LOHSHILP: The Blacksmithy of Chhattisgarh

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Lifestyle Accessory Design National Institute of Design, Gandhinagar This craft documentation “Lohshilp - The Blacksmithy Of Chhattisgarh” is written, edited, illustrated and photographed by the student researchers Aboli Deshmukh, Vaishnavi Sonawane and Vanshikaa Sangal.

Guide: Ms. Krishna Amin-Patel Dean, NID, Gandhinagar Campus Copyright © 2018-19 NID All rights reserved.

No part of this document may be reproduced, distributed or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the institute.

Published in 2019 Processed at National Institute of Design Printed at Chhaap Digital, Ahmedabad

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LOHSHILP

The Blacksmithy Of Chhattisgarh ( Wrought Iron Craft, Kondagaon, Chhattisgarh)

Guided By: Ms. Krishna Amin-Patel Documented By: Aboli Deshmukh Vaishnavi Sonawane Vanshikaa Sangal

Lifestyle Accessory Design 2017 National Institute of Design, Gandhinagar

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Acknowledgement The completion of this undertaking would not have been possible without the support, participation and assistance of many. The contributions are sincerely appreciated and greatly acknowledged.

We express our deep sense of gratitude to our respected guide Ms. Krishna Amin-Patel, Dean, NID Gandhinagar, for her unwavering encouragement throughout the project. She is instrumental in providing us with the opportunity to acquaint ourselves with India’s rich cultural heritage in the form of its unique crafts.

We are also highly grateful to our Discipline Lead, Mr. Amresh Panigrahi, for helping us in the process of craft selection. His contribution to our knowledge growth has been immense.

We are highly indebted to Mr. Tiju Ram Vishwakarma, the practising artisan, for letting us into his humble abode and helping us explore Lohshilp. He was extremely patient with our questions and provided us with a lot of information regarding their craft, culture and traditions. His wives Vimla didi and Rajmani didi were very welcoming and hospitable and made us feel at home. His youngest brother and craftsman Amitabh Vishwakarma, and other artisans, Rajesh Vishwakarma, Indal Vishwakarma and Raghuveer Vishwakarma also deserve a special mention for assisting us in documenting their work.

We would like to thank Mr. Palash Vaswani, Former Design Associate, IDC Bombay, for helping us connect with the artisans associated with the craft.

Last but not least, we would like to thank our dear friend and colleague, Mr. Aayush Chandrawanshi, a resident of Raipur, Chhattisgarh, for being a generous guide throughout.

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Preface The history of Indian handicrafts dates back to almost 5000 years from now. The Indian Handicraft industry serves an important role in the development of the economy for the rural masses. The tradition of crafts in India has grown around religious values, needs of the common people and also the needs of the ruling elites. In addition to this, foreign and domestic trade have also played an important role in the evolution of different craft forms in India. The craft traditions of India have withstood the depredation of time and several foreign invasions, and continue to flourish till date.

At the National Institute of Design, the students get opportunities to acquaint themselves with the diverse cultures of India, through the study of a craft that may have evolved over a period of time.

While going through a variety of metal crafts in books and on the internet, that are being practised in the country, we were drawn towards Lohshilp, because of the quality of craftsmanship that it entails. Our aim, through this endeavour, is to highlight the richness of this unexplored craft.

The research underlines the lifestyle of artisans, their workspace, and the detailed processes of creation and marketing. It is evident that their craft products have found application in contemporary settings with the involvement of designers and architects.

Further, it is an attempt to understand the needs, strengths and weaknesses of a particular craft, and the scope for design intervention opportunities in the craft sectors as these communities need to survive, adapt and thrive in the fast-changing world.

This document provides a means to share our experience, information and the knowledge that we gained from the entire journey.

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Table of Contents Contents

Page No.

About NID 13 LAD@NID 15 Introduction 17 1. A Glimpse Of Chhattisgarh

1.1 About Chhattisgarh

1.2 History of Bastar

1.3 Origin of name

1.4 Topography

1.5 Climatic condition

1.6 Flora and fauna

1.7 Mineral resources

1.8 Tourism

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2. Today’s Kondagaon

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35 36 38 38 38 42 43 44 46 47 48 48 51 51

2.1 Formation of Kondagaon 2.2 How to reach Kidichepda?

2.3 Demographics 2.4 Language 2.5 Lifestyle 2.6 Physical attributes and attire 2.7 Tattoos 2.8 Food and agriculture 2.9 Dwelling 2.10 Natural medication 2.11 Animal husbandry 2.12 Village market 2.13 Festival and worship 2.14 Entertainment (art, dance and music)

21 22 24 26 27 28 29 30

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Contents

2.15 Folklore 2.16 Naxalism 2.17 Other crafts of the region

Page No. 55 56 56

3. About Lohshilp 60

3.1 Introduction to the craft 63

3.2 Origin of the craft 64

3.3 Other interpretations 66 4. Raw Material And Tools

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70 72

4.1 Raw material 4.2 Tools

5. Process

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5.1 Preparing the furnace

5.2 Making of animal sculpture

5.3 Making of figurines

5.4 Panel making 5.5 Diya/lamp making

5.6 Painting

5.7 Evolution of craft

76 77 88 96 102 104 108

6. The Craftsmen

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116 116 118

6.1 The workplace 6.2 Master craftsmen 6.3 Other supporting craftsmen

7. Product Range

120

8. Expanse Of The Craft

132

Contents

Page No.

8.1 Personal marketing 134 8.2 Craft promotions and Government schemes 134 8.3 Future of lohshilp 135 8.4 Traces of the craft 135 8.5 Personal experiences 137

Conclusion Bibliography Project Team

139 142 144

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Image: Inside of Academic block in National Institute of Design, Gandhinagar

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About NID The National Institute of Design is a reputed educational Institute in India established in 1961, to serve as an aid for small industries in India. NID has been declared as the ‘Institution of National Importance’, by virtue of National Institute of Design Act 2014 by the Indian Parliament. It focuses on providing distinguished education in design so as to promote design awareness and encourage its application to uplift the society. NID provides an understanding of technical, managerial and design fundamentals along with strong learning through exposure to real life situations so that the students are able to experience how the intellectual, creative and other skills acquired could be adapted to benefit the user, society and industry.

NID focuses on creating design professionals who can understand the needs of a diverse nation like India, synchronously taking each individual into account. The Institute anchors itself to cultural strengths of India and fosters strategic design linkages of innovation and entrepreneurship with the various sectors of industry.

NID works towards new opportunities for small, medium and large scale enterprises, sustainable livelihood, and to uplift the economic status of the society.

Through its Outreach programmes, NID continues to be engaged in design intervention initiatives for the crafts sector through funding from government and non-government organisations/institutions. Over the years, a number of craft documentations, craft design training programmes and craft development projects have been completed.

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Image: Students of Lifestyle Accessory Design discipline during a fun activity

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LAD@NID The Lifestyle Accessory Design (LAD) M.Des programme educates and trains professional designers to visualize and create lifestyle accessories and systems using different materials, processes and technologies.

It relates to people’s way of living and the products they interact with, which form an important basis of their day-to-day lives. The programme draws from indigenous contexts and their socio-cultural values, beliefs, practices, cultural diversity and knowledge, which have contemporary applications in a global context. It delves into perception and trend studies of diverse dynamics that influence the lifestyles of consumers from various strata of the society.

The designers from this programme aspire to drive the market by ‘Designing for Changing Needs’ and ‘Designing for Future Needs’, and make ‘Designed in India’ a premier global brand. Focusing on personal and space accessories and products, it offers a strong multi-disciplinary edge wherein the students get an opportunity to work in a wide spectrum of domains such as jewellery, watches, bags, luggage, footwear, lighting, furniture, space accessories and interior objects, trend research and colours, materials and trims for consumer products and automobile interiors. The students are encouraged to build emotive connect and conceptual experiences for the consumers through the products they create.

Studying a craft gives an ethnographic understanding of a particular culture or community which inspires designers to conceive sustainable as well as sustaining designs which are relatable.

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Introduction The crafts of India are diverse, rich in history, culture and religion. The craft of each state in India reflects the influence of different ruling empires. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities. It is believed that Indian artisans knew the art of metalworking since 3000 B.C. The beautiful figurine of the dancing girl belonging to the Indus Valley civilization indicates the high level of workmanship attained by ancient craftsmen.

Archaeological finds in India date the use of iron to as far back as 1200 BC. Nurtured and honed for generations, iron craft has been widely practised by the tribal communities in Central India. Iron crafting begins with obtaining iron ore from local mines which the ironsmiths mould into various shapes and forms.

The research content provides a historical perspective as well as reflects the present situation of the craft. This compilation helps in understanding the origin of the craft, people, traditions, lifestyle and stories of the village as well as the craft itself.

While researching through books and craft encyclopedias, we came across three crafts of our interest, viz., lohshilp, gadwakam and thewa, while we were searching for ancient and unexplored crafts of India. We went ahead with Lohshilp because its making process was fascinating and also, the craft had a lot of vivacity even in its simplest form. We referred to various books and tried to understand the process, people and culture of the craft, which was part of our secondary research. Our primary research took place in Kondagaon, Chhattisgarh, where we lived with the artisans’ family and documented their craft, lifestyle and tradition.

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Background Image: Wild grass stalks on Kondagaon Pahadi Park.

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•

New Delhi

Raipur

Uttar Pradesh

Koriya

Balrampur

Surjapur

Madhya Pradesh

Chhattisgarh

Surguja

Jashpur

Korba Mungeli

Raigarh Bilaspur Janjgir champa

Kawardha Bemetara

Rajnandgaon

Durg

Baloda Bazar

Raipur

CHHATTISGARH Maharashtra

Balod

Dhamtari

Mahasamund

Garia band

Kanker Kondagaon Narainpur

Bastar Bijapur

Dantewara

Sukma

Telangana

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Andhra Pradesh

Odisha

Jharkhand

1.1 About Chhattisgarh Chhattisgarh is a young state with an ancient, rich historical heritage, bounteous in minerals and a mining and industrial powerhouse. It was formed on the 1st of November, 2000, as a state carved out of Madhya Pradesh.

Chhattisgarh is one of the 29 states of India, located in the center-east of the country. It is the tenth-largest state in India, with an area of 135,191 square kilometers, with a population of 25.5 million.

The state has one of the lowest rates of urbanisation, with almost 45 percent forest cover. A resource-rich state, it is a source of electricity and steel for the country, accounting for 15 percent of the total steel produced. Chhattisgarh is one of the fastest developing states in India, though the human development index is low here. Atal Nagar (formerly known as Naya Raipur) is serving as the administrative capital of the State, and it also caters to the infrastructural needs of industry and trade in the region. It is located about 17 km south-east of the old capital Raipur, with Swami Vivekananda Airport separating the old and the new cities. The name is given to this city in memory of Former Prime Minister Atal Bihari Vajpayee. This sprawling capital is considered as India’s fourth planned city and first 21st century city in India.

of Chhattisgarh region of India. The headquarters of Bastar district and Bastar division is Jagdalpur city. The district has an area of 10755.79 km². Bastar District is bounded on the northwest

by Narayanpur district, on the north

by Kondagaon District, on the east by Nabarangpur and Koraput districts of Odisha state, on the south and southwest

by Dantewada District, and on the west

by Gadchiroli District of Maharashtra state. Administratively, the district is divided into two tehsils, Jagdalpur and Bastar.

Kondagaon district is a district in Chhattisgarh, India, which was separated from Bastar district on January 24, 2012, with headquarters in Kondagaon.

We visited Kidichepda, a village situated in this tribal district of Kondagaon, for documenting the local craft.

Bastar division is an administrative division of Chhattisgarh state in Central India. It includes the districts of Bastar, Kondagaon, Dantewada, Bijapur, Narayanpur, Sukma and Kanker. Bastar is a district located on the southern side

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1.2 History of Bastar 1.2.1 Ancient period (5th-12th century) The early history of Bastar is largely undocumented and enveloped in a mystery. The tribes of India once inhabited the mainland of the country.

Gondwan, a the tribal domain, stretched from the Ganga in the north to the Godavari in the south. When the Gangetic plains were invaded by the Aryans and became war infested, the natives moved down to the quiet of the forest and hills. Naturally, their habitat was fragmented. One such large fragment was the Dandakaranya. History has it, that Bastar is ‘Dandakaranya’, the legendary forest, through which Lord Rama passed during his exile. It roughly translates from Sanskrit to “The Jungle (Aranya) of Punishment (Dandakas)”.

According to the Ramayana, it was home to many deadly creatures and demons. Exiled persons resided here, and sages had to cross it in order to reach the Vindhya Mountains. Rama, his wife Sita, and his brother Lakshmana spent fourteen years in exile, travelling around the region. It stands over parts of present-day Chhattisgarh, Maharashtra, Odisha and Telangana.

There are scattered archaeological pieces of evidence of the flourishing Hindu Kingdom here, sometime around 10th11th century.

Fig. 1.2 An old map of Bastar from the Gazetteer of India Source: https://www. zum.de/whkmla/ region/india/ xchhattisgarh.html

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1.2.2 Medieval period (5th-18th century) Around 450 AD, Bastar state was ruled

by a Nala King, Bhavadatta Varman, who is mentioned to have invaded the neighbouring Vakataka kingdom, during the reign of its King, Narendrasena (440-460 AD). The princely state of Bastar was established around 1324 AD, when Annama Deva, brother of the last Kakatiya King, Pratapa Rudra Deva (1290-1325 AD), left Warangal and established his kingdom at Bastar under the tutelage of local goddess, ‘Danteswari’, who still is the tutelary deity of Bastar region; her famous Danteswari Temple stands today at Danthewada, also named after her. Annama Deva ruled till 1369 when he was followed successively

by Hamir Deva (r. 1369-1410), Bhaitai Deva (1410–1468), Purushottama Deva (1468–1534) and Pratapa Raja Deva (1602–1625) after which the Bastar branch of the dynasty became extinct in the third generation with Dikpala Deva (1680–1709), after which a descendant of the younger brother of Prataparaja Deva, Rajapala Deva, became the next king in 1709. Rajapala Deva had two wives, first a Baghela Princess, who had a son, Dakhin Singh, second, a Chandela Princess, who had two sons, Dalapati Deva and Pratap. Trouble, however, struck again, when after the death of Rajapala Deva in 1721, the elder queen ousted other claimants and placed her brother, Dalapati Deva, on the throne of Bastar. He took refuge in the neighbouring kingdom of Jeypore, and finally regained his throne a decade later in 1731.

1.2.3 Post independence period (18th century onwards) Until the rise of the Marathas in the 18th century, the state remained fairly

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Fig. 1.2

independent. The intrusion of the British was resisted strongly in Bastar by the tribals and the Halba rebellion which lasted nearly five years (1774-1779), which was the first documented rebellion against the British and Marathas in Bastar. In the 19th century, Bastar was taken over by the Bhosle Maratha rulers of Nagpur. When Nagpur fell to the English in 1853, British rule extended to Bastar by default. The district was included under the Madras presidency and later the Eastern States Agency.

In 1861, it was included in the Central Provinces and Berar. Pravir Chandra Bhanj Deo (1929–1966), the 20th and the last ruling head of the Bastar state, ascended the throne in 1936 before it acceded to India in 1948 during the political integration of India. After the reorganisation of the states in 1956, it formed a part of Madhya Pradesh. Since 2000, when Chhattisgarh became a separate state, Bastar has become a part of it.

1.3 Origin of name It is believed that Chhattisgarh takes its name from the 36 ancient forts in the area (chhattis/thirty-six and garh/fort).

The old state had 36 demesnes (feudal territories).

Another view, more popular with experts and historians, is that Chhattisgarh is the corrupted form of Chedisgarh which means Raj or “Empire of the Chedis”. In ancient times, the Chhattisgarh region had been part of the Chedi dynasty of Kalinga, in modern Odisha. In the medieval period up to 1803, a major

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portion of present eastern Chhattisgarh was part of the Sambalpur Kingdom of Odisha. There are two explanations regarding the etymology of the name Bastar. According to mythological tradition, Goddess Danteswari of Kakatiya kings helped Annama Dev, brother of the last Kakatiya King, Pratapa Rudra Deva (1290-1325 AD) from Warangal to spread the kingdom by acquiring land by spreading her garment (vastra) over a vast area. Hence, the name Bastar has been derived from the word vastra of Goddess Danteswari. Another explanation is that some believed that the name is derived from the word ‘vistrit’ meaning vast, as it was the largest district in Madhya Pradesh.

Kondagaon’s ancient name was Kondanar. It is said that the Marar people were going somewhere in a carriage, and the vehicle was stuck in the vines of tubers, while coming from the old Narayanpur road near the present Gandhi Chowk of Kondagaon. It is said that their chief had a dream while resting there at night. In his dream, the Goddess gave him a commandment to settle down there. Seeing that the land of that place is very fertile, he thought that settling there as directed by the Goddess is the right thing to do. At that time he was introduced to the kaandanar (tuber’s coconut base), which later became Kondanar/Kondagaon.

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I have moved and moved many times, In the dense forests of Chhattisgarh, The heartland of the nation.

It was indeed a beautiful and memorable mission.

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- Dr. A.P.J. Abdul Kalam

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1.4 Topography The physiography of Chhattisgarh is a complex amalgamation of hilly areas, plateaus, uplands and tablelands, which remain intertwined with the river basins.

The three-tier natural division of the state adopted by the National Sample Survey Office (NSSO) consists of northern Chhattisgarh, Mahanadi basin and southern Chhattisgarh, which is roughly superimposed over three agro-climatic zones-the Northern hills, Chhattisgarh plains and Bastar plateau.

The northern Chhattisgarh region is part of the Baghelkhand plateau and roughly covers the northern hilly region of the

26 Background Image: The Keshkaal Ghats while entering Bastar District

state dominated by the ChangbhakharDeogarh hills. This region comprises the Surguja, Surajpur and Balrampur districts. The forested, hilly district of Surguja is rich in bauxite deposits along with some patches of Gondwana coal.

While 45 percent of Surguja is covered by forests, Koriya district has about 62 percent forest cover, as per the 2017 assessment of India State of Forest Report.

1.5 Climatic condition The climate of Chhattisgarh is tropical.

It is hot and humid because of its proximity to the Tropic of Cancer and its dependence on the monsoons for rains. It is one of the warmest regions in India. In summer, temperatures there can reach up to 45 °C (113 °F). The monsoon season is a welcome respite from the heat. Chhattisgarh receives an average of 1,292 millimeters (50.9 in) of rain.

Sometimes, humidity is unpleasantly high from July to September. The most

rain days occur from June to September.

Winter is from November to January and it is a good time to visit Chhattisgarh since it is pleasant with low temperatures and less humidity. In summer, the temperature varies between 30 and 45 °C (86 and 113 °F) and between 0 and 25 °C (32 and 77 °F) during winter. However, extreme temperatures can be observed with scales falling to less than 0 °C to 49 °C.

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Fig. 1.3 The wild Bison or Van Bhainsa, the state animal of Chhattisgarh Source: http:// mubaresorts.com/

Fig. 1.3

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1.6 Flora and fauna

reserves, and has endangered fauna like the wild buffalo.

The state animal is the van bhainsa or wild Asian buffalo. Major wildlife species include blue bull, chinkara, black buck, sambhar, barking deer, wild dog, wild boar, jackals, hyena and crocodiles.

Tigers are in the Kurandi reserve forest and in the Kanger Valley National Park.

Panthers are distributed almost all over Bastar, especially in the Northern Plains.

Indian sloth bears are in the Northern Plains around Kanker and in the southern part around Bailadila. Bison are in the Kutru National Park. Crocodiles are in the riverine ponds in the Kanger Valley National Park at Bhaisa-darha.

Chhattisgarh has 3 national parks, 11 wildlife sanctuaries and three tiger

The state bird is the pahari myna or hill myna. Some distinct varieties of common birds are also found in Bastar. For instance, the jungle crow is pitch dark and slightly larger than the domestic crow. Other species of fauna include partridges (which nest in shrubs outside villages and run almost as fast as they fly), cattle egret, pond heron, babblers, parrots and parakeets, blue jay, wagtails, quails (both black and grey varieties), nightingale, koel, flycatchers, woodpeckers and weaver bird.

The state tree is the sal (sarai) found in Bastar division. The forests in the south-west contain a considerable

quantity of teak. Towards the northeast, the teak rapidly disappears and is replaced by sal (Shorea robusta), which then becomes the principal timber tree, though much of the forest is of the nature of scrub. Frequently, the undergrowth is replaced by patches of dense high grass, with scattered trees of diospyros or ebony. The Caryota urens and the palmyra palm are found, the latter in the south and the former in the west and north. Canebrakes also occur by the hill streams. Bamboos, of which three species (Bambusa, Dendrocalamus, and Ochlandra) occur, are restricted entirely to the hills.

1.7 Mineral resources Chhattisgarh is amongst the richest Indian states in terms of mineral wealth.

This resource-rich state is a source of electricity and steel for the country, accounting for 15 percent of the total steel produced. It has large deposits of 28 major minerals, ranging from iron ore, tin, coal, limestone, quartzite, bauxite, diamonds, etc. Iron ore from Bailadila mines is considered to be among the best in the world.

Fig. 1.4

Fig. 1.4 Pahari myna or hill myna, the state bird of Chhattisgarh Source: https:// photovaliant.com/ wildlife/southern-hillmyna-gracula-indica/

Capital of India’, is famous for reserves of coal and bauxite, and is a concentration of mining-based industries, power generation and aluminium plants.

Chhattisgarh is ranked fourth in terms of the value of major mineral production in India, as of November 2017. Coal production reached 86.5 million tonnes in April-November 2017. The state is also the sole producer of tin concentrates (10,847 kg in 2017) in the country and accounts for 35.4 percent of the tin ore reserves in India. The Raipur region also has rich deposits of limestone. The Korba District, known as the ‘Power

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Fig. 1.5 Fig. 1.5 A boat ride at the Chittrakoot falls in Jagdalpur Source: https://www. tripoto.com/trip/ chitrakoot-waterfallsthe-niagara-falls-ofindia-59acc75fd8e7a

1.8 Tourism Chhattisgarh is gifted with rich natural beauty and diversity and enriched with affluent cultural heritage. It is blessed with varied topography and landscape, filled with ancient monuments, delicately carved temples, Buddhist sites, lush green forests, rare and endangered wildlife, exotic waterfalls, palaces, ancient caves, tribal villages and enthralling hill plateaus. Almost all of these locations serve as an unexplored and alternate tourist destination and provide a captivating experience to the travellers.

Bastar region has a unique biological and cultural existence that can invigorate the tourists. Dantewada is dominated by the

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aboriginals or the tribal people who still continue their age-old lifestyle. Bhilai, on the other hand, is a well-developed city, and forms the central point of industry and economy of the state.

The most popular pilgrimage destinations are Champaranya, Sheorinarayan Fair, Ratanpur, Rajim, Girodhpuri, Sirpur, Dongargarh, Ratanpur, Dantewada and several others. Dongargarh and Sirpur are renowned Buddhist pilgrimage sites. The stunning and magnificent waterfalls of Teerathgarh, Chitradhara, Chitrakoot, Mandra, Tamda and many others are popular as family picnic spots.

Chhattisgarh is fast emerging as an eco-tourism destination in India, with

11 Wildlife Sanctuaries and 3 National Parks, viz., Indravati National Park, Kanker National park and Sanjay Gandhi National Park. The grand palaces and ancient temples of Kawardhaa and Kanker portray the tales of the ancient period. The various museums and conventional handicraft villages are excellent places to browse and pick up assorted merchandise and souvenirs as gifts.

The state government is taking initiatives to improve and enhance tourism in Chhattisgarh as it is a major contributor to the state’s economy. Various developmental plans, like improving infrastructure and encouraging investors, are being undertaken by the authorities to attract domestic and foreign tourists to the state.

Fig. 1.6

Fig. 1.7 Fig. 1.6 The Bhoramdeo Temple, an important pilgrimage site of Chhattisgarh, dedicated to lord Shiva Source: https://www. travelnewsdigest.in/ Fig. 1.7 Kanger Valley National Park in Chhattisgarh is well known for its tiger spotting safari Source: https://images. thrillophilia.com/

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32 Background Image: A typical house in Kidichepda, with wooden trusses and clay tiled roofs

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“

A small dream-

I dream of Bastar...that is strong and beautiful I dream of its people happy and content A mahua tree in every home A home for every Adivasi that they can call their own Lush green forests as far as I can see Peace everywhere and every mind is free Haats, bazaars and colourful clothes Songs and dance and bygone folklores......

No bloodshed no warfare no industries A land of the happy Adivasis...this is how my Bastar should be........

”

- Meghana (bhumkal.blogspot.com)

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2.1 Formation of Kondagaon As per the announcement made by Hon’ble Chief Minister, Raman Singh, on the occasion of Independence Day 2011, 9 revenue districts were formed in the state. One of the 9 districts is the Kondagaon District, which came into existence on January 1, 2012.

CHHATTISGARH

The whole of Kondagaon district is spread over a total of 368783 hectares.

It touches Kanker and Dhamtari in the north, Bastar in the east, Narayanpur in the west and Dantewada district in the south.

Fig. 2.1 Bastar District used to include Kanker, Dhamtari, Bastar, Narayanpur and Dantewada in 2012. Now it has been separated in various revenue districts.

Kondagaon is one of them

CHHATTISGARH

Dhamtari

Kanker

Bastar Division

Kondagaon District

Narainpur

Bastar Dantewada

Fig. 2.1

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2.2 How to reach Kidichepda?

The NH 6, NH 16 and NH 43 are the national highways that link all the major cities and towns of Chhattisgarh to other parts of the country.

Chhattisgarh has an International Airport in Raipur, which is linked to almost all major airports in the country and a few international destinations. Two major railway stations in Chhattisgarh are the Raipur and Bilaspur railway stations. They connect to the other major railway stations in India. The roadway network in Chhattisgarh is very good.

Way to Kondagaon: After reaching Raipur, there are regular buses to Bastar and Jagdalpur, via NH 30. After crossing the branch road of Narayanpur, the next stop is at Raipur Naka, where you have to get off. From there, an autorickshaw can be hired to reach the craftsman’s workshop/home in Kidichepda, which is approximately 5-6 km from the Raipur Naka in Kondagaon.

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2.3 Demographics In 2011, Bastar had a population of 1,413,199 of which males and females were 698,487 and 714,712 respectively.

Kondagaon is a Municipality city in the district of Bastar, Chhattisgarh. The Kondagaon city is divided into 18 wards for which elections are held every 5 years. The Kondagaon Municipality has a population of 30,921 of which 15,346 are males while 15,575 females, as per a report released by Census India 2011.

In Kondagaon Municipality, Female Sex Ratio is of 1015 against the state average of 991. Moreover, Child Sex Ratio in Kondagaon is around 902 compared to Chhattisgarh state average of 969. The literacy rate of Kondagaon city is 79.39 percent higher than the state average of 70.28 percent. In Kondagaon, male literacy is around 87.75 percent while female literacy rate is 71.29 percent.

Kondagaon Municipality has complete administration over 7,014 houses to which it supplies basic amenities like water and sewerage.

2.4 Language The official languages of the state are Chhattisgarhi & Hindi. Chhattisgarhi is spoken and understood by the majority of people in Chhattisgarh. In addition to Chhattisgarhi, there are several other languages spoken by the tribal people of the Bastar region, like Halbi, Gondi, Bhatri, etc.

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Gondi arguably is truly the native tongue of Bastar. It is a south-central Dravidian language, spoken by some of the Gond tribals. Although it is the language of the Gond people, only one-fifth of Gonds can speak the language, making it vulnerable to extinction.

Halbi (also Bastari, Halba, Halvas, Halabi, Halvi, Mahari, Mehari) is an eastern Indo-Aryan language and a mixture of Oriya, Marathi and Chhattisgarhi. It is spoken by 6,00,000 people across the central part of India and written in the Oriya & Devanagari script. Halbi is the first language of most of the Murias, Halbas, Mahras, Lohars, Parjas and other tribes residing in the areas surrounding Jagdalpur and Kondagaon. It was also the official language of erstwhile Bastar State.

2.5 Lifestyle Tribals of Bastar, Chhattisgarh, are known for their unique and distinctive tribal heritage and culture all over the world. Each tribal group of this region enjoys a unique traditional living style.

The dialect of each of these tribes differs from the others as do their eating habits, costumes, traditions and customs. A large number of Bastar tribals are still living in deep forests and avoid mixing with outsiders in order to protect their own unique culture.

The major tribes of the Bastar region are the Gond, Maria, Bhatra, Muriya, Halba, Dhruva. The Gonds, one of the most prominent tribes in the country, are known for their unique Ghotul system of

nuptials. Even in terms of the population of the central parts of the country, these Gonds take pride in being the largest tribal group. Gonds are also known for practising social hierarchy system like the Hindus. They prefer marriages within the blood relations mostly according to Hindu rites and customs.

Sometimes, mock elopements are also arranged. Divorces, remarriages, widow marriages, marriages with the wives of the brothers and between brothers and sisters are common. One of the unique characteristics of the Gonds marriages is that the groom has to pay a bridal price to the father of the girl, and in this way, the system gives respect and power to women in the society. The Bastar tribals are predominantly animistic (the believe

that non-human objects have spirits, that animals, birds and trees possess souls) but have also been influenced by Hinduism and its practices. The least hinduized are the Murias, the Bisonhorn Marias (thus called because they wear headgears with bison horns during marriage dances) and the Hill Marias.

The Murias are famous for their Ghotul, a village dormitory where teenagers of both sexes live and undergo a transition to adulthood under the supervision of elders. There is also a clan of Adivasis residing in Bastar who do not belong to any specific tribe or jati. Yet, their traditions, beliefs and lifestyle, all are similar to that of the Murias. Each of these Adivasis are divided into different gotras viz., baghel, podam, sodhi, kashyap, poyam, markaam, koraam, netaam, etc.

Fig. 2.2 A view of the main road during an evening in Kidichepda

Fig. 2.2

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Fig. 2.3

Fig. 2.3 The Ghotul system is one of a kind where young boys and girls learn the ways of life. Men dance on stilts, creating an intoxicating rhythm that is guided by drums Source: https://www. flickr.com/

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Ghotul system It is the system of education prevalent among the tribals of Central India.

The young ones of the tribe are taught the ways of life from their early years.

It has an elder facilitator with young, unmarried boys and girls as its members.

Girl members of the Ghotul are called

motiaris, while boy members are called cheliks. The members are taught lessons of cleanliness, discipline and hard work.

They are taught to take pride in their appearance, and to respect themselves and their elders. They are also taught the idea of public service. Equality, simplicity and freedom form the fundamental fabric of the Ghotul life.

The Ghotul is typically located outside the village. The Ghotul tradition of the Muria tribals points to the equality and unisexuality of primitive humans. In the tribe, young men and women ‘date’ from the age of ten onwards. No distinction is made between love and sex. As a result, children learn about love at an early age, by watching others. They imitate what

they see. Mothers typically teach their daughters about the extent to which they can go at the Ghotuls.

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2.6 Physical attributes and attire The people of Bastar are generally darker in colour than the average Indians.

Their bodies are somewhat stocky, and they have rounded features. They have a spherical head, slightly enlarged nostrils, fuller lips and black hair. Generally, they have small hands and feet.

The older women wear a cotton saree (a length of fabric wrapped around the waist, with one end thrown over the left shoulder) without any blouse or petticoat, while the new generation wears saree and choli (well-fitted, cropped blouse), salwar suits, etc. The women of this region love to adorn themselves with lots of ornaments which are made of beads, cowries, shells, bones, feathers and metal. On special occasions, they wear feathers of the rooster in their hair

Fig. 2.4 A young girl of the Muria tribe in the Ghotul Source: https:// publishing.cdlib.org/ Fig. 2.5 Maternal grandparents of the master artisan in their traditional outfits 42

Fig. 2.5

Fig. 2.4

bun called as ‘Tura’ in Halbi language.

We also observed older women wearing two nose rings in two nostrils and one big silver bangle preceding all other plastic and glass bangles in the hands.

The older men still wear lungis (a type of sarong worn around the waist) with

a shirt/T-shirt and a piece of cloth wrapped around the head known as ‘mundbaandha’ in their regional language.

The new generation has adapted to denim, trousers and shirts as their regular wear. There was no sight of men adorning any kind of jewellery.

2.7 Tattoos A tattoo is very common in almost all the tribes of the region but in particular, Gonds have it compulsorily. It is the main traditional decorative art among the tribes. In ancient times, both males and females were tattooed amongst tribals. Presently, it is common in females

only; men hardly bear any tattoo, or have it only partially.

Tattoos are considered as a symbol of identity of the tribe. There are many beliefs behind tattooing such as tattoo develops a sort of resistance power in the body to bear all sort of climatic hardships, tattooing an animal makes sure that the animal will never bite them even if they catch it, tattooing gods and goddesses protects them from their enemies. Tattooing is considered as the only form of ornamentation which remains throughout the life, it is also a form of sexual expression and a powerful stimulant. Their tattoo patterns are small in size. These tattoos consist of small lines, near about ⅛’’ to 1½” long with dots. Girls at an early age like single dots at various places. These tattoos are generally common on hands, breasts and feet.

Fig. 2.6 Tattoo motifs of the Gond tribes, also adopted by the other Adivasis

Fig. 2.6

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2.8 Food and agriculture The soil throughout the greater part of Bastar consists of light clay with a mixture of sand, well adapted to the raising of rice, but requires a good supply of water. Rice is, by far, the most important crop, but various small pulses and grams are also grown.

Half of Chhattisgarh’s landmass is farmland. The remainder is either under forest cover or else non-arable land.

About 75 percent of the farmland is under cultivation. Popularly called the country’s ‘rice bowl’, the central lowland plains supply grain to hundreds of rice mills, while maize and millet dominate

Fig. 2.7 Chaprah chutney is made of red ants. The red ants or chaprah are ground with fresh spices and served raw Source: https://www. procaffenation.com/ red-ants-chutney/

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Fig. 2.7

the highlands. Bhaat (rice), dal (pulses) and bhaaji (vegetable) are included in their everyday meals. They have lunch between 12:30 and 1:00 pm and dinner between 7:00 and 7:30 pm. They are early birds and for breakfast, they have tea with a snack or two, to start their day.

The people of Kidichepda maintain backyard gardens where they grow most of what they eat like tomatoes, roselle, hirva, coriander, guava, mango, mahua, etc. Desi murga/chicken, desi mutton and eggs are also consumed on a regular basis by the people in Bastar. They also have a bulbous root called as ‘kesur kanda’ on an occasional basis which thrives around ponds.

Red ants are more than just a painful nuisance to the Bastar tribes. They also

Fig. 2.8

play an important role in food and medicine. In summers, villagers grind them into a paste to make a chutney known as the chaprah chutney (ants are called as chaprah in Halbi language).

After the ants are captured, they are crushed in a pestle and mortar with chili, garlic, ginger and salt. Ants contain formic acid believed to have useful medicinal qualities.

Beverages Mahua (Madhuca longifolia) is an emblematic tree of the jungles of Central India. Mahua trees are eminent amidst the flora of Central India. They are valuable for many reasons. Seeds from the fruit produce oil that serves as a source for cooking, lighting oil lamps,

manufacturing soaps and curing skin ailments. The tree is considered sacred by the local people and forms part of many of their rites and rituals. If an infant dies, he/she is buried at the roots of the mahua tree or a mahua sapling is planted at the place of burial. It is also used in weddings, as the wedding rituals are performed around its branch placed in the centre. Mahua is also offered to goddess Danteswari on every festival and auspicious occasion. Mahua is consumed at all significant events from birth to death.

Crushed mahua mixed with water is also sprayed on a person when a bird poops on him/her, for purification. But, its value lies chiefly in the fact that the mahua trees economically support the people of

Fig. 2.8 Rice is the staple food in Bastar, and is often had with vegetables, curries, or dal Source: https:// i1.wp.com/www. traveldiaryparnashree. com/

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Central India, especially the locals. The flowers of mahua tree are fermented to make coarse, strong-smelling, popular country brew or liquor. This provides a source of income and living for the locals. Simply distilled in earthenware pots, fiery mahua liquor is consumed in copious amounts. The entire tree is vital to the tribal’s body, mind and spirit, from cradle to grave. It tastes like pure spirit when had neat (somewhat like plain vodka or white rum), and is transparent like water.

The salfi palm (Caryota urens) is a common sight here along the highways and in villages. It is as precious as a coconut tree to a Keralite. A smooth, clear liquid extracted like rubber from these trees is used to make the local salfi drink known as ‘Bastar beer’. It is milky white in colour and has a fresh yet sour taste like white wine, with a fizzy kind of texture. This fresh juice is beneficial for health. It should be consumed fresh else the yeast starts to ferment it, making it stale. In the morning and evening, salfi

Fig. 2.9 Mahua is locally brewed by many families in Bastar, and is served in a leaf. Older women sell and enjoy the mahua themselves

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Fig. 2.9

juice is extracted. Landha drink is made by fermenting rice in earthen pots using many herbs. This is a type of rice beer (with low alcoholic content) of the local tribes. It is believed that its consumption will make the body cool and help avoid a sunstroke in the summer season since it has medicinal properties.

Drinking these beverages is perfectly acceptable, for both Adivasi men and women. They generally get accustomed to alcohol from a very young age.

2.9 Dwelling The village has typical houses made of thatch and mud. These houses are built using mud, grass, branches and bamboos. Walls and flooring are plastered with cow dung, considering its antibacterial properties. Houses, mainly, have a blue exterior, as they worship

Fig. 2.10

natural forces like the sky, water. Some villagers mentioned that blue paint was easily available that is why it was used.

2.10 Natural medication Adivasis of Kondagaon have a special skill that has been passed down every generation, and that is the secret of the medicine plants. As there are no proper

health facilities in several areas, they still follow the traditional system of medicines, and use plants and herbs for curing various ailments. The red ants called as chaprah play a vital role in curing temperature and headache. The sufferer’s eyes and ears are covered with a piece of cloth and these ants are released on the head. Thus, biting of these ants cures the person as the antibodies rush towards the affected part and heal the ailment.

Fig. 2.10 A typical house in Kidichepda, with wooden trusses, clay tiled roofs and a fence made of old tree trunks. A cowshed is also there in a few houses

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Fig. 2.11 Fig. 2.11 The backyard of the villagers usually has a number of roosters, hens and chickens picking on grains and worms

Oil extracted from mahua fruit is used as a moisturizing lotion in winters. Peel of fruits like mahua and mango are heated and used for healing small wounds.

2.11 Animal husbandry Cows, buffaloes are common livestock found in the district. Poultry is also widely available in the area and is used mainly for cooking, as meat and eggs, and for their famous cockfights. The craftsman also has around 18-20 hens, chickens and roosters in his backyard.

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2.12 Village market The weekly local market is held on Friday near Kidichepda when tribals come from nearby villages to meet up, trade and socialize. We visited this weekly market which had a very lively atmosphere.

People were spread out under the tall trees selling vegetables like onion, radish, carrot, snap pea, potato, brinjal, tomato, capsicum, bitter gourd, pumpkin, etc.

Some women were also selling spices like red chilli, ginger, coriander, cardamom, star anise, garlic, some pulses and fruits like roselle (Hibiscus sabdariffa).

There were few stalls selling objects for adornments like silver jewellery, clips

and cosmetics. One old lady was serving dried fish in leaves. Almost all sellers had cane baskets for storing objects. One old man was selling these woven cane baskets and broomsticks with beautifully braided ends. Many people were excited to see us and were not at all hesitant while talking to us. Few also insisted that we click their pictures.

There were groups of women squatting next to the market and drinking mahua or salfi from glass bottles, large metal containers and leaves. There is usually a separate area beside the market for drinking and large quantities of alcohol along with bada (a type of fried

dumpling) and sweets are consumed by men and women over the course of an afternoon. This market is brought to a close with the climax of cockfighting.

This famous cockfight was an all men affair. Later in the afternoon, there was a serious gambling on the cockfight and several young men were protectively clutching cockerels. The cockerels have blades strapped to their claws and they were encouraged to fight till death. Apart from this, there are two more markets held in Kondagaon, one mini market on Wednesday and a bigger market on Sunday.

Fig. 2.12 Women selling freshly plucked roselle and other vegetables.

Usually women sellers are more than men

Fig. 2.12

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“

Yesterday was the day of cockfights, the birds stared at their bound legs Waiting to bleed their bird-friends, our white fluid glistened in the pots We went high on smelly rice drinks, we made a rope circle among trees That was the bloody arena for cocks, our basket threw up big plastic dice

”

- Jagannath Rao Adukuri

Fig. 2.13 Fig. 2.13 Owners of the cockerel prepared to release them and viewers outside the ring betting on them in a cock-fight which is an all men affair in the village market

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2.13 Festival and worship

2.14 Entertainment (art, dance and music)

Each of these Bastar tribes worships different forms of gods and goddesses.

According to the ancient legend, Goddess Sati committed self-immolation in the fire pit of yagna kund, due to an insult committed by her father Daksha towards her consort Lord Shiva during the Yaga. Raged by the death of Sati, Lord Shiva destroyed the Yaga of Daksha and with the body of Sati in his hands started doing the Taandav. Lord Vishnu cut the dead body of Goddess Sati with his Sudarshan to free Lord Shiva from the grief caused by her death. Parts of the dead body of Goddess Sati were scattered to fifty-two different places, which were consecrated as Shaktipithas. It is believed that a tooth of Sati had fallen here and Danteswari Shaktipith was established.

The tribals’ economy is agricultural, so the cycle of sowing and harvesting is the subject of many number of songs and oral narratives, which express the joy, anguish, apprehension and exhilaration of the farming community.

Oral narratives like the Gondwani and Ramayani hold the community together.

The bulk of the folk songs of Bastar are in Halbi. Of the settlers, among those who have felt inspired to employ local tongues for creative writing, an overwhelming majority has done so in Halbi. Chhattisgarh takes pride in several indigenous dance styles such as the panthi, rawat nacha, pandwani, chaitra, kaksar, saila, khamb-swang, bhatra naat, rahas, raai, maao-pata and soowa. Karma dance form is usually performed by tribal groups like Gonds, the Baigas and Oraons in Chhattisgarh. This dance form marks the end of rainy season and the advent of spring.

Danteswari is the state Goddess of Bastar and is often depicted riding an elephant.

These Bastar tribes are also known for their colourful festivals and magnificent arts and crafts. Bastar Dussehra is the most famous event of this area and is well known for its grand celebration. All the tribes participate in this 10-day event and celebrate Dussehra as a congregation of Devi Maoli who is Bastar’s native deity and revered as the elder sister of Devi Danteswari and all her sisters.

During Dussehra, the inhabitants of Bastar organize special worship ceremonies at the Danteswari temple of Jagdalpur.

Chhattisgarh’s film industry is called Chhollywood.

Every year, many Chhattisgarhi films are produced by local producers.

Theatre is known as gammat in Chhattisgarh.

Fig. 2.14 A bronze dokra sculpture of goddess Danteshwari, who is usually depicted riding an elephant Source: https://www. zacke.at/en/collection/

Fig. 2.14

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Fig. 2.15 The oldest instruments of the tribes of Bastar are Dhankul and Tirududi Source: www. taniachatterjee.com Fig. 2.16 Tribal wall painting in some houses in bastar Source: www.sahapedia.org Fig. 2.17 Muria women in their dance attire Source: www. taniachatterjee.com

Fig. 2.15

Fig. 2.18

Fig. 2.16 Fig. 2.18 Every year during Dussehra the ancient Danteswari temple is lit up and thousands of tribals gather here to pay homage to the goddess Source: www.t2india. com

Fig. 2.19

Fig. 2.19 The drumming is an invitation or a call for dancing Source: www. atlasofhumanity.com Fig. 2.17

Fig. 2.20 52

Fig. 2.20 The Dhols, the Mandals, Dphala, the Chang, the Damahu, the Timki and the Tasa are different types of membranophonic instruments Source: www. taniachatterjee.com Fig. 2.21 A Muria tribesman playing the Tori, or side blown trumpet Source: www.flickr.com

Fig. 2.21

Fig. 2.22 The goddess’s idol is taken out of the ancient Danteswari temple and then taken around the city in an elaborate procession, during ‘Bastar Dussehra’ festival Source: https://visitcg. in/blog

Fig. 2.22

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“

He played the sarangi...she played the majira...

Jhitku Mitki are worshipped as an epitome of love.

”

- Anonymous

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2.15 Folklore The Jhitkhu Mitki story According to popular folklore in Bastar, Mitki Bai was the only sister of six brothers residing in Pendrawan village in Bastar. The six brothers were so fond of their sister that they were not ready to marry her off as she would have to leave them and go to a new house after the marriage.

One fine day, a man named Jhitku came to their house. He used to play the sarangi, a type of string instrument, and used to live on alms while roaming in villages. Mitki used to like seeing him play the sarangi and started playing the manjira with him. Eventually, both of them fell in love with each other. Mitki’s brothers did not support their love.

Jhitku started working at their house and on the farm to woo Mitki’s brothers. He was ready to settle in their house after his marriage with Mitki. But, Mitki’s brothers were not in favour of that. He kept working on the farm for Mitki’s brothers as time passed. One day in the monsoons, it was raining very heavily.

Mitki’s brothers ordered Jhitku to take care of the dams in the farms as they could break due to excess water. Jhitku spent one whole night repairing dams on the farm, but the rain didn’t stop and the dams started breaking one by one.

Jhitku used to repair one dam, and the second used to break. He used to repair the second and third used to break. Alas, he slept in front of the dam, so that the

water stops and doesn’t ruin the crops.

After some time, Mitki’s brothers went to the farm to see the situation of dams and to check whether Jhitku is working or not. After reaching there, they saw Jhitku sleeping in front of the dam. They got furious and made a dangerous plan of killing Jhitku. They put a heap of soil on Jhitku while he was sleeping, and he died.

The next day, Mitki got worried as Jhitku didn’t come back at night. She kept asking her brothers about Jhitku, but they kept giving her random answers like he must have gone somewhere and will come back, he must be taking care of the field and will come back etc. Mitki waited for some time and kept worshipping Goddess Danteswari to keep him safe.

In the afternoon, Mitki took a digging tool and a basket and went to search for him as he didn’t come back till the afternoon. While she was searching for Jhitku in the fields, she came across a slightly larger heap of soil than the others which had fresh soil. She was suspicious about it and started digging it up. While digging, she saw one hand coming out.

With a quickened heartbeat, she kept digging the soil faster and saw Jhitku’s dead body under it. She mourned his death, and with a heavy heart, ended her life by jumping into a nearby lake. Mitki’s brother regretted their deed.

Since then, Mitki Bai is worshipped as a goddess by Adivasis in many regions of Bastar. Mitki Bai is also regarded as deity ‘Gappa Gosin’, ‘Pendrawandin’ and ‘Budhi Mata’ in some places of Bastar.

Jhitku is also worshipped along with Mitki Bai at some places of Bastar.

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2.16 Naxalism The Naxalites, also sometimes called the Naxals, is a loose term used to define groups waging a violent struggle on behalf of landless labourers and tribal people against landlords and others. The most prominent area of operation is a broad patch across the very heartland of India, often considered the least developed area of this country. In Chhattisgarh, these Maoist activities are mostly limited to border areas. It is the psychological, social and political impact of Naxalism that really leaves all in a fix.

According to the craftsman’s perspective, the situation was different in earlier times. The Naxalites were in favour of tribals and used to live with them in harmony. But, now the circumstances have changed and the Naxalites have taken a different path. He also said that the Naxalites only trouble those who trouble them or try to invade their area.

He thinks that Naxalism has declined tourism in that area but has no direct impact on the tribal crafts or its sale.

2.17 Other crafts of the region Bastar region is where we can witness different varieties of craft in one place.

Those are Bell Metal craft, Dhokra Craft, Wood carving craft, Bamboo work, Terracotta Craft/Pottery, Tumba art, Wrought Iron craft and Gond Painting (explained further). All these crafts include a long process which needs a

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great set of skills and precision.

Dhokra handicrafts The Bastar district specializes in the preparation of items from the Dhokra Handicraft, an ancient method of making metal artifacts by wax casting technique.

This is non-ferrous metal casting using the lost wax casting technique. The Dhokra handicraft is mainly found in the areas of Jagdalpur, Kondagaon and Narayanpur of the Bastar district.

Bell metal handicrafts Dhokra and bell metal are almost the same which officially is the casting of the bell metal or brass using the lost wax technique. The craft of bell metal was initially used to produce articles for the ritualistic purpose like idol of deities, diyas, utensils, etc.

Ornaments/tribal jewellery The tribal people create ornaments of unique style made of beads, feathers or terracotta and cane. The tribes show their knowledge through their expertise in Gharhwa art, wooden art and other crafts. The tribal ladies decorate themselves with Khosa (lock of braid), khinwa (ear tops), phuli (nose ring), karipot (black pearl), chapsari (necklace), muhar mala (garland made of coins).

Kosa saree and cotton fabrics These are made of the Kosa thread which is drawn from the Indian silkworm (Antheraea mylitta) found on the sal tree. This kosa thread is hand woven and hand printed by the tribes. The hand printing is done by the natural vegetable

Fig. 2.23

Fig. 2.25

Fig. 2.23 Bronze dhokra sculptures of tortoises Source: playcreatelearn. wordpress.com Fig. 2.24

Fig. 2.24 Woman wearing chapsari (necklace), muhar mala (garland made of coins) Source: www.flickr.com Fig. 2.25 Kosa saree at a retail store in Raipur Source: redscarabtravelandmedia.wordpress. com

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Fig. 2.26

Fig. 2.29

Fig. 2.27

Fig. 2.30

Fig. 2.28

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dye, extracted from AAL found in the forests. These fabrics include well known Bastar Kosa sarees, dresses, materials and drapes. The Kosa fabrics are famous for their sturdiness and preferred to pure silk.

Godna painting This is a form of making tattoo motifs on the textiles. This work is done by the women of the village. They make use of the natural colour acquired from the forest and merge them with acrylic paint to craft it more constant on the fabrics.

Wood craft The forests cover a large portion of Bastar. Hence, wood craft is one of the famous crafts. These wooden craft items are made out of the finest teak woods and white wood, sheesham, sal and kikar.

These handicrafts are exported and sent to different parts of the world. Bows, arrows, idols, wall panels. furniture, doors, windows, etc. are the collection items. The largest single wood craft of the tribes is the Dussehra chariot.

Bamboo craft The tribes are excellent in making bamboo crafts. It includes wall hangings, table lamps, baskets, table mats, animals, fishing traps, etc. The basket makers wind the grass around the rope which is coiled into shape.

Tumba craft This is a less known craft and is widely used in the rural areas of Bastar region.

It is made from fat gourd and keeps

water and other things cool. It is used for drinking water, tea and juice. There is widespread use of hollow gourd shells as containers by the tribes. We also tried our hands at making a lamp for a hollow gourd. Small holes were made in it by heating a cylindrical iron tool and piercing it in the gourd to create patterns.

Terracotta craft/pottery The soft soil from the river bed is gently coaxed by the potter’s hand into utility items. Pots, bowls, elephants, horses, lamps and other objects are made from clay. These handicrafts are different in shapes and sizes. Tribal terracotta masks form a part of all community celebrations and are popular in the region. The main centres of tribal terracotta craft in Bastar are Nagarnar, Kumharpara, Kondagaon, Narayanpur and Kanker.

Fig. 2.26 Godna painting is usually done on a fabric Source: fineartamerica. com Fig. 2.27 Wood craft idols are made from the finest teak wood Source: www.dsource.in Fig. 2.28 Woven bamboo baskets are sold in the local village market Fig. 2.29 Gourd lamps are made by the people of Bastar and called as the Tumba craft Source: isha.sadhguru. org Fig. 2.30 The terracotta craft of Bastar is very unique, especially the sculpture of elephants Source: www.dsource.in

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60 Background Image: The main gate of the artisan’s home made up of their traditional craft

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Fig. 3.1

Fig. 3.1 A older version of laman diya with simple yet elegant figures, beaten to perfection Fig. 3.2 Khut diya, one of the five traditional lamps, is lit during a wedding and other rituals related to the life cycle. This kind of khut diya is not made by the artisans anymore

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Fig. 3.2

3.1 Introduction to the craft Lohshilp or wrought iron craft is one of the most unique and the oldest of crafts of the Bastar region. It has an aesthetic appeal in spite of its simple forms. The art originated from the blacksmith community that used to make farming and hunting implements for tribes.

Over the years, the craft has beautifully evolved into an artistic form and so has its worldwide demand.

The wrought iron craft produces many products including the deepak which is made of many shallow bowl-like lamps (diyas), bird and animal figurines and small diamond-shaped leaf-like structures, mounted in a panel or a frame. Deepak/lamps is the specialty of the blacksmiths in this area. These are available in the form of laman diya / hanging lamp and khut diya/stand lamp.

Many new forms like masks, hangers, key ring holders, wall hangings and show pieces are also available. These works of art reflect the realities of the changing times and a craftsman’s response to it.

Their process is simple - it basically includes forging and hammering the metal. Using only a few tools and a simple furnace fueled by coal, they twist and bend hot iron into expressive shapes.

The Bastar artifacts usually depict the rural lifestyle of the tribal community, incorporating pastoral scenes with the farmer as the main focus.

Fig. 3.3

Fig. 3.3 An old drawing of the khut diya

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3.2 Origin of the craft Loh kala ka udbhav (Discovery of iron craft) “Lohshilp not only has a direct association with the Adivasis but is also their identity.”

It is believed that once, one of the early men was out on a hunting spree but could not catch any animal. As he was returning in disappointment, he caught a glimpse of a huge rat on the way which became his next prey. After he chased it into the forest, the rat hid itself in a cavity in the trunk of the sal tree. To make the rat come out, the man dug out the cavity a bit and in the end lit a fire around there. He closed the opening using a rock lying on the ground and waited for the rat to die inside because of the fire.

The next day, when the man came along hunting again, his eyes fell on the same sal tree, only to find the trunk all burnt into coal and the rock melted into a fluid substance, forming various shapes after cooling. The distinctively shaped objects looked fascinating to him, and he picked them up to take them home.

After giving a lot of thought as to how those could be put to use, he went out to hunt, treating those objects as weapons, and was successful in hunting better than the others who did not possess those kinds of objects. His peers started questioning him regarding those objects and requested him to make similar ones for them, too. He went back to the old sal

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tree but found nothing there. This made him ponder and realise that fire made the trunk of the sal burn and convert into coal. This coal supplied sufficient heat to the rock so that it melted to form a new object resembling a weapon. The man went to another sal tree with an equivalent size of the trunk and repeated the entire process of forming those objects. He used those objects again as weapons that were bigger and helped him hunt better. He created similar weapons for the other members of his community, and later came to be known as ‘lohar shikaari’.

When he became adept at producing efficient weapons, with the help of a few people, he set up a furnace at his place which was the size of the trunk of the sal.

He procured coal by burning multiple sal pieces and also little iron rocks to heat and melt. The fire was lit and fanned to efficiently melt away the iron rocks. This produced pure iron on one side, filtering out the impure part on the other side.

The pure iron was placed in the furnace again, and with the help of a hammer, chimta/tongs and rock, was moulded into other implements of use. This technique was taught to other members of the man’s family, and all of them started to produce hunting implements.

When agriculture came into the picture, they began creating agricultural implements for people and received returns in the form of grain. All those people who produced iron in furnaces through the smelting process eventually came to be known as ‘lohars’.

Fig. 3.4 Fig. 3.4 A craftsman using the ancestral method of iron ore smelting

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3.3 Other interpretations The Adivasis worshipped ‘Budha Dev’ as God, who was believed to reside in the Saja tree, also known as the Indian laurel.

The tree was used for rituals and was believed to be sacred. It was considered as a symbol of strength by the local tribes. But slowly, when they understood the strength of iron, they started believing that their God was in iron, too.

Cemented platforms were built under the tree, and iron tridents, spears and chains were kept as religious symbols.

Blacksmiths started experimenting with religious art forms.

They created wrought iron lamps (diyas) and also decorated them with animal motifs. They started making figurines of Budha Dev riding a horse. As their art evolved with time, their work also got noticed. Blacksmiths got the opportunity to travel to places with their craft and also learn from the exposure. This resulted in more experimentation with the forms and sizes. This can be seen in the current form of the craft where an animal is depicted in various postures and sizes. Wrought iron work is mainly concentrated in the Bastar district of Chhattisgarh in Kondagaon, Umargaon and Gunagaon being the main centres.

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In the craftsmen’s knowledge, their craft began with the making of lamps for ceremonial purposes. As time passed, and with the realisation that they possessed the skill of forging metal, they also began creating tools and implements that would be required in a person’s life cycle, including household, agricultural as well as ceremonial. Their primary category of products, even today, khut includes the laman/hanging and khut/ stand diyas/lamps.

Fig. 3.5

... they started believing that their God was in iron, too.

- Anonymous

Fig. 3.5 A dhokra figurine of Budha dev riding a horse Source: https:// in.pinterest.com/

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Background Image: Cut MS strips kept to proceed for panel making 68

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4.1 Raw material Currently, the raw material used for the craft is recycled iron scrap, being acquired from households and markets.

They also use Tata CR sheets at the rate of ₹67/sheet in wholesale and ₹80/sheet in retail. The dimensions of the sheet that they usually acquire are 12 ft x 4 ft. Three to four quintals of iron are also bought from Raipur, time to time, according to the demand and travel.

In the past, the craftsmen’s ancestors had come across a hill, which they identified as iron ore (kaccha loha pahaad), out of which iron was smelted and used by them.

Wrought iron is a tough, malleable form of iron suitable for forging or rolling rather than casting, obtained by puddling pig iron while molten. It is nearly pure but contains some slag in the form of filaments.

Gauge

Standard Steel (mm)

8

4.176

4.270

4.366

9

3.797

3.891

3.967

12

2.657

2.753

2.779

Gauge 2.278 Standard Steel (mm)

13

70

Stainless Steel (mm)

2.372

2.380

1.519

1.613

1.588

17

1.367

1.461

1.427

19

1.062

1.158

1.110

20

0.912

1.006

0.953

Fig. 4.1 Heap of scrap iron Source: https://www. indiamart.com/ khushi-enterprisesahmedabad/ms-scrap. html

Fig. 4.1

Galvanized Steel (mm)

Stainless Steel (mm)

16

The modern functional equivalent of wrought iron is mild or low carbon steel.

Fig. 4.2 Stack of TATA CR sheets Source: https:// www.indiamart. com/proddetail/ din17100-st37-2-steelplate-11311965748.htm

Galvanized Steel (mm)

Fig. 4.2

0.04 in, 0.032 in, 0.025 in, 0.02 in

144 in 48 in

Fig. 4.3

Fig. 4.3 Dimensions of an MS sheet Fig. 4.4

Fig. 4.4 Smelted chunk of iron

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a.

b.

c.

d.

e.

f.

g.

[Scale Factor 1:5]

4.2 Tools All the tools are made locally by the lohars themselves. The tools and their uses are elaborated as follows. a. Hathodi/hammer: Hathodi, a ball pein hammer, is used to beat over metal sheets of high gauge. One side of it beats the metal flat while the other side is used to make curves or grooves. It could also be a mallet which comes into use for soft hammering. b. Pliers: It is used to twist or turn wire or even cut it. c. Chheni/chisel: It is used to form cuts or sharp impressions over metal. d. MS Wire: Wires of diameter 1.5 mm, 2

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mm and 3 mm are used for impression moulding for forming impressions over a metal sheet when struck with a hammer on it. e. Bearing: A bearing is a machine element that constrains relative motion to only the desired motion, and reduces friction between moving parts. Bearings of outer diameter 8 to 10 mm are used as a die for forging diyas since they have hollow centers. f. Jatli/nut: This is required when riveting is done to strengthen the hold. When the rivet is placed in the hole, the structure is turned upside down. The jatli is kept over the back end of the rivet and is struck with the hammer for a tight joinery. g. Marking/punching tool: Markings are made using the sharp end of this tool by

h.

i.

scraping it on metal. It is also required for punching holes in metal sheet, with the strike of hammer. h. Pattri/rail: Pattri, which is a component of the railway track, serves as a base for most of the processes of the craft. Most of the activities like bending, turning, curving, etc. are done over the upper face which is narrower. The patthri is inverted to make use of the broader face when cutting is to be done with chisel and hammer. i. Muthli/forging hammer : This is a blacksmith’s hammer that is used to forge heavy metal which is why it is heavy.

One side of the hammer beats metal flat while the other end is used to work on intricancies of a structure.

j.

k. l.

blacksmith’s tongs that aid in clasping the job being worked upon. Slight turns and curves are imparted using one or more tongs at a time. The job is able to be forged efficiently because of the firm grip by the chimtas. k. Chhenis/Chisels: These are a different set of chisels used to cut metal sheets along with a hammer. They are of varying sizes for different purposes. The bottom most chisel in the figure is more like an impression making tool on panel strips, hence the arc shape. l. Koyla ghaasnewala/Ash tool poker: It is created by the craftsmen themselves, amongst other tools. When the furnace is ignited, this tool is used to move coal for obtaining the optimum temperature.

j. Chimtas/Tongs: These are the

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Background Image: Frames ready for mounting 74

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The process comprises of five stages as follows: • Preparing the furnace • Making of sculptures or figurines - Making slits on the work piece - Forging - Assembling (wherever required) • Painting

5.1 Preparing the furnace The first stage is to prepare the bhatti or furnace. The furnace is ignited by burning dried leaves or paper along with the charcoal using a matchstick. A hand crank air pump is used to increase its temperature to the optimum. It usually takes about 5 minutes to make the furnace ready. Iron’s “red-hot”

Fig. 5.1 Mixing paper pieces with coal so that the furnace catches fire quickly Fig. 5.2 A hand crank air pump is rotated by the artisan for higher temperatures

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Fig. 5.2

Fig. 5.1

temperature is around 700 degrees Centigrade. They make the charcoal themselves, by gathering firewood from the forests, heating wood in a low oxygen environment, a process that can take days and burns off volatile compounds such as water, methane, hydrogen and tar.

5.2 Making of animal sculpture The process of making a deer sculpture is explained as below. It starts with cutting a strip of metal of approximate size 17cm x 4.5cm from a bigger size of another metal strip. Chheni/chisel and muthli/ forging hammer are then used to make slits on the metal strip over a pattri/rail.

Slits are made on the piece from both the ends. The slits are cut from the edges of the breadth of the strip. One end would have the head and forelimbs and the opposite end would have the tail and the hind limbs.

The width for the head is left wider than

the others and the feet are made slightly narrower. The other side has the tail a little narrower than the limbs.

After this the central portion, which is uncut, is heated in the bhatti/furnace.

Since the metal is thick, it takes 2-3 minutes for it to become red hot. The metal is beaten to give a cylindrical shape as both the edges along the length are brought together. It is beaten continuously with the help of the muthli/ forging hammer, till it becomes an almost perfect cylinder with the slit portions sticking out from both sides. All

Fig. 5.4

Fig. 5.3 The artisan separates out a piece of scrap iron to start making the sculpture Fig. 5.4 Chisel and hammer are used to form slits according to the parts of the body

Fig. 5.3

Fig. 5.5

Fig. 5.5 Stretched pattern of a three dimensional deer sculpture after making slits

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Fig. 5.6

tools are made by them in the workshop itself, including the hammer, to suit any kind of job. Using the same hammer side, most part is beaten into a cylinder.

The hind side of the work piece or job is then heated in the furnace till it becomes red hot. Then, it is opened up in three different directions, like a fan with three blades, by hammering. The hammering takes place on a small portion of the rail, which they procured from a nearby railway line. The job cannot be held by bare hands due to the heat, hence, it is held with the help of a chimta/forging tongs/blacksmithing tongs.

Fig. 5.6 The sculpture is put into the furnace for a few seconds to make it red hot Fig. 5.7 Formation of the body of the deer by curling it into a cylinder, using the flat end of the forging hammer

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In the beginning, since the metal is thick, it takes a long time for the central body of the work piece to become red hot. In a matter of a few seconds, the metal cools down and so it is put into the furnace again, and more air is blown into it for maintaining the temperature. Next, the lower part of the piece is beaten to make the legs cylindrical, and then it is reheated to make it red hot. The leg

Fig. 5.7

Fig. 5.8

Fig. 5.11

Fig. 5.9

Fig. 5.10

is then refined in shape after which the other leg is placed in the burning coal, and this process is repeated multiple times to form all the parts of the animal’s body. In the entire process, beating sheds some metal which becomes residue.

As mentioned earlier, after front legs are made, they work on one hind limb, and taper it out while elongating it in the process, which has a cross section of a rounded square. Similarly, they work on the second hind limb as well, and then bring both the hind limbs next to each other, separating out the tail portion of it.

The head part is heated and opened up like a three-blade fan, similar to what was done in the hind side. Forelimbs are

Fig. 5.8 Opening up the slitted parts so that each part can be worked upon separately Fig. 5.9 Working on one part to make it thick Fig. 5.10 Forging the thickened part into a thin tapering cylinder for one limb Fig. 5.11 Formation of the other limbs of the deer in a similar fashion

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made in a similar way as the hind limbs.

The tail is then narrowed into a thick cylinder with a slightly tapering end, and it is beaten into a paisley like shape. The broader portion of the tail is thinner than the narrower portion. The pattri/rail is then tilted sideways, and the tail beaten over its edge to exaggerate its flow. It is also bent into shape with the help of a chimta/tongs. Final finishing of the tail is done in the end.

The head and neck are next to be heated.

Fig. 5.12 The part forming the tail is being heated in the furnace

Fig. 5.14

Fig. 5.12

Fig. 5.15

Fig. 5.13

Fig. 5.16

Fig. 5.13 After making the heated part thick, it is beaten over the edge of the pattri/rail to impart a prominent curve Fig. 5.14 Flattening of the thick part of the tail Fig. 5.15 Bending the the wavy tail over the edge of the pattri/rail by forging Fig. 5.16 Slight curve imparted by the chimta/ tongs

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The part is elongated and hammered into a thinner cylinder, yet not as narrow as the limbs. The neck is slightly bent and flattened to provide surface area for fixing the head later on.

The head, ears and antlers are made separately by taking another 3mm thick metal strip of approximate dimensions 15cm x 2cm. Slits are made according to the placement of the antlers and ears. Each part of the antler is shaped separately.

The center portion of the antlers, where the ears and mouth are positioned, was broadened by hammering to give the

desired shape.

With the help of two chimtas, the antlers are then folded from the center and hammered to make a narrow V. This will form the head which is then temporarily attached to the body of the deer sculpture by hammering.

The joinery is made permanent by applying wet mud over the head and keeping it next to the furnace to impart heat for drying. Then, the head is put into the furnace to make it red hot and

Fig. 5.18

Fig. 5.17 Cutting out a pattern for the antlers of the deer Fig. 5.18 Slits are made according to the branched beams of the antlers

Fig. 5.17

Fig. 5.19

Fig. 5.19 Making the metal red hot from the center

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Fig. 5.20

Fig. 5.23

Fig. 5.21

Fig. 5.24

Fig. 5.22

Fig. 5.25

Fig. 5.20 The central part of the antlers is being made narrower and thicker Fig. 5.21 One of the smaller antlers is being made cylindrical with a sharp point Fig. 5.22 The bigger antlers are being made red hot for forging Fig. 5.23 The antlers are being made into small, cylindrical units with pointed end Fig. 5.24 The small antlers are being elongated and made sharper after placing them further apart Fig. 5.25 Making the smaller antler red hot to refine the shape of the structure

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Fig. 5.26

Fig. 5.29

Fig. 5.26 Striking with the hammer sheds bits of metal that becomes the residual matter Fig. 5.27 Hammering the central part to form the ears of the deer

Fig. 5.27

Fig. 5.30

Fig. 5.28 The antlers are clutched by two chimtas to give a sharp bend, bringing the beams close to each other Fig. 5.29 The beams are brought closer by slight hammering over it Fig. 5.30 Final strikes are given with the hammer to make the antlers suitable for getting fitted to the neck of the deer

Fig. 5.28

Fig. 5.31

Fig. 5.31 The head of the sculpture is being tapped over the pattri/ rail for holding it temporarily in place

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then beaten to give it a refined shape with a gracious bend around the neck too.

For working upon the antlers, they are heated and then beaten to bring both the folded halves together. Next, they are given a smooth curve like an arc which is followed by separating them out using two chimtas, one to hold the work piece and the other to bend.

Fig. 5.32

Fig. 5.32 The artisan breaks the dry mud into small pieces for easy absorption of water

To bring the antlers in one plane, they are hammered flat over the rail. Each part of the antler is spread out to make it look majestic. Then, the fore and hind limbs are bent in the knees and feet. The

Fig. 5.33

Fig. 5.35

Fig. 5.34

Fig. 5.36

Fig. 5.33 Water is added to the mud to make it wet and clayey Fig. 5.34 The face of the deer is generously smothered with wet mud Fig. 5.35 The mudsmothered part is put into the furnace to dry up and become red hot Fig. 5.36 The red hot smothered part is hammered for its joinery

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Fig. 5.37

Fig. 5.40

Fig. 5.37 The notch of the face is sharpened and imparted the right shape by placing on the side of the patthri and hammering

Fig. 5.38

Fig. 5.41

Fig. 5.38 The sculpture’s face is held using a chimta and the ears are pulled out using another chimta Fig. 5.39 To give a slight curve towards the start of the neck, the narrower end of the forging hammer is used Fig. 5.40 A smooth curve is given to the antlers Fig. 5.41 The antlers are opened apart into two main beams with the chimta

Fig. 5.39

Fig. 5.42

Fig. 5.42 Each branch is separated out and moulded into shape with the chimtas

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Fig. 5.43

Fig. 5.46

fore and hind limbs are also spread out to make the sculpture stand erect. Lastly, a graceful curve is imparted to the body of the deer.

Fig. 5.43 The fore limbs are bent over the edge of the patthri Fig. 5.44 Since the fore limbs are parallel to each other, the chimta is used to open them up; similarly the hind limbs are also spread out, making the deer stand

Fig. 5.44

Fig. 5.45 The deer sculpture is put in the furnace for the last step of moulding its body Fig. 5.46 A gracious curve is given to the cylindrical body of the deer sculpture using chimtas Fig. 5.47 Final deer sculpture

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Fig. 5.45

Fig. 5.47

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5.3 Making of figurines To create flat animal forms, mostly, one slit each (using the chisel and hammer) is made on either side of the metal strip approximately measuring 3 inch x 1 inch, considering parts of the body of the form. Each separated part is worked upon, one at a time, with repeated heating and hammering. This process of forging gives shape to limbs, tail and the head. One of the limbs goes on to form the riveting spot. For giving curves, tongs are used to clasp the job and bend effectively. Sometimes, to change the orientation of the body part, it is beaten to thicken it, and then flattened out. A little hammering in the end ensures that the job is in one plane.

Fig. 5.49

Cockerel making Taking a sheet of scrap iron of gauge 20, a strip of approximately 3 inch x 1 inch is cut. For cutting, a chisel and hammer are used, treating the pattri/rail as base, with recurring singular strikes for corresponding little cuts along the path.

Fig. 5.50

Fig. 5.48 Cutting of multiple strips to make figurines Fig. 5.49 Making slits in the strip with a chisel and a forging hammer Fig. 5.50 Making slits in the strip to make the feathers and head of the cockerel Fig. 5.51 Red hot part of the work piece is ready for forging

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Fig. 5.48

Fig. 5.51

The posture of the craftsman is such that his feet take a firm grip of the pattri/rail while striking. Now, two slits (about 1.5 inches long) are made towards one end of the strip while a slant cut is made on the other end that makes the strip taper towards the edge.

Fig. 5.52

Fig. 5.53

The end with slits is placed in the furnace to heat it. After the job becomes red hot, it is placed on the pattri/rail and two parts out of three are bent back to separate out the third. The third part is then rolled along its length to form a cylinder that would make one limb. It is then flattened at its end to form the wide riveting spot. The other two parts that were bent back are brought to the front, and the job is placed in the furnace.

After it is heated, the limb is bent sideways, and the other two parts are beaten to form two blades of the fan. The bent limb is then heated to bring it in its right position below the belly. Next, the two blade-like parts are hammered from different angles, and tongs are used to finally shape them into the plumes of the cockerel. The tail is hammered to make it flat and aligned.

Fig. 5.52 One of the three slits is forged into a cylinder to form the leg of the cockerel Fig. 5.53 The end of the leg is beaten flat in an elliptical form so that it can be later attached to the panel Fig. 5.54 The leg is now heated and bent so that the rest of the slits can be forged

Fig. 5.54

Fig. 5.55

Fig. 5.55 The rest of the two slits are separated from each other

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Fig. 5.56

Fig. 5.59

Fig. 5.57

Fig. 5.60

Fig. 5.58

Fig. 5.61

Fig. 5.56 The two slits are narrowed by forging and the end is tapered Fig. 5.57 They are curved to form the rooster’s tail feathers Fig. 5.58 The tail feathers are flattened to give the desired feather shape Fig. 5.59 Now the other end of the strip is forged into a cylinder to make the neck and head of the rooster Fig. 5.60 To make the head the end is flattened into an elliptical shape Fig. 5.61 The beak is made by forging

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To provide shape to the belly, the central part of the work piece is beaten to first form a bulbous structure, and then beaten flat.

The other end of the work piece is heated next. It is artistically hammered to form the head of the cockerel with an extension from it, forming the beak.

Fig. 5.62

Using the tongs, the beak is given a little curve. Coming back to the limb, it is bent in a way to make the cockerel look anxious. In the end, the neck of the cockerel is also given a curve to make it seem natural.

Fig. 5.63

Fig. 5.62 With the help of two chimtas/tongs the neck is given shape Fig. 5.63 With the help of two chimtas/tongs the limb is given a slight bend Fig. 5.64 The entire figurine is beaten flat wherever required Fig. 5.64

Fig. 5.65

Fig. 5.65 The final figurine of the rooster

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Stages of 2D figurine creation

92

93

94 Background Image: Various types of figurines placed on the ground

95

5.4 Panel making Cutting A metal sheet of 18-16 gauge is used to make panels. First, markings are made using a punching tool, since it has a sharp tip, then the sheet is cut using a sheet cutting machine, but, depending on the length, width and thickness of the sheet, chisel and hammer are still used when required.

Until a few years ago, only a chisel and hammer were used for cutting. Several strips of 1 cm breadth but varying lengths according to the design of the panel are cut. They are beaten several times to flatten them out. Sharp edges

Fig. 5.66 Craftsman cutting the sheet into strips with the help of a sheet cutter Fig. 5.67 Craftsman marking over mild steel sheet with the help of a stencil strip and punching tool

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Fig. 5.66

Fig. 5.67

Fig. 5.68

are blunted by minutely turning them inwards and then beating flat.

Sometimes, depending on the order, debossing is done on the edge of the strips using a hemispherical punching tool for art/aesthetics.

Fig. 5.69

Arranging & riveting The border of the panel is arranged in a rectangle after which a scale or tape is used to measure diagonally for ensuring that the frame is at right angles.

The panel is divided by a central strip and riveted at both ends. At every step,

Fig. 5.68 The traditional way of cutting strips is with the help of a sharp edged chisel and hammer Fig. 5.69 Debossing scallop pattern on the edge of the strip with the help of a punching tool and hammer Fig. 5.70

Fig. 5.70 Panel strips ready for assembly

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the artisan checks for the flatness of the panel. Then, the horizontal strips, parallel to the breadth of the panel, are riveted in place at equal distances.

When riveting was not introduced to the community, objects used to be welded by applying a thin layer of mud, then heating in the furnace, followed by hammering the joinery to fix it. But, this was not feasible for small sculptures which is why they started riveting.

After this, the animal figurines, already made, are positioned in the grids, keeping in mind the balance of negative and positive spaces. At the riveting spots, markings are made on the panel for the punching of holes. The riveting spots in the figurines are separately punched.

Then, they are brought together and riveted in their respective positions. In the end, they beat the entire panel flat.

Fig. 5.72

Fig. 5.73 Fig. 5.71 First the panel strips are placed to ensure 90 degrees at all corners Fig. 5.72 The inside elements are then placed and checked for a center visually Fig. 5.73 After the placements are finalized they are marked in their places Fig. 5.74 Holes are punched in the figurines according to the markings

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Fig. 5.71

Fig. 5.74

Fig. 5.75

Fig. 5.78

Fig. 5.75 Punching of holes in the frame Fig. 5.76 Removing the excess metal after punching Fig. 5.76

Fig. 5.79

Fig. 5.77 Keeping two punched edges together for riveting Fig. 5.78 Widening the punched holes in the panel strips by punching again, individually Fig. 5.79 Placing the rivet into the hole on the intersection and inverting the panel

Fig. 5.77

Fig. 5.80

Fig. 5.80 The nut is placed over the rear end of the rivet and hammered, ensuring a secure joinery

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Fig. 5.81

Fig. 5.84

Fig. 5.82

Fig. 5.85

Fig. 5.81 A steel ruler is used to make sure that the panel strips are arranged at exact right angles Fig. 5.82 Punching a hole at another intersection, keeping a nut below the punching spot Fig. 5.83 A rivet is placed in another hole that is made Fig. 5.84 Riveting of figurines on the panel Fig. 5.85 Hammering over the panel for correcting the alignment Fig. 5.86 Display of the different kinds of panels made by the artisans

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Fig. 5.83

Fig. 5.86

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5.5 Diya/lamp making The iron sheet used to make diyas/lamps is of 18-16 gauge thickness (same as that of panels). First, a half-circle is cut out of the sheet, roughly, using a chisel and hammer, and then another adjoining half-circle is cut, with a rectangular extension from the circular shape, for riveting. The cut-out measures about 6 cm in diameter and 8 cm in length. It is beaten on its edges to blunt them.

To give it a concave shape, it is placed on a large bearing (their local dapping tool which they procure from waste), and beaten over from the narrower end of the hammer, skilfully. More depth can be achieved by heating the diya/lamp in the furnace 2-3 times alternating with hammering. It is then kept at the edge of the pattri/rail and hammered with the broader end of the hammer to create a

Fig. 5.87 The posture of the artisan while cutting is such that the right knee is raised higher for supporting the right hand used for hammering

Fig. 5.88

Fig. 5.89

Fig. 5.88 Iron sheet is cut along an approximate shape of the diya/lamp using a chisel and hammer Fig. 5.89 The sharp edges of the cut-out are evened out by hammering over them Fig. 5.90 The cut-out is put into the furnace for heating it to forge

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Fig. 5.87

Fig. 5.90

baat (pinched point) for the wick. In the end, the extended part of the diya/lamp is punched to make a hole for riveting.

Fig. 5.91

Fig. 5.91 After the cutout is taken out from the furnace, it is kept on a massive bearing frame (which is their tool) which is hollow

Fig. 5.92

Fig. 5.94

Fig. 5.92 The diya/ lamp is given a concave form using the narrow, rounded end of the hammer, giving depth Fig. 5.93 The opposite end of the rectangular extension of the diya/ lamp is beaten by keeping it on the edge of the pattri/rail to make the baat (pinched point) Fig. 5.94 The artisan provides more depth and curvature to the diya/lamp in the last step, refining its shape

Fig. 5.93

Fig. 5.95

Fig. 5.95 Final diya/ lamp with extension for riveting

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5.6 Painting Painting of sculpture

In olden days, oil was applied on the final pieces to prevent them from rusting. The reason why they took to painting later, was that oiling made the products greasy, soiled hands and the clients complained.

Painting is done primarily to prevent the rusting of iron. Prior to painting, nowadays, they dip the sculptures in a diluted hydrochloric acid solution to remove the rust. Then, a brown, automotive paint primer is applied first, which is followed by a coat of matte black automotive paint. Earlier, they used to be hand painted, but are now spray painted.

Fig. 5.98

Fig. 5.96 A layer of primer is applied to the deer sculpture with brush

Fig. 5.96

Fig. 5.97 The sculpture is put out to dry in direct sunlight for about 5 minutes, after applying primer Fig. 5.98 Matte black automotive paint is applied with brush over the layer of primer Fig. 5.99 The artisan sits in a posture where his right knee is raised, supporting his upper body and right hand.

Fig. 5.100 Final painted sculpture of deer

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Fig. 5.97

Fig. 5.99

Fig. 5.100

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Fig. 5.101

Fig. 5.101 The artisan applies primer over the panel with brush Fig. 5.102 They usually put panels to dry wherever there is space Fig. 5.103 A half handpainted panel; the other half would actually be spray painted since the latter is more convenient Fig. 5.104 Final painted panel (wall hanging)

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Fig. 5.102

Painting of panel Painting of panel takes place in a similar way like in the case of the deer sculpture. The panels are kept out for drying in the backyard where the whole painting process takes place. They are kept wherever there is space to keep and where there is direct sunlight.

Fig. 5.103

Fig. 5.104

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5.7 Evolution of the craft The patterns of the new craft are believed to be inspired from old cave paintings of Chhattisgarh, which depict scenes from the lives of tribals in traditional attires.

Although, their old craft continues to attract more and more people till date and is more preferred, the local market witnesses demand for this new craft which is more realistic and also colourful.

taking the support of a base (carrier of a cycle), is used for cutting the metal sheet conveniently, especially for cutting

over curved silhouettes. The foot of the artisan holds the base sturdy by clasping it with the toes.

The sculpture is divided into several parts and each part is cut separately.

To go about it, each shape is cut roughly, leaving a margin around it.

Then, the tool follows the final outline to achieve the exact shapes.

The creation process has a series of steps involved requiring a high degree of skill and craftsmanship.

Sheet cutting On a 24 gauge MS sheet, patterns of the proposed low relief figurines are marked using a pen. A hand scissors,

Fig. 5.7.2 Fig. 5.106

Fig. 5.105 Patterns of the evolved craft printed on sheets of paper Fig. 5.106 Craftsman cutting the patterns with a hand scissor while resting it on a cycle carrier Fig. 5.107 The cutting is with reference to the markers on the metal sheet

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Fig. 5.105

Fig. 5.107

Impression moulding Once all the parts are cut out, slight 3D impressions are made on each with the help of wire on a softwood base. For creating sharp creases, wire of smaller diameter is put in place and struck over with a hammer, whereas for soft curvatures, a mallet is used.

Layering is done too, which animates the figurine. This process gives rise to realistic forms. After impressions are made, each part is given a curvature to

impart volume. This is done using the sharp end of the hammer to turn the edge inwards. At the end of this process, all parts are put together to check if they fit well and are correctly oriented.

All the sculpted parts are placed on the reference drawing to check for their exact proportions. Markings are made with the help of white chalk to identify the exact welding points.

Welding Once impression moulding is finished, ornamentation is done using welding.

Welding flux is a combination of carbonate and silicate materials used in welding processes to shield the weld from atmospheric gases. When the heat of the weld zone reaches the flux, the flux melts and outgasses. The gases produced push the atmospheric gas back, preventing oxidation (and reactions with

Fig. 5.108 Fig. 5.108 The 3D impressions being made on the metal sheet by placing a metal wire on it and hammering on it Fig. 5.109 The impressions are being made finer by using the spherical end of the hammer

Fig. 5.109

Fig. 5.110

Fig. 5.110 Craftsman sitting on a chair and taking support of a wooden trunk while working

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Fig. 5.111 Placing the cut sheet on the pattern and checking with the pattern to achieve the exact shape

Fig. 5.111

Fig. 5.114

Fig. 5.112

Fig. 5.115

nitrogen). The adornments are created in a skillful manner in which the welding wire itself forms the adornment on the figurine.

Fig. 5.112 Creating ornaments by moulding a wire and welding on the metal sheet

Necklaces and bangles of the female sculpture are formed in varied curvatures. The different sculpted parts are welded together in the end, over the white chalk markings.

Fig. 5.113 Joining two metal sheets using welding technique Fig. 5.114 Joining two metal sheets using welding technique from back side Fig. 5.115 Welded figurine

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Fig. 5.113

Cleaning The figurines are washed in a diluted hydrochloric acid solution in a tub. The soot is cleaned off with a hard brush by scrubbing repeatedly, followed by washing in the solution again. To dry them up, each figurine is warmed over heat, water gets evaporated and the figurine dries. If the paint is applied while the figurine is wet, bubbles may be formed on it which may eventually lead to cracking of paint on it.

Fig. 5.116

Fig. 5.117

Painting A certain quantity of primer is poured into a container. Since it is dense, thinner is poured into it (of the same quantity as the primer) and mixed by stirring a little. The spray painting container is covered by a mesh fabric and the diluted solution is strained through the mesh into it. It then spray paints the figurines that are placed separately on a platform, with primer, applying a single coat.The figurines are then left to dry in natural sunlight for about 15 to 20 minutes. This is followed by spraying a coat of matte black automotive paint which is again Fig. 5.116 Cleaning the figurines using hydrochloric acid solution Fig. 5.117 The figurines being warmed over heat for drying Fig. 5.118 Mixing thinner with the primer for painting

Fig. 5.118

Fig. 5.119

Fig. 5.119 The mixed solution is being strained using a mesh fabric and poured in its cylinder

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dried in the sunlight. All the figurines are further painted in similar/different combinations of acrylic colours with brush, according to the client order.

Beautiful colour gradation is created by the artisans as well as some women of the neighbourhood, who have a flair for painting.

Fig. 5.120

Fig. 5.120 Figurines are spray painted using a primer by placing them on a platform Fig. 5.121 The figurines are painted using acrylic colours after spray painting with black colour Fig. 5.122 Final painted figurines ready for mounting

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Fig. 5.121

Fig. 5.122

Fig. 5.123

Mounting Since these figurines are mostly mementos, they are mounted on wooden bases. The wooden structures are created by another craftsman who does carpentry and has been working in a tie-up with the lohars for the past twenty years.

Fig. 5.123 Painters working in workshop Fig. 5.124 Final product after mounting the figurines on wooden base

Fig. 5.124

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114 Image: Craftsman working in the workshop Background

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Fig. 6.1

6.1 The workplace The workshop is around 260 sq. ft. and is located right beside the residence of the master craftsman. All activities take place inside the workshop including storing raw material, cutting, debossing, welding, forging, pattern making, etc. apart from painting which may be done in the backyard, and storing final products in a dedicated room.

Fig. 6.1 Craftsmen working in the Workshop of Mr. Tiju Ram beside his residence Fig. 6.2 Mr. Tiju Ram receiving a National Award from former president Shri Pranab Mukherjee

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6.2 Master craftsman Tiju Ram Vishwakarma belongs to the Adivasi community who are lohars/ blacksmiths. He is a resident of the Kidichepda village, which is about 8 to 10 km from Kondagaon. The village

houses eight to ten families dedicated to wrought iron craft with about forty to fifty people in and around Kidichepda who work on Lohshilp craft as well. Mr. Tiju Ram Vishwakarma has been doing this craft since he was around the age of ten years.

Tiju Ram learnt the craft from his father and gained experience with time. His vision of the craft changed drastically when he accompanied his father on an assignment to Mumbai, at the age of 13. Having worked with a well-known designer (Mr. Rajiv V. Sethi), and decorating an industrialist’s bungalow, the Shah House in Juhu, he started gaining recognition and received multiple client orders. He began experimenting with form and material, trying to fulfill the aesthetic demands of the contemporizing society.

On a formal invitation, he has travelled

to countries like Italy, Russia and Austria to showcase and demonstrate his work.

Achievements and awards He has been honoured with the State Award by the Chhattisgarh Government in 2011. In Dec 2015, he was conferred with a National Award. The former President, Shri Pranab Mukherjee is presenting the National Award-2013 to Shri Tiju Ram Vishwakarma, (Chhattisgarh), at the presentation of the National Awards & Shilp Guru Awards to master craftsmen and weavers for 2012, 2013 and 2014, in New Delhi on December 09, 2015. The Minister of State for Textiles (Independent Charge), Shri Santosh Kumar Gangwar is also seen.

Recently, in December 2018, he was bestowed with the Indravati Sammaan 2017-18 at Kondagaon, Chhattisgarh.

Apart from this, he has been a frequent recipient of medals and testimonials.

Tiju Ram Vishwakarma 42 yrs of age

Fig. 6.2

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6.3 Other supporting craftsmen

Rajesh Vishwakarma 31 yrs of age Rajesh happens to be a relative of the master craftsman, Tiju Ram. He has learnt about this craft from his father. He comes to the workshop on his motorbike every day, as he lives near a village close to Kondagaon.

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Indal Vishwakarma 37 yrs of age Mr. Indal is the main craftsman in the workshop. He travels around 8-9 kms on his motorbike everyday to reach the workshop.

He too has learnt the craft from his father and is known for his fine quality of work.

Mr. Indal’s experience is reflected in his iron sculptures. His middle name is poyam, which means a stork. This signifies the importance of nature and animals in their culture.

Amitabh Vishwakarma 24 yrs of age Amitabh ji is the youngest brother of the master artisan, Tiju Ram. He has learnt the ancestral craft and he also tries to create new and modern styles of the craft. He experiments with other crafts as well, like the Tumba craft of Bastar. Exposure to urban cities has helped him explore other creative arts and techniques. He learned from all his elder brothers, especially Tiju ji.

Raghuveer Vishwakarma 18 yrs of age Raghuveer is the youngest among the craftsmen who work at the workshop, and is gaining his experience from other craftsmen and honing his skills.

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120 Image: Khut diya placed in the craftsman’s house Background

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Fig. 7.1

Fig. 7.1 Wall Hanging Dimensions: 115 cm x 158 cm

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Fig. 7.2

Fig. 7.2 Cylindrical khut diya/Cylindrical standing lamp Dimensions: Height 135 cm, Dia 35.5 cm

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Fig. 7.4 Fig. 7.3

Fig. 7.4 Joda Laman Diya/ Dimensions: Total Height 82 cm, Top frame Base 39 cm, Height 29 cm, Middle frame Base 32 cm, Height 26 cm, Bottom frame Base 29 cm, Height 22 cm

Fig. 7.3 Naav/Canoe Dimensions: Canoe Base 64.5 cm x 6.5 cm, Height 11 cm Human figurine Height 11 cm, Width 3 cm

1.

2.

Fig. 7.5

Fig. 7.5 Wall Hangings Dimensions: First frame 40 cm x 11 cm, Second frame 50 cm x 11 cm, Third frame 30 cm x 11 cm, Panel strip Width 0.7-0.8 cm 124

3.

Fig. 7.6

Fig. 7.6 Laman Diya Dimensions: Height 37 cm Width 18 cm, Diya Diameter 5 cm

Fig. 7.8

Fig. 7.8 Keychain Holder Dimensions: Holder Frame Length 42 cm, Width 15 cm, Hook Height 2.5 cm

Fig. 7.10

Fig. 7.10 Laman Diya Dimensions: Height 36 cm, Width 36 cm

Fig. 7.9

Fig. 7.9 Laalten/Lantern Dimensions: Lantern Height 35 cm, Base Cylinder Diameter 11 cm, Top Cylinder Diameter 5.5 cm Fig. 7.7

Fig. 7.7 Joda Laman Diya Dimensions: Diya Height 96 cm, Top frame Base 54 cm, Radius 27 cm, Middle frame Base 46 cm, Radius 23 cm, Bottom frame Base 41 cm, Radius 19 cm

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Fig. 7.11

Fig. 7.11 Khut Diya Dimensions: Height 82 cm, Width 183 cm

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Fig. 7.15 Fig. 7.12

Fig. 7.12 Giraffe Diya Dimensions: Giraffe Height 39 cm, Base Diameter 11 cm, Diya Diameter 10 cm

Fig. 7.15 Glass Holder Dimensions: Height 14 cm, Front Width 7 cm, Side Width 14 cm, Ring Diameter 7 cm

Fig. 7.16 Fig. 7.13

Fig. 7.13 Human Sculptures Dimensions: Sitting Height 7-8 cm, Front Width 3-4 cm, Side Width 5-6 cm, Standing Height 12-14 cm Front Width 4 cm, Side Width 3-3.5 cm

Fig. 7.14

Fig. 7.14 Kaavadiya Dimensions: Total Height 21 cm, Width 26 cm, Figurine Height 21 cm, Width 4 cm, Base Diameter 6 cm, Diya Diameter 5 cm

Fig. 7.16 Harin Diya Dimensions: Large Deer Height 21 cm, Length 17 cm,Width 9 cm, Small Deer Height 16 cm, Length 16 cm, Width 9 cm, Diya Diameter 5 cm

Fig. 7.17

Fig. 7.17 Contemporary Candle Stand Dimensions: Total Height 47 cm, Base Diameter 15 cm, Large Candle Height 47 cm, Medium Candle Height 38 cm, Small Candle Height 28 cm

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Fig. 7.18

Fig. 7.18 Sun Sculpture Dimensions: Total Width 63cm, Inner Ring Diameter 36 cm, Outer Ring Diameter 49 cm, Large Spoke Length 7 cm, Small Spoke Length 5 cm, Figurine Height 9 cm

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Fig. 7.19 Clock Frame Dimensions: Total Width 48 cm, Spiral Spoke Length 5.5 cm, Inner Shell Diameter 15 cm, Outer Ring Diameter 38 cm, Figurine Height 7.5 cm

Fig. 7.19

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Fig. 7.20

Fig. 7.20 Maadhiya and Maadhin Dimensions: 63 cm x 13 cm (each)

Fig. 7.21

Fig. 7.21 Musician Ganpati Dimensions: 36 cm x 12 cm 130

Fig. 7.22

Fig. 7.22 Dhruda and Chitkuli Dimensions: 23 cm x 21 cm

Fig. 7.23

Fig. 7.23 Dafli Stand Dimensions: 46 cm x 37 cm 131

132 Image: Welding sparks while creating the ornaments on the figurine Background

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8.1 Personal marketing Mr. Tiju Ram is connected with Government of Chhattisgarh, traders and retailers. He participates in various craft fairs and craft markets in metro cities like Delhi, Mumbai and other cities and towns. He believes in marketing his craft by word of mouth. He is always on the lookout for opportunities to showcase his work and expand the business.

8.2 Craft promotions and Government schemes In an attempt to empower the rural sector, the Government of India has been quite supportive to the handicraft industry. The Government offers opportunities to the craftsmen for showcasing their products at wellpublicized trade shows and trade fairs like Delhi Haat, Craft Bazar etc.

It has also established a chain of craft stores in the name of “Tribes India” for marketing indigenous handicrafts, all over the country.

The Chhattisgarh Government is instrumental in promoting the treasured tribal crafts of their state. Chhattisgarh Haat, a state organised outdoor craft market in Raipur is a potent platform for the local craftsmen to showcase their products. After an initial struggle, these developments are now helping the handicraft items to find their rightful place in the domestic as well as International market.

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The government also recognises master craftspersons for their excellence in craftsmanship and valuable contribution to Indian Handicrafts by conferring awards. This highlights the importance of the handicrafts sector by virtue of its contribution to employment generation, empowerment of women and disadvantaged segments. They also sponsor research and upgradation of traditional tools and designs for helping the artisans.

Some voluntary organizations are also working towards conservation and promotion of traditional crafts by providing them a platform to market and exhibit their products. They also train young and upcoming local artisans to ensure that this tradition and important means of livelihood does not die out by setting up self-help groups (SHGs), conducting workshops, offering training in bookkeeping and marketing.

Now, in a move to provide a larger platform and a wider reach to tribal handicrafts, the tribal affairs ministry has built a tie-up between Tribal Cooperative Marketing Development Federation of India and e-commerce portals like Amazon, Flipkart, Snapdeal and Government E-Market under ‘e-Tribes: Tribes India’ campaign. This has helped the tribal crafts of Chhattisgarh to make their way into the living rooms of the culturally conscious.

8.3 Future of lohshilp

8.4 Traces of the craft

Challenges and Suggestions

There have been traces and evidences found of the same craft in Madhya Pradesh, Maharashtra and Rajasthan.

The Adivasis may have migrated from Bastar to these places in the past since Bastar was a part of Madhya Pradesh before separating to form Chhattisgarh, and there are Adivasis living in the Gadchiroli district of Maharashtra, which is adjacent to the former Bastar district. But, the master craftsman, Mr. Tiju Ram, is unaware of this fact.

The Lohshilp artisans believe that there is humongous scope for their craft to prosper. They wish for a wider reach, which they could get through right marketing. But, no one in their community is trained in that aspect.

For years together, middlemen from cities have been involved, who have purchased wrought iron craft products from these artisans and sold them off in cities for much higher prices. This has proven to be a profitable deal for them, and they are wealthy today. Hence, this is a conflict that the artisans are not able to come out of unless they know marketing.

Mr. Tiju Ram has to pay 12 percent GST, annually. This has a huge impact on the finances of these craftsmen who struggle to make a good living.

It would be a reasonable option for Lohshilp to have a dedicated online platform, through which its products are marketed and sold. This would provide a meaningful context to the craft, and is an effective way to reach out to a greater audience, nationally as well as internationally. Since, Mr. Tiju Ram is open to taking suggestions for new designs, according to the client’s choice, having an option on their website to customise, would arouse more interest in the prospective consumer.

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Fig. 8.1 The play of shadow over the walls of a house in Kidichepda

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Fig. 8.1

8.5 Personal experiences When we got down from the bus at our stop, our host and artisan Mr. Tiju Ram Vishwakarma, picked us up in his car.

We drove to his house where we lived for the next 7 days. His family and other relatives were welcoming and they made us feel at home. They were very excited to have us and they prepared meals in a way that we could savour all kinds of staple foods, and were comfortable with letting us use their kitchen as well. In fact, they even encouraged us to prepare tea and breakfast several times. We helped them clean vegetables and with other chores whenever possible. All men and women eat meals and drink together, as they have a very free atmosphere in the family.

Women also help in the craftsmanship wherever required.

A day before our departure, we had a small picnic party with the artisans’ family on a nearby hill, named Kondagaon Pahadi Park, where we feasted on incredibly cooked homemade desi mutton, dry prawn and roselle (Hibiscus sabdariffa) curry, gram pakodas/fried dumplings, along with their classic mahua and salfi drinks.

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Fig. 9.1 Laman Diya hung on a wall

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Fig. 9.1

Conclusion Handicrafts are a substantial medium to preserve rich, traditional art, heritage and culture, traditional skills and talents, which are associated with people’s lifestyle and history. Unfortunately, many of these artisans today face a struggle for survival, competing against the cheap, mass-produced products of the modern age.

Insights: A craft has to go through phases of struggle to sustain itself, and at the same time, maintain its glory. In the process of trying to keep up with the competition, and to be “compatible with urban sensitivities”, a digression was made by the Lohshilp artisans, resulting in a refashioned craft. Eventually, they came to the realisation that it is their age-old, authentic craft, that the contemporary society values the most.

Lohshilp products have a vivacity and originality in them which make them sought after. Yet, the amount of effort and time that goes into creating a single piece cannot be fathomed by merely looking at the product, because the forms are really simple.

Hence, every piece could come with a story of its making, how a flat iron piece was transformed into a figurine, which would make the buyers more conscious of what they’re purchasing and capable of evaluating its worth.

Also, there is a huge scope of implementing this craft in various other segments like installations, furniture, space dividers (Jaali effect), etc. Conducting craft workshop module with these artisans will be very helpful for them to diversify their product range.

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Image: Craftsmen, Mastercraftsman and his family members in the workshop during a happy moment

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Project Team • Vaishnavi Sonawane Email id: vaishnavi_s@nid.edu, vsonawane016@gmail.com Mob.: 9860060425 • Aboli Deshmukh Email id: aboli_d@nid.edu, abolisd95@gmail.com Mob.: 8956262627 • Vanshikaa Sangal Email id: vanshikaa_s@nid.edu, vanshikaa.sangal93@gmail.com Mob.: 9670069985

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