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Preface As industrial design students methods and processes of the same intrigue us ,especially when its at a level so intricate achieved without the use of modern machinery and equipment ,and thus with the opportunity given to us by the state institute for the development of arts and crafts (SIDAC) we went ahead to understand the craft.
Though a sizable amount of information is available is on the craft, very little information is available on the dhokra craft in Orissa, hence through this documentation we have tried to throw some light on the various facets of the craft ,trying to explain the complexities involved in achieving the that paramount quality vis-Ă -vis to Orissa.
Our preconceived notions on the craft ,our assumptions on the materials and the processes were clarified by the welcoming villagers who not only shared with us all they knew about the craft but also tried teaching us their ways and methods of doing the actual craft ,this opportunity made us realize that the ease with which they made the patterns was actually because of decades of practicing the craft.
We’ve also tried to decipher the irony of the Dhokra on one hand being one of the most popular and revered crafts of India and yet its maestros struggling to make ends meet and resorting to menial jobs which take from them all they ever knew all in return for mere survival.
This initiative by the villagers made us feel more welcome and comfortable with them, and helped us share a level of intimacy with them ,thus giving us a better insight into their lives ,as a craftsperson and a citizen. 2
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Contents
Introduction
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Orissa
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Dhenkanal
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Dhokra- The lost wax process
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Dhokra- The history
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Case Study I
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Case Study II
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Suggestions
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Acknowledgements
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Bibliography
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Introduction For a craft to have withstood time surviving centuries of unprecedented change in its purest form is rare and commendable. The dhokra craft (the lost wax process of casting) finds its roots and origin in the Indus valley civilization close to 4500 ago, in Mohenjo-Daro. Here archaeologists excavated a bronze figurine of a girl in a dancing position made with a combination of lost wax and metal casting.
people actually understand the painstaking process involved in the process involved in creating this exquisite piece of art, some even mistake it for an industrial product ,cloned by the dozen . It’s because of its fine finish and uniformity that the dhokra retains its magic of enticing, thus leaving the viewer enchanted with its timeless elegance. It’s a mark of timeless beauty and an iconic art, one that has survived centuries and we hope will continue to do so beyond the bounds of time.
This art of representing nature, flora ,fauna, lives on and echoes in many parts of the world .Artisans in many parts of the world use this method to give life to their ideas . It’s an intricate process which requires patience skill, and years of experience to excel in the material and handling .With so much put into the product and excellent quality of work produced the , very few artists get their due both monetary and respect .Very few 6
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Orissa Orissa is one of the few states in India's ten-thousand year old history created out of peace and not from war. The end of the Kalinga Dynasty was marked when the Kalinga King was defeated by King Ashoka, the grandson of Chandragupta Maurya. After centuries of battle, King Ashoka became filled with remorse and sorrow. Saddened by his inner conflicts, he renounced the war by embracing Buddhism, a path of peace and non-violence. King Ashoka, with his new beliefs, ended the war by sending out missionaries rather than soldiers, conquering the people's hearts and not their villages. By the 7th century, the
Kalinga Empire disintegrated and Orissa was decided as the new name of the mystical hilly land and launched the beginning of the Orissan Dynasty.
number of temple festivals especially related to Lord Jagannath at Puri including the world famous Rath Yatra (the Chariot Festival).
Later, Orissa also became known as the "Land of Magnificent Temples". These Orissan temples were centres of art, tribal music, handicrafts and the origin of Odissi Dance. Puri, with the Jagannath temple near the sea, and Konark, with the Sun Temple, are visited by thousands of tourists every year. The Jagannath Temple of Puri, The Sun Temple of Konark, The Lingaraja Temple of Bhubaneswar and the Barabati Fort of Cuttack are important in the archaeological history of India.
Since Orissa also constitutes of many tribal communities especially in its south-western districts, the festivals also include tribal festivals and fairs during Chaita Parva, Bali Yatra and Makar Sakranti. To showcase the varied folk tradition and cultural heritage of Orissa, and to celebrate the cycle of life with all joys and sorrows, there are several special festivals being organized in Orissa such as the Puri Beach Festival, Konark
Enamoured with these temples across its landscape, Orissa hosts a 8
Festival and Kalinga Festival
Rath Yatra, Puri
Lingraj Temple, Bhubaneswar
Cuisine of Orissa is simple and delicious. Bu the pattern of food is same as that seen in the neighbouring states due to the proximity and similar geographical conditions. Rice is the major food crops and the staple food for the people of Orissa. Orissa Pakhala, a dish made of rice, water, and yoghurt, that is fermented overnight, is very popular in summer, particularly in the rural areas Vegetables which are grown in plenty to form and integral part of the meal in the state. A large number of people practice vegetarianism because of their deep religious nature. . . The kitchen of the famous Jagannath temple in Puri is reputed to be the largest in the world, with a thousand chefs, working around 752 wood-burning
clay hearths called chulas, to feed over 10,000 people each day.
But a significant proportion of people relish fish and other sea food delicacies like prawns, crabs and lobsters as these are found in plenty in the vast coastline of the state. Oriya food is spicy and has less calorific value as it is cooked with little or no oil. Curd and coconut milk find great use in the diet of the people.
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Bhog, Jaganath temple
vegetables and dals. Small cakes, or 'pithas' which are both sweet and savoury are extremely popular in Orissa. Chhenapodapitha, the caramelised custard-like dessert is popular not only with the locals but also with the tourists Location:
Pakhala
People are also very much fond of sweets and many of the recipes are popular all over the country. 'Pancha-phutana' a magic mix of cumin, mustard, fennel, fenugreek and kala zeera is used for tempering
Located on the east coast of India, by the Bay of Bengal, Orissa is the ninth largest state by area in India, and the eleventh largest by population. Oriya is the official and most widely spoken language. Orissa has a coastline of about 480 km long. The narrow, level coastal strip, including the Mahanadi River delta supports the bulk of the population. The interior of the state is mountainous and sparsely populated.
There are namely 30 districts in Orissa Angul, Boudh, Bhadrak, Bolangir, Ba rgarh, Baleswer, Cuttack(Cuttack), D ebagarh, Dhenkanal, Ganjam, Gajap ati, Jharsuguda, Jajapur, Jagatsinghp ur, Khordha,Kendujhar, Kalahandi, K andhamal, Koraput, Kendrapara, Ma lkangiri, Mayurbhanj, Nabarangpur, Nuapada, Nayagarh, Puri, Rayagada, Sambalpur, Subarnapur, Sundargah.
Agriculture is the major contributor to Orissa’s economy. About 76% of the total working population is engaged with agriculture and agriculture related industries. The total cropped area in Orissa is 87,46,000 Hectares and out of that 18,79,000 Hectares are under irrigation. The average annual rainfall in Orissa is of 156cms. 10
River Mahanadi is the major river of Orissa and the sixth largest river in India. It is about 857 km Long (494 km In Orissa) and its catchment area spreads over 141,600 km2(65,580sq.km in Orissa). Orissa is blessed with abundant water resources which are unevenly distributed throughout the length and breadth of the territory. The state is one of the largest producers of rice in India, growing almost one tenth of the total rice production of the country. However, the principal problem that Orissa agriculture faces is the shortage of water in many areas. Flood and low per Hectare production are also agricultural problems of the state. Although, Orissa is home to the Hirakud Dam, the longest earthen dam in the world, it still lacks irrigation facilities in the
drought-prone areas creating great obstacles to the agriculture. Orissa is also subject to intense cyclones. On 29th of October 1999, a terrifying cyclone, Tropical Cyclone 05B emerged from the Bay of Bengal, with winds up to 300 km/h and 1330 feet tidal waves. It thrashed and terrorized the state of Orissa for more than 36 hours. Returning back to the sea, it left behind a trail of untold devastation - the worst in the history of India. It travelled up to 20 km inland.1.2 million hectares of standing cropland were destroyed and an additional 90 million trees were either uprooted or had snapped. A total of 9,803 people officially died from the storm, though it is believed that 15,000 people died. Approximately
275,000 homes were destroyed, leaving 1.67 million people homeless. 5 million farmers were out of work and 700,000 cattle died. The natives still narrate stories of the cyclone as if it were yesterday; such is the damage of cyclone
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Dhenkanal It is commonly believed that Dhenkanal owes its name to a Savara chief called Dhenka who formerly ruled over in this tract. It is nestled by the Keonjhar District in north, Cuttack district in south, Jajpur in the east and Angul in the west. The district is one of the centrally located districts in Orissa. It is approximately 75 kms by road from Bhubhaneshwar, the capital of the state. Being centrally located it is also called the “ Soul of Orissa” . It lies between Longitude 85° 58' to 86° 2' East and Latitude 20° 29' to 21° 11' North.
Soil: Topography The Geographical area of Dhenkanal district is 4595 sqr.km; for practical
This district has mainly five varieties of soil:
purpose, this district can be divided in to three natural divisions:
Southern hilly region. The river Valley with tributains. The northern hilly region.
Alluvial soil Red loam soil Sandy loam soil Gravelly soil Cleaving loam soil
Tribal religion and culture:
Climate: A major portion of the Dhenkanal district is covered in dense forest and long range of hills. Hence this district is called the: Home of Elephants and Tigers for the country. The climate of 14
Dhenkanal is hot and dry, sub humid type, with an average annual rainfall of 1696 average minimum and maximum temperatures are 19 degrees and 33 degrees celsius respectively. The humidity is generally varying from 31 -88 percent. The climate is hot during April and May and cold during December and January. The monsoon generally breaks during the month of June. Economy: The economy of this district is mainly agrarian in character. An agricultural district like Dhenkanal gain a lot from its forests, which play an important role in the economy of the district. The principal forest products are timber, bamboo, firewood and kendu leaf. The minor forest
products are Lac, Honey, Kenduli gum, Wax, Mahua flower, Sunari fark, Siali leaves, catechus, Tassar cocoons, and other raw materials used for medicines. Some large scales industries Nilanchal refractories, Utkal Asbestos Ltd, Orissa Polyfibres Ltd are also established here.
Culture:
Festivals: The festivals of the Dhenkanal district are observed with immense joy and enthusiasm. The celeberations reflect the diverse traditions and culture of the people of this district. Shivaratri, Gaja laxmi Puja, Dussehra and Bullock festival are some of the popular festivals of the district.
Shaivism: The worship of Lord Shiva: There are eminent temples dedicated to the worship of Lord Shiva.
The culture of the Dhenkanal District involves diverse religious and tradiotional believes of the native people. It is said that Dhenkanal is the fertile soil where various religious sects and philosophies have flourished.
Vaishanavism: It relates to the worship of Lord Vishnu and his incarnations. The Vaishnav cult has a great impact on the people of Dhenkanal. Shaktism: Relates to the worship of Shakti Goddess, who takes form of Saraswati, Parvati, Durga. 15
Mahima Dharma: It originated in a manner where there were no critical rituals of Brahmanism, no belief in caste or creed. They were simple and understandable by the rural people.
Art & Cul tur e
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Dhokra Craft: The Lost Wax Process Dhokra Craft is the earliest known method of non-ferrous metal casting known to human civilization. The name Dhokra or Dokra was initially used to indicate a group of nomadic craftsmen, and is now generically applied to a variety of beautifully shaped and decorated brassware products created by the lost wax process. In India, these craftsmen are clustered in the states of Madhya Pradesh, Bihar, Orissa and West Bengal. Dhokra Craft is made by different communities like the Situlias, Ghantaras, Thataries, Ghasis, Bathudis and other
professional Dhokra workers. The Dhokras use lost-wax process to cast hollow brass objects and images. The technique: A replica of the desired product is made with wax on a clay core, with all its finer details of designs and decorations. Brass scrap is generally used as raw material. Crafted out of metal through indigenous methods, the distinctive design and form of Dhokra craft reflects the inherent expression of their feelings. It was used for making everything from making jewellery to vessels to images of gods, goddesses, animals and birds. The Dhokra craftsmen went from tribe to tribe making their ceremonial and religious figures, ornaments and kitchenware.
Ambiguity exists in regard to whether the Dhokra Craft is a genuinely preserved tradition or a repetition of what they have been told about themselves. The Dhokras are now called karamkars. The Dhokra craft work is done both by men and women.
Wax decoration over a clay core.
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Dhokra-the history “Dhokra” is the Hindi word for “folk art” in its many forms. It is often applied to metal objects made using the lost-wax process. These pieces have been called Dhokra “bronzes,” However, most are brass or “bell metal” or made from metals and alloys of various compositions. Sometimes they are named for their place of origin such as “Orissa metal work” or “Bastar brass.” Metal work practiced in India has come from a number of traditions. Dhokra , as we know it today, finds its roots in metal work that was practiced for generations by itinerant groups who periodically visited village settlements to sell and repair metal items. These craftsmen
were low caste Hindus but in some cases they were tribal people who settled down in communities. Recently efforts have been made to settle them into their own, more permanent villages.
Brass Bowl The people that still practice Dhokra metal casting do not know when it began. Some say it is an art form thousands of years old. Others believe it to be only a few centuries old. The earliest recorded objects of this kind were
collected by British civil servants in the late 19th century. Traditionally, Dhokra artisans created pieces for themselves and their clients. They produced utilitarian objects such as measuring bowls for rice, bowls for cooking, ink pots, containers, jewellery, ladles, toys and the like. Lamps were made for ritual use along with images of local deities. These older pieces have often developed surface patinas, giving the pieces a rough, dark finish. Contemporary Dhokra artists respond to the needs of a wide client base mostly found today in Indian collectors and tourists. This has led to significant changes in subject matter and appearance. There are now ashtrays, deliberately elongated human and animal figures, handles for doors and drawers, figures of
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dogs and cats, plaques, salad forks and spoons, and even figures of Gandhi, President Obama and Sachin Tendulkar.
Oxidised Brass
Modern taste dictates bright and shiny surfaces, often lacquered to
prevent darkening. Some contemporary artists also mimic the patinas of older figures, their pieces appearing almost black with highlights achieved with files, wire brushes and sandpaper. Most metal Dhokra images are made in brass of various compositions. Some pieces are also made in bronze or other metals. In the lost-wax casting process the artist utilizes beeswax to create the desired sculptural form, wrapping coils or sheets of wax around a central clay armature. Once the final shape is achieved a mold of fine clay is made around the wax, leaving channels for molten metal to be poured in and for melted wax to flow out. The whole assembly is then fired to harden the clay and to expel the wax. Next, the molten alloy is poured into the mold and allowed to cool. Finally, the mold is broken apart with a
hammer and the metal figure is revealed. Any extra metal is filed off and the sculpture’s surface is finished.
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Case Study I CRAFTSPERSON'S PROFILE
Personal
Name: Shrimati Gulap Gartia Age: 38 years and her husband is 45 years old Family: No children, husband and father in law. Language: Oriya Educational Background: She has studied till the 3rd standard.
Experience/Hereditary skill: As a child she learnt the craft from her father. She used to help her father in making dhokra items as she grew up. She has shown profound interest in the craft and has earned many awards and has showcased her work in a lot of local and national craft exhibitions across the country.
Types of products Made: Figurines of Animals like camels, elephants, cows, bullocks, fishes, turtles, artisans playing musical instruments, Gods and goddesses, lamps, small containers etc. Function & use of the product/Occasion of use: Most of the products are decorative items
Aspirations: Gulap Gartia seems a content woman, as the money she makes from the various exhibitions ,and from the landlord is enough both for her husband and herself. She’s also happy with the various recognitions received from the state, this opportunity gives her the chance to express herself in a piece which is personal ,imaginative and garners adoration of thousands as compared to the other mundane products she makes on the daily. 22
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while some articles like incense stick holders, ash trays, boxes can be used.
Ash tray Towel hanger
Candle stand
A nandi to be placed above a shiv ling from which milk will drip onto the ling
earing rings 24
Materials used are brass, wheat husk, terracotta, and bee wax
Uniqueness of Craft: Dhokra is practised in states of Chhatisgarh, Bihar, West Bengal, Madhya Pradesh and Orissa. Though the techniques used to make objects are similar, there are differences in their styles, the type of motifs used and look and feel of the objects. The objects made in Orissa as compared to those made in Chhatisgarh or West Bengal differ in the style of placing the beeswax. In Orissa the strands of wax are used to form a net structure as a part of the main body. As a result when the object is cast it has a jali around its body which enables one to remove the burnt clay through the net, making the object lighter. While in other states the net structure is only
used as an embellishing. It is made over a layer of beeswax making the object a solid. A small hole is left at the bottom the object so as to removing baked clay. Changes in the design: Dhokra is a craft that has been passed on from generation to generation but the techniques have stilled remained the same, though there might be changes in motifs and the kind of articles made these days. Inspiration is still taken from nature and the things around them. Earlier objects would only be made for decorative use, but nowadays the craftsmen have started making utility items and modern lifestyle products. Study of the craft as a livelihood, socio-economic aspects, links between the maker and the
user, maker and patron or market; maker to market chain, raw material sourcing, related skills. Marketing: The products are sold in very few local markets. There is more demand on the national and international scale. Direct marketing: haat/mela/outlet Indirect marketing: The ready goods are not sold in local haats and bazaars, instead they are given to a ‘Mahajan’, a middle man who supplies them with brass and gives them the remaining money. Volume of Production: The volume of production depends on the availability of brass, though the molds to be cast are already prepared, so only the last stage is left. This way even if there is a 25
large order the craftsmen are relaxed as only the final casting process is left.
Changes in design: Peacock form made by the craftpersons father
Peacock form made by Shrimati Gulap Gartia
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PROCESS & TECHNIQUE Process of making
It is the covered with another layer of a mixture of farm soil and cow dung.
Step 3: the clay mould when dried is wrapped with the extruded strands using coiling method decorating and embellishing the mould .Tools like a wooden spatula is used to flatten the strands so as to smoothen the background and highlight the decoration.
Step 1: A basic form of the figure to be represented is made out of a mixture of wheat husk, and terracotta clay and are left to dry. Step 2: thin, long lengths of bees wax strands are then extruded using a janta (sev maker)
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Step 4: the mould is then covered with a layer of clay, cow dung and rice husk and left to dry again extending a narrow protrusion as an inlet for the metal. Towards the outer end of the body the clay is shaped in the form of a cup to house the metal.
Step 5: A channel called the runner is left for the molten brass to flow. These molds are again left to dry.
Step 6: After the moulds have dried, small pieces of brass are placed above the runner and are enclosed with another layer of terracotta creating a separate compartment for the brass. This is again left to dry.
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Step 7: Before the molds are fired they are covered with a layer of thin clay.
Step 8:These molds are then put into a furnace called a bhatti a temperature of about 900-1000°C is reached at which brass melts. The molten brass flows through the channel, and replaces the wax, thus taking the form of the wax beneath.
Molten Brass
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Step 10: The terracotta casing is broken and a cast of the object is removed.
The object is later finished with a grinder.
Step 9: After baking, the molds are allowed to cool.
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Socio-economic Dress: The women wear saris without blouses while the men wear dhotis and lungi.
They are self employed and they are not members of any group, though they are invited to many craft exhibitions to showcase and sell their work.
Food: Pakhal Bhat and green leafy vegetables.
Aspects of learning related to the craft.
Family members: She has a husband and a father in-law.
Transmission of skills, aspirations and world view: Shrimati Gulap Gartia and her husband would have loved to pass on their skills but unfortunately they do not have children, to whom they could pass on their skills to.
Community Religion: They are hindu by religion. They earn as a couple and own a small house in the village. Busy season/Slack season: The period before the Craft exhibitions is a quite a busy period for the craftsmen.
Environment Craftsperson's house, work place: The craftsperson has a small one room Kuccha house with a sit out in front of the room a side passage which would be used as a kitchen. Bird's eye view of the village:
Find examples of other creative expressions, craftsperson's relation to colleagues, community, work-innovation, and creativity: She and her husband have won many state awards for innovation in their work. the village is a small road with 31
houses on both sides of the road. They have a community hall in the centre of the village. Infrastructure: The village is 15kms away from the nearest town, Dhenkanal. There is no public transport available to the villagers, they have to either travel by private auto rickshaws or personal vehicles. They have telecommunication facilities in the village.
process is in itself an eco friendly process.
Technology Energy Sources used: Most of the process is done by hand, firewood is required to cast the products and electricity to polish the casted products with the help of a grinding machine.
Skill Environmental Aspects
Recycling of material/object: Dhokra is craft where no material is wasted. The left over or excess brass that remains after casting of the objects is reused, while the mud goes back into the soil. This
Awards/recognition with examples: She has won many state awards for innovation in her work. She has also won an honourable mention from the Gramshree Mela crafts exhibition. Nature of change
New motifs, colours, materials and layouts: Shrimati Gulapji has a different style compared to that of her father’s. She has come with new motifs and forms, she has taken inspiration from nature, books and the things around her. How does the craftsperson respond to change, to market forces, to competition, to new work ethics, changed prosperity: Shrimati Gulap Gartia responds to competitions in a very positive manner, for her it feels like the pinnacle of her career where there is very little to take and much to give. Her place is in the dhokra craft is secure and the fact that she is a state awardee further makes her comfortable with factors affecting the craft .
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Future of the craft This method of expressing oneself is one which has found favour since the Harappan times and because of its simplicity and minimal requirement in terms of infrastructure and materials ,the craft has scope of withstanding time, being and proving to be an iconic inspirational craft.
This synchrony works wonders especially for the couple not only providing them with a healthy work environment but bringing them closer as a family. Also the male dominance is further reduced as women contribute equally to the income of the family ,and their household chores .
Situating the craft in its larger context is most important: how crafts can be used as a means of interpreting many social issues and ways of life. This craft especially ,although working with metal has a very good scope of work for both men and women as the work is not very physically straining .It requires both male and female contribution ,as the women do the prior coiling bit and the men handle the casting bit. 33
Award winning work
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CASE STUDY II
Family- one son and one daughter, both married and his wife
CRAFTSPERSON'S PROFILE
Language- Oriya
Personal
Educational Background- studied till__________ Experience/Hereditary skill: Shri Behraji has been practising this craft since the age of 6. Hence he is highly skilled and proficient. His father was also practising and he was the one who is responsible for passing it on to his generation. He has travelled to other states and even gone to other countries for workshops and exhibitions of this craft.
Name- Dusshansan Behera Age- 78 years
Aspirations: Dusshansanji would love to continue doing it till the end, however his eye weakness
doesn’t allow the same on the other hand. So he continues to help his son in the other parts of the process, besides the fabrication of the pattern, like the furnace work. He also encourages his son to participate in exhibitions and any upcoming opportunities to showcase the work of his family. 8. His definition of craft/quotes: He is a highly experienced man who has been through several ups and downs in life. And the journey of this craft for him has not always been rosy. He believes that he would rather remain poor and work in honour of his family’s traditions of this craft, instead of working under anyone and be exploited over the outcome of his work. .
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Types of products made: Shri Dusshasan has made a wide range of products during his span of career. Mostly he has dealt with household products and interior products like bowls and cutlery ,lamps and ash trays. Some of his products are also used for ceremonial purposes such as the diya stand. Specific Product Description/craft vocabulary: Size: Most of Dusshasanji’s products are small, hand held. However, the works that he produces for the exhibitions are always bigger than his usual produce. They are all considered works of art, hence slightly bigger. Craftsmanship, design, Symbology of form: The products are very traditional, which shows the perception of nature. He has also tried and catered to the religious masses in the state. Hence his perception of gods and goddesses is very Hindu dominant. Function & use of the product/Occasion of use: In the past, traditionally the products produced used to be mostly of functional use. However, this craft has now deviated
to serve simply the aesthetics. Hence, his products, such as candle stands, ash trays, diya stands are mostly show pieces or objects of minimal usage in the urban context. Uniqueness of Craft: The products look very old. They seem like they had been casted long ago and kept as sample pieces. The texture of the coils on the body and that is the characteristic aspect of this craft. Marketing: Dusshasan ji’s produce have been marketed at several places throughout his life. He prepares a special range for the exhibitions and fairs such as the Gramshri Mela, and other trade fairs across the country that he was gotten invited for. Else, he would also get orders from clients who specifically want custom made products made out of certain clay for no extra charges.. Volume of Production: The volume of production is dependent on the amount provided for the purchase of raw materials.
Socio-economic Dress- Dhoti and a ‘gamchha’
Food- ‘Pakhaal Bhaat’ Community- Dhondo tribe Religion: Worshippers of Karthik and Shiva Income: He and his son are the income generators of the family. They participate in exhibitions or get called for workshops. However, what they generate is barely sufficient for their livelihood, leaving aside the fact that they need a set income for their next produce. Thus, they have been living under debt of the ration shop since the past half of the year.
Personal assets: Government loans have also proven difficult to receive. The 39
family lives in a small one room kuccha mud house.
Employment: The Gramshri Mela, would each year send invites for participation in these trade fairs. Workshops organised by the craft council across the country would also be sponsored for them. Clients: Shri Behera has had his share of ups and downs for the sake of clients who have on one hand provided him with ransoms and on the other also exploited him. He has had several tragic incidents of being invited for workshops and then not being paid the stipend. Membership of any group: He is the head of the panchayat committee of his village being
one of the oldest in the village of Sadeibareni. Aspects of learning related to the craft: He has been attached to this craft since his childhood, when his father used to prepare dhokra. Hence most of his designs are traditional. However he has adapted to the user market as well where he began to make products suiting the lifestyle needs of the urban.
Transmission of skills, aspirations and world view : Shri Behera has wanted this craft to persist in the same manner as it did for him when he was young. Hence his son and daughter also inherited the skills of this craft from him. He wants to remain an independent craftsperson who would rather be hungry and poor than be slave under businessmen. He claims to have travelled the world for the dhokra workshops. ((PLACES))
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Find examples of other creative expressions, craftsperson's relation to colleagues, community, work-innovation, and creativity He has the responsibility of the village as a village head. Being a more literate than most of the people in the village and being able to speak in Hindi and Bengali, other than in Oriya, gives him an advantage to be a representative of his community. His work innovation has won him several national and state awards since his younger days.
Environment
Bird's eye view of the village/town/ city:
Craftsperson's house, work place: A small one room kuccha mud house is the house of craftsperson Dusshasan ji and his ailing wife. There is a store house adjacent to their main house where they keep the models before firing. The Firing Kiln is behind their house under a self constructed shelter. They keep the buffing machine inside their house and the produced models in trunks for later.
Sadeibareni village is almost 3045 minutes from the Dhenkanal town by an auto rickshaw. The village is surrounded by fields on all sides. It is also off the main highway.
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Infrastructure: Although the younger craftspeople of the village do carry their own cell phones. The village is not connected by telephonic wires. There are industries around the area. It is engulfed by fields. The village is connected by road. However, the transportation facilities are not readily available. No Auto rickshaws come by so often. Cycling is the preferred mode of transport in this region.
Environmental Aspects
Awareness of Eco-friendly practices: The craft is eco-friendly in itself. They use natural
ingredients to make the pattern, mould and the cast products.
Recycling of material/object: The brass inlets and unnecessary parts are removed from the piece once the firing has taken place and the model recovered. These parts are re-melted and used again for the next batch of brass melting.
Energy Sources used: The process is mostly done by hand and various hand tools. After firing, for polishing the pieces, electricity is required for the Buffing Machine
Skill
Technology
Proficiency: Dusshasan ji has been very proficient with his work. However, the quality of produce does differ from the dhokra craft of Bengal for instance.
Any changes/modifications made:
Awards/recognition with example
The craftsperson has stuck to the original style of the practice and taught the same to many others in the village.
Training received/Workshop attended Craftsmen's concept of quality
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Nature of change New motifs and styles: Shri Behera has produced a unique range of products with difference in style. His perception of nature is very apparent in the products he has made, such as a scaly body with hands as handles and legs of the animal as legs of the bowl. He also shared that he had been exploited for the designs that he had created, by a businessman, in the past.
Clearly the new work ethics are too diplomatic and hypocritical for his sustenance. Although he is a national and a state awardee, his living conditions are not reflected in the same. He also shared how the process of obtaining a small loan from the government in order to clear his debts has been horrifying and painstakingly troublesome for him and his son. The outcome of the application for loan is still underway.
How does the craftsperson respond to change, to market forces, to competition, to new work ethics, changed prosperity: Shri Dusshasan has been living under debts since his payments or prize money has never been sufficient to support his family alongside the expenditures of raw materials required for produces. 43
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Suggestions (i) New technology must be integrated into the system. Input material must be easily available, and equipment should be repairable locally and cheaply. (ii) New technology must be absorbed by the craftsman. He should be able to master it; put it to new uses; and think of further improvement. (iii) The state awardees should receive more than the meagre 5000/- that they receive in return for months of intensive work in order to bag the award. (iv) Internet should be used to sensitize the world at large of the civilization value of this craft and for finding buyers.
(v) Loans should be provided by the state govt at the dist level to encourage steady employment. (vi)More utility based products could be made catering to a wider audience and (vii) Since the scarcity of metal is a major issue objects that are not so metal intensive could be made which are easy to make and are more quality based . (viii)For the reasons above workshops should be held where experts come and teach not what the craftsmen already know(ie in terms of skill) but help them explore new avenues ,where there is larger scope, by helping them understand the client and their lifestyle to be able to make products accordingly.
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Acknowledgement The opportunity to learn and experience the enchanting world of the dhokra artisans wouldn’t have been realised without the golden chance given to us by the state institution for the development of arts and crafts ,Orissa and Mr. Bhavin Kothari for supporting and encouraging us the entire journey and also for corresponding with SIDAC making matters easier thus simpler for us. While acknowledging SIDAC as a body we appreciate the relentless help and guidance provided to us by Mr Paresh Chatterjee who went out of his way helping plan our entire trip hence making our trip simpler and hence more convenient. Our final words of appreciation to the craftspeople , the actual heroes because of whom the world still sees hope in the power of the hand.
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Bibliography:
http://www.orupa.org/cluster.ht ml
http://www.india9.com/i9show/ Dhokra-Craft-52343.htm http://www.indianetzone.com/17 /dhenkanal.htm last updated on: 8/03/2010 http://www.indianetzone.com/46 /culture_dhenkanal_district.htm last updated on 13/03/2010 http://www.asianavenuemagazine.com /index.php/component/content/article /45-may2010/218-dhokra- In Search of Dhokra – Tribal Indian Metal Casting
Written y Carl Patterson, Conservator emeritus and Mary Lanius, researcher, Asian Art Department, Denver Art Mueseum 04 May 2010 47