Fading Life Of
SANKHEDA
Digital publication of a student document For private circulation only B.Des 2015 MRID, Faculty of Fine Arts, M.S. University, Vadodara, India Text Anshveer Gurung Dishunee Pandya Prachi Vyas Shreya Ghosh All rights reserved under international copyrights conventions. No part of the book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage or retrieval system without prior permission in written form the publisher. Guided by Ms. Avani Varia Design Anshveer Gurung Dishunee Pandya Prachi Vyas Shreya Ghosh
Fading Life of
SANKHEDA
Anshveer Gurung
Acknowledgement Any task with a motive cannot be accomplished alone. We would like to acknowledge and pay our sincere gratitude to all those who helped us, support us throughout the documentation process. We would like to thank MRID for giving us this wonderful opportunity to study the famous and rich Sankheda craft of Vadodara, Gujarat. We would specially like to thank our guide Ms. Avani Varia, who introduced this course to us and believed in us, that we will be able to justify the craft. We thank her for her guidance and input at each step in the documentation. We would also like to thank Mr. Vyom Bhatiya, who got us the contact of Sankheda artisans Rajendrabhai Kharadi and Yogeshbhai Kharadi. We are grateful to all the artisans, Rajendrabhai Kharadi, Yogeshbhai Kharadi, Mukeshbhai Kharadi, Jassiben Kharadi and Ramilaben for their time and knowledge. We appreciate the MRID staff, Shyambhai, Hardikbhai and Bhaveshbhai for always helping us in all ways. Last but not the least we are grateful to our friends and batch-mates for their feedbacks and support.
Anshveer Gurung
Focus of study The unique properties of Sankheda craft, its traditional feel as well as the workmanship inspired us towards knowing more about this craft. The main focus of our study intends to be the material itself, its journey, from raw to final product, as well as the way that it is processed at the various stages before its final outcome. A few other important aspects of our study include the history behind Sankheda, its origin and a market study. We therefore intend to collect some information regarding the current practice of Sankheda and pick up some of its core techniques during the course of the documentation. .
Anshveer AnshveerGurung Gurung
Content 1. VADODARA
___________________________ 09-13
1.1 Introduction 1.2 History 1.3 Culture & Heritage 1.4 Climate & Geography 1.5 Crafts
2. SANKHEDA
_________________________ 14-31
2.1 Introduction
2.2 History 2.3 Sankheda’s artisans in the city 2.4 Tools & Material 2.5 Procedure 2.6 Products & Packaging
3. Market & Relevance 4. Analysis 5. Conclusion 6. Our Journey 7. Refrence
___________________________ 33 ___________________________ 34 ___________________________ 35 ___________________________ 36-39 ___________________________ 40
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VADODARA
INTRODUCTION Vadodara is the third largest city in western Indian state. It is located on the banks of the river Vishmamitri. Southeast of Ahmedabad. The first recorded history of the city as that of the earliest traders who settled in the region in 812 AD. The province was mainly Hindu dominated with the Hindu kings ruling until 1297.The city used to be called Chandanavati after its ruler, Raja Chandan, who wrested it from the Jains. The city was known as Vadpatraka or Vadodara which accordingly comes from a Sanskrit word Vatodar meaning the belly of the banyan tree. [1]
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History & Origin Vadodara is the third largest city in western Indian state. It is located on the banks of the river Vishmamitri. Southeast of Ahmedabad. The first recorded history of the city as that of the earliest traders who settled in the region in 812 AD. The province was mainly Hindu dominated with the Hindu kings ruling until 1297.The city used to be called Chandanavati after its ruler, Raja Chandan, who wrested it from the Jains. The city was known as Vadpatraka or Vadodara which accordingly comes from a Sanskrit word Vatodar meaning the belly of the banyan tree. [2] It is known as Sanskari Nagari because of its deep cultural aspects. Navratri, a wide known and popular 9- day dance festival which specializes in bringing the whole city together in the spirit of celebration and happiness with dancing and the traditional costume which is worn during Navratri i.e. chaniya choli.[3] Also, when the English travellers and merchants travelled to India, they mentioned the place as Brodera from which afterwards the name was changed to Vadodara. It all started when the Moghul ruled over the city came to an end when suddenly the Maratha activities began to foster with the Gaekwads coming into the city in the early 17th century. Maharaja Sayajirao was the foremost. [4] He introduced a number of social and economic reforms. His major contribution was towards education and the economic development, through which today Baroda is one of the most important centers for textile, oil and chemical industry. He boldly introduced compulsory primary education. He basically visualized a general scheme of development in all the branches of education and its masterpieces of architecture to the insight and vision of the great ruler. Its architecture include the Baroda museum and picture gallery, The Arts Faculty is inspired by Indo-Saracenic Architecture. [5] There is a saying that nothing grows under the Banyan Tree, but this not true of Baroda. Having witnessed the rise and fall of empires, it now occupies a unique position in the industrial, educational and cultural aspects. Yet it has been fortunate enough to retain its historical and cultural aspect. [6]
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Culture & Heritage Vadodara Culture is a hallmark of the archetypal Gujarati lifestyle and culture. Known as the cultural capital of Gujarat, it has a glorious past which is very dear to the people of Vadodara .Its architecture completely mesmerizes the people visiting the city. The architecture of the buildings are completely inspired from Indo- Saracenic architecture which was diffused from the 1870’s to the early 20th century for colonial buildings in India, adding the elements of Mughal architecture, to the base of Victorian Gothic style. Initially the British constructed governmental and public buildings in European classical styles regardless of Indian local climate and traditions. Only after the 1858, the local architectural traditions, especially the Mughal tradition were introduced to the colonial erections. This was also the time of Gothic Revival, so Gothic features were used as the base and the domes and Chhatris were used to produce the external appearances of the buildings. This is the reason that it is also known as Indo-British style. Sayajirao III served as a great pioneer to the city, He introduced a number of socio-cultural policies which served as an element of prosperity and greatness to the society. From introducing compulsory primary education to practically adding Vadodara in the map of India for oil industries, textile industries and many other ,Vadodara is considered to be one leading cities which has its own cultures with colorful characteristics. [7]
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Climate “Vadodara, a cosmopolitan city is located at 22.30°N 73.19°E in western India at an elevation of 39 meters (128 ft.). It is the 18th-largest city in India with an area of 235 square kilometers (91 sq. mile) and a population of approx. 2.1 million. The city sits on the banks of the Vishwamitri River, in central Gujarat. The city is located on the fertile plain between the Mahi and Narmada Rivers.” [8]
Geography “There are three main seasons: summer, monsoon and winter. Aside from the monsoon season, the climate is dry. The weather is hot during March to July, when the average maximum is 40 °C (104 °F), and the average minimum is 23 °C (73 °F). From November to February, the average maximum temperature is 30 °C (86 °F), the average minimum is 15 °C (59 °F), and the climate is extremely dry. Cold northerly winds are responsible for a mild chill in January. The southwest monsoon brings humid climate from mid-June to midSeptember. The average rainfall is 93 cm (37 in).” [9]
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Crafts of Vadodara Pithora painting
The Rathwa bhil community for any and all auspicious celebrations does these paintings. They are generally done in the form of ritual wall painting. They depict baba Pithora (god of food grains) and his wife Pithori riding horses and other local divinities like Gamdev and Khetarpal. A group of male painters is commissioned for the painting and they are only allowed to start when the Badva commands them to do so. The Badva also gives the characters life and meaning to each member of the painting. [14]
Sankheda
The craft of the Kharadi people of Vadodara the name Sankheda is derived from the word Sanghadu, which is the tool they use to turn wood in today’s context the lathe machine. Sankheda comprises of the application of Kallai (tin paint) and the lacquer work done on turned wood. Due to the lacquer being of only a few colors the products only comprise of brown green red and gold color. [10]
The art of Kite making
“It was not just the kites that caught our attention. We were also fascinated by the centuries-old houses which have stood testimony to the growth of the kite making industry in the Jamalpur area. Not much seems to have changed with the buildings since they were constructed many decades ago”. [13]
Bamboo
“The decorative value of Bamboo craft items is huge. The utilitarian aspect of these bamboo articles serves as an added attraction. The range of bamboo products is wide boxes, chairs, teapots, baskets, hand bags, etc. Carving work on bamboo is also seen in some cases.”[11]
Block Printing
“Carving the intricate designs on the wooden blocks is in itself a demanding job. Individual blocks used for the motifs are meticulously carved out of wood taking utmost care so that the superimposing designs align with each other seamlessly”. [12] 13
Anshveer Gurung
SANKHEDA
About The beauty of Sankheda lies within the beauty of their motifs. A craft tradition so deeply inherent in the collective identity of the practitioners, that their town is named after it. This lacquered turned wood furniture has its huge significance in the culture of Gujarat and is adorned at their homes. The state of Gujarat is so colorful in its characteristics that not a single festival is there that goes untouched. Be it garba or their marriage Ceremonies, the people enjoy to much of its extent. [15] 15
The Sankheda artisans are very proud of their centuries old legendary. Legend has it that about two hundred years ago, the carpenters in Vadodara lived in destitution. One day, a baba (holy man) came from Aravalli hills, seeking some charity from the villagers. The already distressed of carpenters pleaded with the holy man to show them the way out of their condition. The baba realized that besides carpentry they did not know anything else. He decided to teach them how to improve on their existing skills by adding a new dimension, lacquer to their craft. He taught them how to make and use lacquer. Thus, was born the unique art of Sankheda. Initially only lacquer was applied to wood, later tinfoil and lacquer on wood to fashion exquisite pieces of furniture as well as other ornate objects. Sankheda craft derives its name from ‘sanghedu’, the word for a lathe in the Gujarati language. Lacquer turned wood furniture by hand painted motifs using tinfoil and traditional method of ornamentation, popularly known as Sankheda furniture, is thought to have been produced here, in Vadodara from about 1820’s. [16]
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Anshveer Gurung
History
About the Artisan
For them the best season for working is winter, as in summer they cannot sit in front of hot burning coal and in monsoon the drying process takes a lot of time. The first and all season product in Sankheda is the ghodiyun, after that comes baajat and then aadni-velan. Other products are much more seasonal like dandiya in Navratri, and palnu for Janmashtmi.
Raju Bhai
Anshveer Gurung
Yogesh Bhai Kharadi is Raju bhai’s younger cousin that is also practising Sankheda craft since 25 years and is 40 years old. He has his separate business with his elder brother Ramniklalbhai and Mukeshbhai, but share common wall with Rajubhai. They have segregated the work process. Lacquer manufacturing, packaging of finished product and marketing is done by Ramniklalbhai and Kallai (tin paint) is applied by Mukeshbhai. Yogeshbhai starts his day at 7am and ends around 3pm or 4pm. Mukesh bhai begins his work after 10:30am.
Anshveer Gurung
Rajendrabhai (Rajubhai) Kharadi is a self-taught Sankheda artist who is practising Sankheda craft since 45 years. He presently works on small products like dandiya, aadni-velan, palnu, etc. Rajubhai is very rich in his knowledge about Sankheda and always eager to share his knowledge. He practises each and every process from wood turning to final finishing of lacquer applied piece to packaging and marketing. He is very much fond of cricket and has played in his team as an all-rounder.
Yogesh Bhai
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Other Artisans We surveyed the artisans practising Sankheda craft in Vadodara, to know the number of artisans and the method and material for Sankheda practised by them. • Jagdish bhai: lacquer work, small products. Artisans have now started working with oil paints and melamine instead of original tin paint and lacquer due to inflation and lack of customer knowledge about the craft. • Chandravardhan Kharadi, 55 years old. • Vishnu bhai Gobind bhai Kharadi working since 40 years • Dilip Kharadi has stopped using lacquer since last 20 years According to our survey we analysed that majority of artisans have now started opting for cheaper version of Sankheda craft, using oil paints instead of tin paint and replaced lacquer by melamine.
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Raju bhai and yogesh bhai: Sankheda Jassi ben: Kallai Other artisans
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Tools & Materials Tools and Machine
Anshveer Gurung
Brush: made from hair of squirrel’s tail. Machine: Sanghedu (originally hand operated), electric machine for turning wood. Sand paper: 60 grit emery paper Hathiyaar: a set of 3 chisel different shape and size of chisels of high carbon steel with longer lasting edges are used for ease of sharp cutting of the profiles on the wood. Agate stone: used to give a shining surface before applying lacquer. Coconut cover: used for providing smooth surface to paint on it.
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Raw Materials and its sourcing:
Tinfoil (kallai)
Anshveer Gurung
Anshveer Gurung
Anshveer Gurung
Wood: Mostly Sagwan and Nilgiri, almost all light coloured wood can be used. Wood is brought from Godhara and Panchmahal. Colour: Kaccha colour, an acid base colour used for dying. Lacquer: Lac, bought raw from market at Rs.800/kg and treated by artisan himself, or someone specialized in it. Tinfoil: Kallai, it is a costly material, Rs.2500-2700/kg bought from another craftsperson who is highly skilled in making it. It is available near Kalupura police choki, Vadodara. Edible oil: easily obtainable at any grocery store. Primer: Whitening, readily obtainable at any hardware store, Rs.10/kg. Coal: Colsa, available in nearby markets, Rs.30-40/kg
Coal
Sand paper
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Process of kallai Tin is available in wire form which is mixed with saras (gum) and hammered until it becomes soft, or in sheet form which is soluble in water. Small pieces of tin are soaked in water for about an hour and then heated up to a certain temperature then filtered with a cloth to remove dirt particle the filtered solution of tin is obtained to use.
Making of the brush
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Anshveer Gurung
The brush used for detailing is made from the hair of squirrel’s tail, which are tied in a stack of vulture’s feather which, when put in water shrinks and becomes tight.
Process of colored lacquer making The raw lacquer cocoon is originally the saliva of the insect that is found on branches of trees. These cocoons are washed- dried-crushed with a log of wood (Sambelu) in a wooden container (Kundi), to convert them into small granules. These dark brownish granules are then hand washed (bleached) with water three times. This process is done by the ladies of the house. Later on, they are dried in the sun to remove the moisture contents. The dried granules are crushed against cloth to remove the remaining dust particles to make it absolutely clean. Crystals of lacquer are then boiled with water in an earthen container; it is brought to the molten stage. Once this stage is reached, required colors can be added to the molten form. It is then removed from the earthen container by means of two wooden sticks. Once the water is evaporated it is meshed by foot, covered in a piece of cotton cloth when it is still hot. Later on it is again stretched with both the hands to make a thin flat form of lacquer. It is then cut in vertical strips so that it is easy to apply on the wood. [17]
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SANKHEDA WOODCRAFT– TRADITIONAL PROCESS OF PRODUCTION STEP-1
Wood Turning
Anshveer Gurung
Cut to size pieces of wood are first hand shaped on a lath, by the rotary action of a bow and string.
STEP-2
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After this rough finished cutting, the pieces are sanded with emery paper.
Anshveer Gurung
Wood Sanding
STEP-3 Anshveer Gurung
Wood Whitening with primer
Coat of primer is applied to make the surface even and left to dry for 10-15 minute.
STEP-4
Wood Colouring
Anshveer Gurung
These pieces are crafted to glory by priceless skill. They are coated with the desired water soluble colours which are pre-heated.
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Raju bhai and yogesh bhai: Sankheda Jassi ben: Kallai
Anshveer Gurung
Other artisans
STEP-5
Rubbing coconut cover
After drying, coconut cover is rubbed to give a smooth finish and better surface to apply kallai and lac. 26
Applying Kallai
After this coating the detailing or painting is done by Kallai (tin paint) and brush made from hair of squirrel’s tail.
Anshveer Gurung
STEP-6
STEP-7
Polishing with stone
Anshveer Gurung
Ornamental Sankheda designs are then crafted on the pieces before they go back onto the lathe, where agate stone pressure polishing highlights the brilliance of the designs.
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Anshveer Gurung
STEP-8
Applying Lac
Then, lac is applied, friction from the lathe’s rotary action and the heat of the gleaming coals, leave behind a coat of lac. 28
STEP-9
Final finishing
Anshveer Gurung
For finishing and smoothing a kevda leaf and oil is rubbed.
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Wood Turning Sorting the wood Burn Coal with cotton seed oil
Wood Sanding Wood Whitening with primer Wood Coloring Applying Kallai (painting) Rubbing coconut cover Applying Lacquer
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Product & Packaging
Anshveer Gurung
All Sankheda furniture are detachable as it is in separate pieces, example: ghodiyu is made up of 9 pieces, attached together. The complete pieces are drilled. Then they are either joined or packed according to the convenience and customer demand. If the product is sold locally the product is put in a Plastic packet and if it is to be sent outstation then it is packed in jute sack.
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Anshveer Gurung
Market & Relevence Sankheda has a huge market in the Sankheda village and Gujarat itself. If we focus on Vadodara, there are a wide variety of products from swings, temples and beds. Other than that, earlier at the Sankheda village there were a number of villagers who used to make children’s toys and other products as well but as years passed by the aura of making those products diminished. Though traditionally a normal Sankheda made sofa would last longer than the over comfortable leather based sofa. But as modernism arrived at its stage, people started preferring products which defined their way of living and well as their lifestyle and therefore the level of inclination towards Sankheda decreased. There exist many commercial markets in Vadodara, and one of them is JJ Sankheda Furniture. It is located in Alkapuri. Interestingly, it is their family business and they have their own manufacturing unit in the Sankheda village. The business is there since 70 years. The Kharadi family also takes orders. The products are made according to their needs. There is not much difference between the orders and the usual products. Generally, the colors that are used are black, copper, white and maroon. In the earlier times, sankhedha was just made of the purest of the pure materials but now that people want products that are being made at a rapid rate, the market only manufactures melamine products, which are now a days available everywhere. Finally, talking about the actual business, post demonetization there is a huge dip in the business, before demonetization the business rose up to 70% but unfortunately due to the less flow of money in the market, their Sankheda business decreased by 20%.
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Analysis of Study Strengths
The raw material is available in abundance in the nearby forest. Simplicity is the best policy, which is also applied in the furniture. the designs are simple yet elegant The designs are changing according to the time. It also provides employment to not only one person but many persons as well. The basic raw materials are pocket -friendly.
Weaknesses
The colours that are used are very limited. They do not provide any dimension to the craft. Only limited products are manufactured.
Opportunities
Many new products can be introduced, in order to increase the sales. They can add more bright colours of the pallete. The original raw wood should be revived as well for the beauty in its natural form.
Threats
It is in its rapid way of diminishing the crafts as well. The craft has to change itself, according to the time as well .
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Conclusion On our study, we analyzed that Sankheda itself is a craft which is unique. Being a traditional craft, it is a widely acclaimed craft, which certainly in some way or the other defines the Guajarati tradition that has been evolving over the years. Though, keeping in mind the shine that it represents, unfortunately the originality of the craft is diminishing day by day. The original raw material is not being used, simply due to that it is expensive. So, accordingly, now a days melamine made products are in much use, mostly due to that it is cheap as compared to the other products. But other than that, through our project, we hope to revive the craft and create the awareness about its vulnerability and we hope that its natural beauty is not completely lost as generations pass by.
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Our Journey The craft document started out as a hectic job but soon I was able to get myself to work according to the time we hand on our hands. Getting a craft to document was not a tough job as we had plenty of options to chose from, the problem only began when the craftsperson we were documenting had to attend a wedding which left us with only a few hours to collect the primary data. I being a moving image student was majorly responsible for the documentary that was made for the craft, the problem that I faced was that i only had 4-5 hours to record the whole process or parts of it which left me with no time to record the craftspersons lifestyle which left me with only a small amount footage to edit. the experience has taught me to value time a lot more be it mine or someone else's, to respect and trust the other team mates with their work and to have a good plan of action ready for the project.
Anshveer Gurung Moving Images
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Our journey was kind of a roller-coaster ride. On the first day, as the group was decided we all were looking forward to work with each other and give our 100% in the course. After that we were supposed to finalise the craft, we all discussed and shortlisted three crafts to work on, first one was tabla making, second was bike and the third was Sankheda. We did brief research for all the three crafts, and came to a decision to document Sankheda. After the first meeting with the artisan, we were planning to take artisan as our subject. Everything was smooth and on the track, until the time we came to know that our artisan is going out of town for 5 days, and now we need to find another Sankheda artisan in Vadodara, who should be as enthusiastic as we are about the documentation. That day our moral went a bit down, as now we had to change the craft, we even explored other crafts in Vadodara but with on time guidance by our guide Ms Avani Varia, by the end of the day we were clear and motivated, instead of changing the craft we changed the subject of the documentation. Now we all were back on the track with a lesson and experience. We planned the schedule in a way that we can spend as much time as we can with the artisans and study the process of Sankheda craft from raw materials to the final product. “Everything happens for a reason”, the days when Sankheda artisan were not available we got the opportunity to see the procedure of making of raw materials used in Sankheda craft, and study the present market and other artisans practising Sankheda in Vadodara. “All is well when end is well”, we had great time and learning with each other.
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Dishunee Pandya Accessory Design
Our first group experience, different minds working together. As the group were distributed, we were happy that all of us were compatible and have different strengths. We were then supposed to finalise the craft, we all discussed and shortlisted three crafts to work on, first one was tabla making, second was bike and the third was Sankheda. Our secondary research helped us to come to a decision. The technique of applying lac and the speed of painting with kallai was very fascinating to all of us, so we selected Sankheda craft as our topic for craft documentation. The next thing was to go and meet the artisan, luckily our artisan was very much excited to share and teach us everything, as much as we can. But then a day before we were supposed to start primary research, we came to know he has to go out of station for some days. We were stuck. For that day we all were in a dilemma, should we change the craft or continue this craft. For that day we also explored other crafts in Vadodara as a backup. Our guide Ms. Avani Varia taught us how to smartly handle the situation and we were on track again continuing the same craft. Now we were supposed to plan a schedule according to the availability of our artisan and study the process of Sankheda craft from raw materials to the final product. We also got the opportunity to see the procedure of making of raw material, kallai (tin paint) which is used in Sankheda craft, and study the present market and other artisans practising Sankheda in Vadodara. Overall, we had a great learning through our own experiences in the process.
Prachi Vyas
Communication Design
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My journey was indeed very interesting. Learning a lot of things was one of its advantages. Initially documenting a craft was difficult, when we were not able to find a craft, and when suddenly our craftsmen had to go to a marriage. But gradually, it all settled sown and I was much satisfied about it. Though it was very disappointing to hear that Raju kaka, our craftsmen is the last generation who is Continuing the craft. Upon asking he suggested us that their grandchildren wish to do formal employment, a 9-5 job is what they wish to do once they are old enough to financially earn their Livelihood. Sankheda is one of the dying craft of the Gujarati culture, decreasing to just few of the families practising it in Vadodara. Revival is the only possible way out of this problem and I wish and hope that through the project we can celebrate the beauty of the craft.
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Shreya Ghosh
Communication Design
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Prachi Vyas