cow dung, red soil and water, and a thin layer of this mixtureis applied on the base mould. This is only done in the case of hollow casting and for solid casting they straight away jump to the step of application of wax. There are also pieces which are straight away made from wax and can also be taken under solid casting.
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Shaping After drying the mould in the sun, it is then sanded to achieve the desiered shape. After which a sem patta is rubbed on it so that the wax sticks to the mould better. Finally, the model is again left to dry in the sun.
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Preparation of Wax Now the sal tree sap is heated in a pot over fire and after it melts, it is mixed with raw wax from the beehive and artificial wax (as bee wax is expensive) and a little mustard oil to give it more softness. Then the mixture is seived through a piece of cloth into a plate full of water so the wax dosen't stick to the plate. Sometimes the artificial wax is also mixed with coal tar, to get the strength in it.
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Wax Strings The soft wax is then pressesd through pichki-phirni, at the bottom of which is a plate with holes, to get the wax strings of varied thicknesses.
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Designs in Wax The strings are then wrapped around the mould covered in the leaf paste to obtain an even thickness of wax. If they want they merge the thread lines or leave them as it is depending on the design. On this more designs are created with the same wax strings. Then an extra piece of elongated was is attached to create a passage for the moten brass to go in.
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Third Layer The same mixture of the black soil and cow dung is applied on wax again.
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Fourth Layer Then riverside soil mixed with bigger husk pieces is made and applied asthe last layer after it has been dried in the sun. After drying it completely, nails are hammered into the mould or in some cases a wire is also wrapped around to keep the inner mould in place. Only on the wired moulds anoher layer of the same mixture is applied.
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Casting Two furnaces are prepared, a smaller one in which inside a crusible brass is melted and a bigger one in which all the pieces which are to be casted are kept upside down so that the wax melts out. The temperature of the furnace reaches almost 10001200°C, which is required to melt the metal pieces. and the fire is blown continuously. Only when the moulds turn red, they are taken out of the furnace with the help of tongs and the brass is then poured into them. If by chance molten brass leaks out of any mould, then a very thin paste of red soil and water is kept there to cool down the place quickly.
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Finishing After cooling down the mould, it is broken open and the brass artifacts are cleaned with wire brushes and file, and then buffed to get the shine. Pieces are also welded together if required.
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Existing Product Range Traditionally, the Dhokra craftsmen used to make elephant and horse figures, statuettes of local deities like Jhitku-Mithki, Matamurti and Gondidevi, and measuring bowls. Now-a-days, the common Dhokra products made include images of Ganesh, Durga and the Nandi bull, lamps, lamp-stands, candle-stands, ash-trays, pen-stands, human forms, figures of Maria and Mareen (tribal figures), door handles, flower vases, mobile holders, face masks, water jugs, and key rings.
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6
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Devrai Art Village
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Kondagaon and Ekatal
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Craft Stores
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Possible Areas of Intervension
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Final Direction (Brief)
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Devrai Art Village Devrai Art Village is a non-profit initiative to connect with nature and celebrate creativity. A core group of highly skilled Adivasi craftsmen and artists from the naxalite affected areas of Gadchiroli & Chhattisgarh find a livelihood and a safe refuge here in Panchgani. The unique and distinctive style of our product range comes out through combinations of different mediums such as iron, brass, stone, wood, bamboo and fabric. They believe in empowering craftsmen and not in doing charity. Today’s idea of "development" has broken the link which connects us to the whole. In modern times nature is commodified and relationships have turned into transactions. Devrai Art Village attempts to mend this broken link and make the process of creation a joyous experience. •• The craftsmen feel happier working in the craft center than in their native villages as they get to make different designs on a regular basis which keeps the excitement in their work alive. While in their native villages they usually made the same products, and are still doing
so and rarely innovate or take risks. •• All the craftsmen are a part of the design process which keeps their brains running and they enjoy and put all their will into the product they are making. •• There is direct interaction of craftsmen with customers which helps them obtain insights into the marketing and sale process. •• There is also interaction with design schools and resource persons from other areas to enable a cross pollination of ideas. •• They do not have to worry about selling of any craft piece as they get monthly wages and the products are owned by Devrai Art Village. •• The craftsmen here do not get the advantage of going to the craft bazars or exhibitions organized by the government. •• They all have to stay away from their villages so miss their families.
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Work was going on a huge Nandi, the bull of Lord Shiva
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The village also had a metal workshop where experiments with dhokra and the metal craft were conducted.
Devrai Art Village is famous for combining dhokra and stones and creating art out of it.
A bull figure made in dhokra
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Kondagaon and Ekatal Kondagaon and Ekatal both of these villages are situated in Chhattisgarh , the former is in Bastar and the latter near Raigarh. The Vishwakarma community from Kondagaon and the Jhokra community from Ekatal, both are famous for Dhokra. Though residing in the same state, the Dhokra style changes from place to place.
•• Very few tourists visit the place as the villages are away from the usual tourist footfall.
•• They all get the advantage of going to a lot of exhibitions and fairs all over India on the expenses of the government. •• The government arranges workshops from time to time to update the craftsmen with new designs. •• The craftsmen here have still been producing the same designs since a very long time, mostly idols or animal figures now which has restricted their audience and people only buy them for ritual or religious purposes. •• The communities are reluctant to take risks on their own.
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Craftsmen were giving a finish to the dhokra jaalis in their house, in Ekatal Village.
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She was the person from Ekatal who explained the entire dhokra process and showed how it was done.
The people of Ekatal were fascinated and were ready to answer any question and showed great respect. They were very proud of what they did.
These paintings were done outside the walls of their houses whenever it is a festive occasion.
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The craftsman in Kondagaon was going to cast his products and was applying the final layer of mud.
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The lush green ways in Kondagaon
A wax horse with intricate and beautiful details.
The craftsman then later casted his products.
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Craft Stores Different Government Craft Stores were visited in Delhi to see the range of products and the situation in the market.
•• All the stores have been opened next to each other outside the main market, where anyone rarely goes.
•• The products in Shabri Emporium are fairly priced and there is a large collection of products to select from. •• Craft stores have a small collection of all the handicrafts of India and the stores are well maintained except for Shabri Emporium which is the main store for Dhokra as it falls under Chhattisgarh State government. •• The ambience of Shabri is very poor, which may be one of the factors which leads to low sales. •• The store is overloaded with products which makes is difficult to select any product. •• Also some products kept in the store have better finishes than the ones in display, but no one really cares to pay attention to these small things which matter a lot.
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Tribal Co-operation Emporium
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Chhattisgarh State Emporium
A shop by Craft Council of India
Central Cottage Industries Emporium
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Possible Areas of Intervention •• Skill upgradation and capacity building: Workshops or training camps need to be organized frequently so that the artisans can upgrade their craft in terms of technical aspects, skill building and marketing. These programmes can be conducted with the help of master craftsmen, local organizations such as Saathi, and other artisans undertaking highly skilled Dhokra work. •• Product development and design inputs: Designers need to conduct and organize design development programmes, and to develop high-end and contemporary products in order to help the artisans to better understand the ever-changing market scenario and its needs. The restricted product range needs to be expanded and along with utilitarian articles, decorative products also need to be created as they have greater demand and fetch good prices in the market. •• Market linkages: A wide range of market support activities needs to be planned Such as creating linkages to commercial buyers, high-
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end stores, and outlets selling designer collections. Dhokra artisans themselves need to be exposed to the various marketing platforms so that they can directly interact with customers, obtain product feedback and get an exposure to retail outlets in the major metros. •• Display of the products: The stores, especially the Shabri Emporium needs to be redone so that the products can be better displayed which makes the experience along with the products worth buying it. There is also need to develop promotional material that would talk about the craft and help the layman differentiate it from other kinds of metal craft available in the market.
Final Direction (Brief) Develop a new range of high end and contemporary products, as the craft needs to gain more awareness and come outside the set boundaries of Chhattisgarh. Also, design the product range in the section of lighting products and interior accessories, based on the research done in Dhokra craft. The high-end classes are more aware about the importance of crafts and most importantly are the trend setters.
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The Wait
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The Wait After researching about the craft, the research now needed to be implemented in designs, which were further required to be produced. The problem which I faced was of funds, as crafts are expensive to work with, especially Dhokra as it is a brass metal craft and also a lot of time and energy goes into making dhokra items.
Also, along with this workshop, another 2-week Dhokra workshop was organized in NID campus in Vijayawada for the 5th semester Industrial design students. This workshop was suggested and arranged by P Rama Krishna Rao, my guide.
I selected the craft and started the project research under a company in Delhi but as they couldn’t take out spare time for the project, I had to leave the place after 2 months and start with my own research, because of which the funding problem came to the fore front. After a lot of conversations and project explanations, the National Centre for Design and Product Development suggested me to contact Chhattisgarh Hastshilp Vikas Board, as the board wanted to invest in design workshops. After a month of contacting different people, the board agreed to conduct a design workshop for 3 months in Dhokra craft of the artisans in Ekatal village near Raigarh.
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Workshop 1
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Workshop 1 This workshop was held in NID Vijayawada for the 5th Semester students. Two craftsmen from West Bengal were also called for helping in conducting this workshop. There were 20 students of Industrial Design who attended this 2-week workshop. It started with me informing the students about Dhokra, showing them a small documentary about it, and analyzing a few of the craft products. Then everyone tried a hand on wax to understand the material better while trying to make an already existing product with it. The students were then divided in groups of 5 and were asked to choose a topic or category for their group, so that each of them can sketch their ideas accordingly.
During these 2 weeks the students had been very enthusiastic about the workshop, learning a new craft and finally doing something different than what they usually do. It was like a refreshment for them as well as their minds, because they didn’t have to think too hard for making something functional or different. It was a craft workshop and more focus was on aesthetics and they could actually let their minds run free without much limitations.
Rajiv Jassal and Ashok Mondal were two other people helping me manage the workshop. All the sketches were discussed and then one sketch of each student was finalized and then finally made with the process of dhokra by them. Though the weather did not support us, as sunlight is a huge help to dry the molds and it was raining every 3rd day, still somehow the work got over on time.
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Begining of the workshop, when everyone tried a hand with wax and the students learned quickly.
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After working with wax, the students sketched their ideas.
The final ideas were then converted into wax.
The students mde poducts with very intricate detailing, for which the craftsmen made a thin paste of mud and water so that it covers every nook and corner of the detailed pieces.
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Chhattisgarh Hastshilp Vikas Board
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Workshop 2
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Ideation
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Sketches
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Developed Products
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Chhattisgarh Hastshilp Vikas Board As stated on the website of the board, the Chhattisgarh Handicraft Development Board established in the year 2001, is an undertaking of Government of Chhattisgarh. Handicraft have always been an important and integrated part of the Indian culture and tradition of the people. The main objective of the Board is to achieve all round development in the field of handicrafts and to revive the vanishing crafts of the State. In order to provide marketing facilities to the products of craftsman the board has established emporium in brand name of “Shabari’’ across the India and in the Chhattisgarh State. The Board is successfully operating India’s first “Mobile Emporium’’ selling the handicrafts of Chhattisgarh and across the India.
icrafts by providing training to the traditional and non-traditional artisans and also to the unemployed youth of the State. •• To provide skill development training and new designs as per the market trends. •• To create avenue of employment and income for rural artisans of Chhattisgarh. •• To market the Handicrafts of the state at National and International market •• To invite and encourage private entrepreneurs to invest and generate employment in the field of handicrafts.
Aims & Objective of the Chhattisgarh Hastshilp Vikas Board •• To perform every possible task to preserve and enrich the ancient and world-famous heritage of the handicrafts of the State of Chhattisgarh. •• To generate employment in the field of Hand-
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PICTURES OF WORKSHOP
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Workshop 2 This workshop was organized by Chhattisgarh Hastshilp Vikas Board, in a village near Raigarh, called Ekatal. 20 artisans who possessed some knowledge about Dhokra were selected and all of them were in the age group of 17 – 20, except for 4 people. The workshop was kept for 3 months and the wages for every craftsman in the workshop was fixed to ₚ50 / day, as a compensation for their time in training and prototyping. The workshop was started with an introduction with the artisans and the initial aim was to train people in new patterns of craft to match up with the current scenario and market demand. But as it was a design workshop, I also tried to develop a design thinking among the artisans, by giving them design exercises and by showing them different innovative products, so as to broaden their minds and perspective. The already existing products were also discussed with them, so that they can make them look more aesthetically appealing.
and as the rest had just left school, they were only thorough with half of the processes of the craft. So, a lot of times other people from the village were called as their help was required for the smooth flow of the workshop. It was a full-fledged learning experience on both ends, and as all of us were almost new to the experience, and of almost the same age, the workshop turned out to be a lot more fun than expected. There was a lot of breaking of the molds and making of the products again, to get a good hand of the designs and the sculpting with wax and mud. We also did several other activities like cooking food together, to get a better understanding of each other.
The workshop still went on smoothly with 5 people leaving the workshop in the middle because they landed with some work during that period
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The workshop was joined by younger people so everyone learnt how to make moulds, as lamp moulds were difficults to make.
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The final coating was being applied on the moulds and the channels were being made.
Working with wax and making jaalis
The casting was done twice and it was a tradition that on the day of the casting the food would be cooked in the workshop and served.
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Ideation The number of middlemen or the exporters that come to the artisans for buying the products have reduced, and the ones who do come with the orders, bring their own designs or are looking for new designs. So now the artisans of Ekatal relay more on exhibitions, government orders and tourists who occasionally come and visit the village. Tourists are generally looking for smaller and lighter products which can be easily carried and does not take much of their luggage space. It would be easier for the artists as well if the products are lighter and smaller, as they have to carry their own products to the place of the exhibitions. Except for god deities which are mostly bought by the locals, utility products sell and are in demand. Also, interactive products are better preferred as people can connect to them better and develop a belonging for them.
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Sketches The sketches here show the basic idea of the type of products that were looked into during the workshop, which were utility products as well as represented Chhattisgarh and craftsmen as a tribal community. The products were small in size and mostly home decor utility based items. As one starts working on the products then only the person can see the potential in the design and the making of that product. As this is a craft, uncertainity is always there and many a times the item comes out to be different than what was wanted.
Lotus Insence Stick Holder
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Tribal Woman Pen Stand
Tribal Man Candle Stand
Dhokra Embelishment on a Sketch Book
Tribal Man Holding a Book Stand
Fish Scale Pen Stand
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Developed Products
Tribal woman pen stand
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Embelishments for a sketchbook cover
A set of tribal figure coasters
Show piece
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Tribal figure holding a book stand
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Candle stand
An experiment with glass
Pen stand inspired from nature
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Design Inspiration
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Floor Lamp
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Hanging Lamps
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Side Table
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Planter
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Costing
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Design Inspiration Nature and the tribals of Chhattisgarh themselves, have been the inspiration behind all the artifacts which were made. But for the last range, I was keener on taking an element of the nature, which I choose to be Lotus or Lotus Pods and combined them with the identity of Dhokra. The range of products consist of a floor lamp, a family of 3 hanging lamps, a side table and a planter. The form of these products is inspired by the lotus pods. The delicate curves and the thin stem forming a pod were the major source of inspiration. And the story of all the products has been spun around them. The lotus flower grows from the bottom of the streams and muddy ponds to rise above the water and bloom. In the same way the craft as well starts with dirt and after a lot of effort, the end result comes out to be beautiful.
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Floor Lamp Lotus Pod Lamp: The idea of the floor lamp was to capture the form and the essence of the lotus pods. With base on the ground and growing up to bloom out, the lamp has a very sleek look. The bulbs on top of the three stems, will add to the sheen of the brass. I wanted to keep the design element lighter compared to the designs in the dhokra products and bring more focus to the thread work in the lamp. MS pipes have been used in the lamp to make the work easier and to bring evenness and strength to the structure. Using pipes also solves the problem of wiring. The base has also been constructed out of MS first, to make it heavier and then the strands have been put on them. The lamp has been casted in 8 parts separately and then the stems have been joined through welding. The base of the lamp has been kept separate to make the transportation of the lamp easier. Also, the top cup shaped part of the lamp is made with respect to the available bulb holder in Raigarh.
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Basic metal structure of the lamp.
The top of the pipes were covered with mud, to give the top part a structure and the inside of the pipe was also fiiled with mud to stop the molten brass from going inside the pipes.
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The threaded pipes were then covered in mud and space was left for the molten brass to go inside and these pieces were left to dry in the sun.
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After pouring in the molten brass, and breaking the mould, it was found that there was a tiny hole in one of the pipes due to which brass escaped inside and then the pipe had to be cut to take the brass out. Also somehow the brass did not reach the ends , and so they were also cut to complete the lamp's threaded stems.
When the mould was broken open, the ends of the pipes did not get brass, maybe due to delay in pouring molten brass. These ends were either cut off or corrected througn welding.
The threaded cup shaped top has been added to the pipes to enhance its beauty and to act as a cove for bulb holder.
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Hanging Lamps This is a family of three lamps. With two lamps inspired from the tribals and their life, and the third one has taken inspiration from lotus pod’s surface. These were also a part of the design workshop. •• Lamp 1: Tribal Figure Lamp •• Lamp 2: Tribal Village Lamp •• Lamp 3: Threaded Eye Lamp Measurements •• Height - 230 mm •• Diameter - 210 mm •• Top Hole - 15 mm
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The base is prepared with the mixture of riverside soil and husk and then left for deying,
When all the soil layers dry designs are created with the help of wax. In this lamp, the tribal figures are clinging to each other as if to prevent falling.
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Varied thiknesses in threads have been used to get such intricate designs. This lamp dipicts village scenes.
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A lot of hard work went into making of this lamp. Flat and sharp tools were also used to make intricate designs, also called khipchi.
Long threads were joined together to make the threaded lamp. A thicker cord of wax was added in the end to give it final finishing.
It was then covered in mud. dried in the sun and then its surface was nailed so that the inner mould dosen't move. Also, it was covered in wire to maintain its shape.
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The molds were kept in the furnace upside down, so that the wax melts out. It was very difficult to pick up the moulds with tongs from the furnace as it reaches almost 1200°C.
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The moulds were then left to cool down after pouring in the brass in them. The brass which collects on top of the way from where the brass was poured, was gathered and reused in the next casting.
After breaking the moulds, the mud was brushed off, file was used to clean the edges and chisel was used to remove unwanted brass.
In this lamp, a layer of brass collected between the figuers, so it was left as it is as the unwanted brass was adding to the beauty of the lamp.
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There was no set design for any lamps. The village scences are different in each and every lamp, which makes all these lamps unique.
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Chisel had to be used to cut out the gaps in the lamps. Also there were places in the pieces where the brass did not reach which made the product even more beautiful.
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Side Table Lotus Pod Table: The side table has three cury legs with a strong base to support the pod like top of the table. The top part is kept hollow from inside and the bottom part has been filled with mud to give it more weight. The table has been made in two parts and have later been joined through welding, as it is difficult to cast bigger items as a whole. It contains six small pieces of iron rods in the legs to give it more support and form the basic structure. I realised it later but if three rods were joined together from top and bottom, like a cage and then were split in the middle, to form the upper structure of three rods and the lower of three, then the work would have been easier and the placement of the top and bottom piece of the table would have sat perfectly in one go.
Measurements •• Height - 650 mm •• Top - 150 mm (height) 500 mm (width) 350 mm (depth) •• Base - 50 mm (height) 350 mm (width) 250 mm (depth) •• Brass Legs - 35 mm 450 mm (height) Rod for the inner structure - 8 mm
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First the top was created, setting up the sides of the base of the table like a wall. The top was created hollow and the base was solid mud to make it less heavy.
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It was then filled with husk, so that the walls do not fall inside and the dome shaped top of the table can be closed properly without destroying the entire structure.
The metal rods were inserted inside the table as well as the base at equal distance from each other, but it was difficult to keep them at the same distance as the mud was wet. Also it would have been better if the rods would have been joined from the bottom, to keep them stable.
Then after drying the parts and sanding them, they were covered in a thin layer of wax so that the strands which come on top of it do not seperate during casting.
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The strands were then wrapped around both the moulds with great precision.
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The rods were also covered in wax, so that they remain affixed with the actual product, even after casting.
Minimum of 4 channels were left in each part, for pouring the brass inside, as the pieces were bigger and a single channel might end up cooling before all the brass goes inside.
After casting when the mould was broken, it was realised that the brass did not go in properly and parts of both the pieces were left to be casted.
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So without taking the inner mud out, the wax was applied to the parts again.
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It was made sure that the threads were aligned to the previous threads.
The part which required casting was covered with mud again and the rest of the piece was left as it is.
Now that both the pieces were casted fully, they were welded together and the final finishing was given.
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Planter Threaded Planter: The form of the planter takes its inspiration from the simplistic lives of the craftsmen and their surroundings. The planter can be used with or without a stand. It reminds one of the beauty of nature and history of craft together.
Measurements Planter •• Height - 100 mm •• Diameter - 150 mm Stand •• Height- 180 mm •• Diameter- 85 mm
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The pieces were made with the same process as other pieces and then left for drying.
After casting the mould was broken up and the pieces came out to be well done as they were small in size.
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The legs and the circular top of the stand was casted seperately and then later welded together.
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Different types of designs were created on the planters. The designs were suggested by the workshop artisans.
Planter Design by the Artisans
Planter Design by the Artisans
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Costing The following chart shows the estimated cost of each artifact. Please note that the cost mentioned is just an estimate and the cost will vary due to the uncertainties in the process.
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Reflections When I look back at the entire year, I feel that though the course was hard but the way my project took turns was the best learning experience I could have had. It taught me how to be strong, how to never loose hope as there is always a way out in the end and you can find nice people where ever you go. I learned how to change my own self to understand others, their problems and their joys and how to be one of them. And also, all the things in this world can’t be controlled. A person cannot be everywhere and do everything. There are situations when you have to trust people with your work, it is a part of life. The craft taught me patience and made me experience the joy after that patience. There is no enough planning which can stop things from going wrong, but we can definitely do our best to avoid such situations. And in the end, everything will be fine.
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Way Forward While I tried my best to understand the future of the handicrafts industry, Indian handicrafts are diverse and complex. All the crafts are very vast and well thought of. More intervention on the aspect of designs as well as building sustainable businesses in the field of handicraft is required. With respect to dhokra and the products, a lot more can be achieved. This range was the first prototype which was build after understanding the craft and the products can be improved and detailed further more. I would also like to encourage others to take a step forward towards handicrafts and help build a better future.
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Bibliography Books and Papers •• Arjo Klamer, Crafting Culture: The importance of craftsmanship for the world of the arts and the economy at large, Erasmus University Rotterdam, June 2012 •• http://char.txa.cornell.edu/art/decart/artcraft/ artcraft.htm
•• Crafting Sustainable Livelihoods, Maker and Meaning: Craft and Society, 25-23 January 1999 •• Chhattisgarh Full of Surprises, Chhattisgarh Tourism Board, Sampan Media Pvt. Ltd., 2014
•• V. Ryan, http://www.technologystudent.com/ prddes1/artscrafts1.html •• Ms. Shreya Jadhav, Indian Handicrafts: Growing or Depleting?, IOSR Journal of Business and Management, July 2013 •• http://shodhganga.inflibnet.ac.in/bitstream/10603/40811/9/09_chapter%201.pdf •• Dasra, Crafting a Livelihood, January 2013
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