tightly knit, cohesive communities with a strong identity based on an ingrained religion and caste system based on trade.
In contrast, a modern Bhuj is characterized by high rises that replaced some historic structure in the walled city, as well as housing colonies constructed after the city began expanding beyond its walls in the 1960. Two elements have altered the city’s fabric – the gradual change caused by political and social development and the rapid change caused by the city’s earthquake.
Image 50 – Darbargadh Street Elevation
Image 49 – Darbargadh Street Elevation
Image 46 – Y-shaped roads
Image 47 – House planning with internal courtyard
Image 48 – Typical Street of Bhuj
intervals
The vibrancy seen in every aspect of the Bhuj life is because of its dull surroundingwith the desert spread all around, the colors were thrown in to brighten up the place. And this trend spread over to Bhuj housing which reflected the Bhuj artwork with patterns painted over the walls and decorated with the mirror work Bhuj housing was also an artform which also formed the part of the cultural heritage of the city. They were climate responsiveand earthquakeresistantin natureandcalledthe Bhungas. Bunga construction is a losing art-form and is being slowly replaced by new age construction. The changes were already taking place and the 2001 earthquake gave a blank slate for changes to expedite.
Traditional houses known as bhungas are only found in the Kutch region. The homes have thatched roofs and circular walls. Theyare famous for being climate responsive and having structural stability during earthquakes. Additionally, it protects against cyclonic winds and sandstorms.
Image 51 – Y shaped branching of streets forming interconnections (square chowks) at regular intervals
Image 52 – Height and width proportions of courtyards, streets and houses provide shade for most part of the day
Image 53 – A Bhunga house with a courtyard
Image 54 – A cluster of Bhunga houses
It is built of materials that are readily available locally, like clay, bamboo, timber, etc. The circular walls have two sturdy wooden poles across them on which the roof is supported structurally. The roof is supported by these two posts. For cross ventilation, windows with wooden frames are positioned lower. The low hanging roofs provide additional insulation from the outdoors and shield the walls from direct sunlight. On top of the walls, which are supported by a spiral structure forming a cone, is a thatched roof.
The traditional bhunga needs periodic maintenance, including the maintenance of the dried grass on the roof and regular application of lipai or lime plastering to the walls and floor. While the interiors are decorated with excellent mud and mirror work, the outer walls are ornamented with vibrant paintings.
5.1.1 Bhuj Culture
Cultural heritage includes traditions, living expressions, oral traditions, performing arts, social practices, rituals, festiveevents, knowledgeandpractices, concerningnature,skills to produce traditional crafts. A community, group, or, in certain cases, an individual may recognize as being a part of their cultural heritage certain practises, expressions, knowledge, representations, and skills as well as the related objects, instruments, and spaces from their cultural past. (UNESCO). Because of the richness that cultural heritage gives, our world is a better place. Heritage has been created by and for the people. (ICCROM). To maintain cultural diversity in the face of growing globalization, intangible cultural heritage is an important factor.
Image 55 – Spiral frame on top of which the thatched roof is built Image 56– Mud-and-Mirror work adorns the interior walls of a Bhunga Image 57- Storage spaces are built into the walls and adorned with mud-mirror workGlobalisation, cultural homogenization, a lack of support, appreciation, and understandi ng all put them at risk.
Bhuj is well known for its hospitality because of its nice and hospitable residents. Even today, Bhuj is home to nomadic and semi-nomadic individuals who move in groups from one place to another. Rabari tribe and especially the women have extensive tattoos done in black color with patterns of plants, animals and other geometric shapes. These tattoos are repetitions in alternate rows rather than separate motifs. The kacchi, sindhi & gujarati are the most common languages spoken in Bhuj. The communities rabari, mutwa, sodha, muslims, jats are found.
Many craftsmen in Kutch make their living by selling various kinds of embroidered clothing, and the region is known for its distinctive handicrafts. There are numerous embroidery styles , including tie-dye, mirror work, and bead inlay, as well as Rabari, Ahir, Sindhi, Banni, Mutwa, Ari, and Soof. Sometimes, whole villages like Nirona and Teraproduce everythingfrom leatherwareto engage to theolder, moretraditionalRogan craftsmanship.
5.1.1 Printed Textile
5.1.1.1 Ajrakh Blockprint
Image 58 – People and culture ©www.bhujhotel.com
Image 59– Ajrakh Blockprint
Around 400 years ago, when Muslim artisans moved to Kutch, the skilled and patterned Ajrakh printing arrived. ‘Keep it today’ is the meaning of the Ajrakh. In the past, only cotton fabrics were used for Ajrakh printing; however, silk is now also used. Ajrakh creates collections in indigo, maroon, and black and white using intricate geometrical patterns. The intricate jali windows and trefoil arches of Islamic architecture served as inspiration for the patterns. With fourteen to sixteen phases in the production process, including washing, dying, printing, and drying, Ajrakh coloring is quick and demands a high level of expertise and knowledge to maintain colors quickly and evenly. To create the colors, natural substances are used. Maintaining eco-friendly colors will improve the craft’s sustainability and the environment.
5.1.1.2 Batik Print
Batik printing was carried to Kachchh during the Ramayana era by seasoned, accomplished craftspeople. People have long appreciated the floral and figural motifs found in the Batik fabrics made by the Khatris, a group that makes Batik. Batik prints were formerly created by pressing a block into heated piloo seed oil after being dipped into it. In the 1960s, wax print batik blossomed in Kachchh as a result of the craft's growing recognition in global markets at the same time as the hippie movement and the introduction of chemical dyes, which were better suited for batik production than vegetabledyes. Batikhas lostsomeofitsappealafterthe1960ssinceitismorefrequently connected to that era than to contemporary, high fashion.
Image 60– Batik Print5.1.1.3 Bela Printing
The specialty of Bela prints is that they are bold and graphic.They draw attention with a vibrant colour scheme printed on a white b ackground.Natural and vegetable dyes can provide a variety of hues.The colours red an d black, which were chosen for their colour fastness, are symbolic of Bela printing.Larg e-scale and graphic prints are common in Bagru, which uses a powerful mordantprinting method in which the printer uses a handcarved wood block to apply vegetable dye directly to a piece of cloth.
5.1.2 Woven Textile
5.1.2.1 Camel Wool Weaving
Camels generate high-quality wool that is extremely warm, water-resistant, and extremely durable, while being mostly utilised for milk and transportation. For long years, Maldharis produced camel wool for their personal needs, including camel covers and bags for carrying goods. Ropes, carpets, and other materials can be made from it. Camel wool contains short, coarse fibres, which makes spinning and creatingsoft textiles suitable for textiles difficult.
Image 61– Bela Printing
Image 62– Camel Wool Weaving
5.1.2.2 Kachchh Weaving
Weavers of kachchhi traditionally originate from the Maheswari and Marwada communities. For blankets, shawls, veils, and skirts, sheep and goat wool was used. The patterns woven into Kachchhi woven fabrics were influenced by the people that used them; they resembled musical instrument shapes, animal herd footprints, etc. Motif names like vakhiyo, chaumukh, satkani, hathi, or dholki inspire us images of the nature.
5.1.2.3 Kala Cotton
Farmers and weavers collaborated to produce rich, organic woven textiles with a soft but durable texture in the early market systems of Kachchh. Kala cotton is native to Kachchh and organic because the growers do not use synthetic fertilizers or pesticides. It produces a dense, robust, stretchy fiber that is frequently used in denim. Its use has gradually decreased dramatically in mainstream markets because it is challenging to manufacture excellent quality textiles with it and because its short staple length translates to fewer twists per inch of yarn.
Image 63– Kachchh Weaving Image 64– Kala Cotton5.1.2.4 Kharad Weaving
Wool and vegetable colours are necessaryfor Kharad Craft as natural materials. Initially, wool from goat and camel hair was used to make Kharad carpets. Camels' and goats' hair is sheared by the pastoral communities known as Maldharis and Rabaris. The artisans of Kharad utilised this wool after that. Kharad (used for spreading on the floor), Khurjani (used to transport large objects on the back of a camel), and Rasa (thick cloth used to cover grains)wereall manufacturedbytheKharadartisans. TheKharadcraft is currently a declining craft.
5.1.2.5 Mashroo Weaving
Muslim communities, who believed that silk should not touch a person's skin, commissioned the weaving of the Mashroo weave. Silk and cotton threads were combined by weavers to produce textiles that had expensive silk on one side and basic cotton on the other. Mashroo literally translates to "this is allowed." Mashroo made it easiertoconnect communities.Cottonwas grown bytheAhirPatels (farmers),handspun it, and then it was supplied to the weavers. To make even more individual variants of mashroo, ladies from Rabari and Ahir performed mirror work and embroidery. Mashroo was a royal craft that was manufactured in huge quantities for the local affluent and
Image 65– Kharad Weaving
Image 66– Mashroo Weaving
international markets until the 1900s. Mashroo weaving is currently in danger of being extinct. The Kachchhi people's attire has altered, dissolving the connections that once bound the community together. Today, power looms can produce mashroo cloth, which is preferred by most people over the more expensive hand-woven variety. Mashroo weavers are switching from employing silk to cotton staple to meet the demands of the domestic market due to a declining export industry. Because the market is no longer discriminating and demanding for it, the original cotton and silk mashroo with its luxurious texture is no longer created.
5.1.3 Hard Materials
5.1.3.1 Knife Work
In Kachchh, there are two distinct knife-making traditions. The chari features a metal, plastic, wood, or steel grip and a steel or iron blade known as a fur. The chappu is made upofthesamecomponents,butitalsohasaspringtoenablefolding.Eachknifeproduced under this approach is the product of numerous artists working together.
5.1.3.2 Lacquered Wood
Image 67– Knife Work
Image 68– Lacquered Wood
Since ancient times, Indian crafts have used lac, a substance made from insect resin.He at is used to turn coloured lacquer onto wood using a hand lathe.The artist alters the lac quered colours to handcraft patterns in kaleidoscopic motifs during the process.Only in Kachchh you find lacquered patterning like this.
The Rajasthani Dalit Meghwals who came to Kachchh brought with them a skilled leathercraft. The Meghwals gave waste new life by recycling the dead calf, turning it into a useful commodity. Leather from the Kachchhi region was so well-maintained and robust that it could hold water. As a result, durable products like shoes, water bottles, horse saddles, and water jugs were fashioned from it. According to the myth, leather was originally stitched together using real silver thread. Farmers and Maldharis no longer favor traditional leather shoes in favor of more contemporary clothing. Local leather crafts are becoming less high-quality and more garish and inexpensive in order to appeal to local tourists.
5.1.3.3 Leather Art
5.1.3.4 Metal Bell
Image 69– Leather Art
Image 70– Metal Bell
The Lohar community introduced their skill to Kachchh because they recognized its potential. The local communities were a potential market for the ancestors of copper bell manufacturers. Instead of using the sizes, old timers frequently call the bells by their original names, such as chota paila, paila dingla, and do dingla. These names correspond to the prices in the time in local currency at which bells may be purchased. This creative sector is a good example of recycling with aesthetics and utility because the metal used to make these bells is primarily leftover tin and iron. Bells are now classified according to their sizes, which vary from 0 to 13. Mud, 'Prosophis Julifera' wood, and water are all natural materials utilized in the production of copper bells. Through a business relationship with a significant US client who purchases these bells as Christmas decorations, the metal bell artists have been able to survive for the past 40 years.
5.1.3.4 Pottery
The relationship between potters and the various communities in the villages used to be veryclose because the communities were entirely dependent on the potters for the supply of earthenware to operate the kitchens and to observe various rituals related to festivals and related occasions like birth, marriage, and death. Pottery is made from clay, which is mixed with water to produce the dough. Jaru leaves, Prosopis Julifera thorns, and stems are used to cover the kiln while the pottery is being fired, and white clay and black stone are used to decorate the vessels. Because industries and homes are being built on ground that is fertile for clay and white mud, potters nowadays have a very difficult time finding clay and white mud.
Image 71– Pottery5.1.3.4 Silver smithy
The traditional silver tribal jewellery is still an integral part of village attire. Each silversmith specialises in a specific style of tribal jewellery, producing a variety of items such anklets, earrings, and bangles. Since they have coexisted and collaborated for generations,thecommunitieswherejewellersoperateandlivehavedeepties.Silverfrom Kachchh is renowned for having a white quality that resists tarnish. Meena, a type of vibrantly coloured glass, is used by artisans to emphasise classic patterns. The biggest market for silver jewellery, local communities, was also impacted by the earthquake.
5.1.3.4 Wood Carving
The Kutch region's wood carvings are a part of a greater fusion of cultures connected by the Thar Desert. The patterns carved into the wood are reminiscent of the themes used in the local embroidery designs. Mirrors are frequently used as decoration, which further mimics the embroidery. Hindu Suthar primarily created elaborately carved wooden columns, pillars, balconies, ceilings, pigeon houses, doors, and windows with ornate floral motifs, birds, animals, and human figures under the patronage of communities like Rajputs, Brahmins, Bhatias, Lohanas, or Jain and Hindu Banias. Many wood carvers nowadays recognize the need to expand their operations and meet new consumers since
Image 72– Silver Smithy
Image 73– Wood Carving
they run the risk of stagnating if they stay to a staple market and continue utilizing the same motifs repeatedly.
5.1.4 Diminishing Crafts
5.1.4.1 Namda
The Mughal Emperor Akbar's sick horse received a novel felted covering in the 11th century. Since then, wool from sheep has been used to create felted textiles. All types of climates can be accommodated by namda crafts. Wool is gathered, cleaned, dyed, and flattened into sheets before artists construct vibrant, detailed patterns that are frequently embroidered. In nearbynomadic villages, namda is still used to make saddle blankets for horses and camels. Muslim prayer mats are also sometimes made of felt, which is a course, earthy cloth.
5.1.4.1 Rogan Painting
Image 74– Namda Image 75– Rogan PaintingRogan is a method of painting on fabric that uses castor seed oil to create thick, vividly coloured paint. Castor is a local crop growing in Kachchh, and it was probably originally obtainedbyartists from farmers.Usingametal rod thatnevertouches the fabric,thepaint is gently twisted into designs and images at room temperature. The artist then prints the mirror copy of his patterns by folding them into a piece of plain fabric. It is actually a quite simple type of printing. The local farming and animal herding groups' garments weredecoratedwithroganartbytheKhatriMuslimcommunity,butthecraftdisappeared when the community began adopting other machine-made textiles as a more affordable substitute. By creating wall pieces for show, the artisans successfullyrevitalised the craft as an art form. The "Tree of Life" serves as the primary inspiration for the wall art.
Communities in this region have developed an inventive balance to meet their demands by transforming resources into goods for everyday use as a result of the region's arid climate. While embroidery has come to be associated with Kachchh, this region's other textileandhardmaterialindustriesofferitcolorandcharacter.Craftisinextricablylinked to the several villages in Kachchh that are interconnected by commerce, agriculture, and pastoralism.
Planning to preserve cultural heritage would ensure the preservation of both natural and man-made heritage, which includes both tangible and intangible traditions and works of art. The past, present, and future are not necessarily disconnected or fractured, nor can they always be seen as existing in a linear fashion. Instead, there is a constant connection between the past and present, particularly when it comes to living heritage. The secret to preserving legacyis "continuity." The past is a part of the living present, according to the maori community. (Report by ICCROM). For instance, Rann utsav is a celebration of life, vacations, and culture in Kutch and Gujarat. It serves as a platform to promote the rich culture and offer a market for handicrafts.
5.1.2 Institutes promoting Identity of Kutch
Hunnarshala, Bhuj
The collaborations and groups that were formed in the aftermath of the Kutch earthquake in2001withtheaimofempoweringpeopletorebuildtheirhomesarewhereHunnarshala got its start. Earthconstructionwas usedextensivelyduringthepost-quakerehabilitation. The method demonstrated the advantages of traditional building systems and shapes
while revealing artisans as bearers of immense knowledge. When it comes to Hunnarshala's management and works, three themes have emerged as being emerged :
1. How individuals have the potential to create their own environments.
2. How disaster-proof, environmentally friendly, and sustainable habitat solutions can be implemented.
3. The capacity of local artisans to produce goods of superior quality.
In addition to operating an enterprise incubation cell, Hunnarshala also conducts an education effort. Carpentry and masonry dropouts between the ages of 16 & 18 are trained by Hunnarshala at their Karigarshala or artisan school. Hunnarshala is internationally known for its work supporting the use of traditional architectural techniques and materials in modern structures as well as initiatives aimed at improving Kutch.
CEDO-Centre of Desert and Ocean, Nakhatrana
Image 76– Courtyard, Hunnarshala Image 77– Staircase, Hunnarshala
Image 78– CEDO-Centre of Desert and Ocean, Nakhatrana
The Kutch-based CEDO-Centre of Desert and Ocean Trust is committed to advancing ecotourism, wildlife protection, and environmental education. Since 2005, a family of birdwatchers has operated the CEDO Homestay for Birders in the Kutch, Gujarat, village of Moti-Virani. Gujarat Tourism and Incredible India have recognised the establishment. Jugal Tiwari, an ornithologist with 30 years of experience working on Birds and Ecology, primarily in Kutch and other regions of India, NE Africa, Arizona, and Mexico, oversees it. The varied range of birds and habitats found in Kutch are the main attraction for birder visitors staying at CEDO Homestay. Visitors with an interest in other flora, animals, landscapes, art, history, or culture are also warmly welcomed and given assistance About 30000 trees have so far been successfully raised in more than 50 localities. In thorn woodland and wastelands, Salvadora persica (Miswak or Piloodi) and Acacia nilotica, Cordia rothii, have been planted. In the previous 13 years, CEDO has organized 150 one-day wildlife education camps. Salvadora Greens Ecoconsultancy Pvt. Ltd., a for-profit venture founded in 2016 by CEDO, aims to increase the natural green cover of Kutch and other desert territories in Gujarat and Rajasthan by propagating and preserving native plants.
Kala-raksha, Sumrasar Sheikh
The idea of Kala Raksha was to create an innovative approach to handicraft growth through integration of two components, preservation of long-standing customs, and generating of money from contemporary crafts. It, recognized at the 2001 International Responsible Tourism Showcase, is situated in Sumrasar Sheikh, 25 kilometres north of Bhuj. The structures where the museum, production facility, shop, and guest house are located are examples of historic architecture that has been updated for contemporary needs. In a comprehensive development programme, income creation, preventive healthcare, fundamental education, and collective savings are all incorporated.
Image 79–Bhunga Planning, Kala Raksha Image 80 –Bhunga Detailing, Kala Raksha
A project of the Kala Raksha Trust is the Kala Raksha Vidhyalaya. The Trust established this institution in October 2005 as a fresh strategy for the revival of traditional arts. Its context, curriculum, and approach are designed for traditional craftspeople. Through several programmers, KalaRaksha closely collaborates with the artistic community to help foster their social and economic development. The museum receives very little foot fall due to its lack of publicity and remote location, which causes it to gradually become an unused and poorly maintained space.
The complex of the Hiralaxmi Craft Park is located in the Kutch village of Bhujodi and covers ten acres of land. Since its opening on December 18, 2005, the park has been open to everyone without charge. Hiralaxmi Craft Park was created with the intention of preserving, restoring, and promoting Kutchi arts while making them widely accessible. One of the first places that served as a hub for traditional artists and Kutch residents was Hiralaxmi Memorial Park. It developed into one of the busy spots that served as a weekend getaway for locals in the area of Bhujodi, promoted the rich arts and crafts of Kutch, and provided a stage for the artisans to engage with the public. But because there hasn't been an update in years, it can't draw in customers.
Qasab Kutch Mahima Sangathan, Bhuj
The goal of Kutch Mahila Vikas Sangathan (KMVS), which was established in 1989, was to unite rural women in Kutch and promote their empowerment. The main goal of KMVS has been to uplift rural women and foster their leadership in the economic, political, social, and cultural areas through awareness-raising, organization, and their mobilization into local collectives that are capable of independently addressing gender
Hiralaxmi Memorial Park, Bhujodi Image 81 – Hiralaxmi Memorial Park, Bhujodi Image 82 – Hiralaxmi Memorial Parkinequities in their area. By developing a business model that could not only provide embroidery craftswomen in remote areas of Kutch with sustainable livelihood opportunities, but also serve as a platform for them to express their creativity, the Qasab initiative was founded in 1997 with the goal of revitalizing the embroidery craft of the region and repositioning its cultural diversity.
In the dry region of Kutch, 1,200 rural master craftswomen from 11 ethnic groupings are part of a collective socio-cultural enterprise. They are distributed among 62 villages. While it organizes direct sales for the artists, there is no platform for interaction between Kutch locals, visitors, and traditional craftspeople to exchange information.
Shrujan, Bhujodi
A non-profit organization called Shrujan works with artisans in Kutch to revive the centuries-old craft of hand embroidery. Craftswomen from Shrujan produce a variety of exquisite hand stitched goods that are sold in their shops and at frequent exhibitions both inside and outside of India. Over the years, Shrujan's work has grown to include research into and documenting of the various embroidery practices in Kutch as well as the people that practice them. We also participate in other outreach initiatives around Kutch.
Image 83 – Kachchhi Mahila
Image 84 – Kachchhi Art
Image 85 – Courtyard, Shrujan
Image 86 – Exterior View, Shrujan
Shrujan separated into two distinct organizations in 2010. To manufacture and market hand-embroidered items, Shrujan Creations collaborates with women artisans. The objective of the Shrujan Trust is to advance the effort to restore and protect Kutchian crafts. The Living and Learning Design hub, a crafts museum and resource hub, was established in 2016 as a part of this endeavor. The Shrujan family now consists of approximately 3500 artisans dispersed across 120 isolated villages in Kutch. Shrujan is a very successful organization that supports and works with the traditional embroidery craft in Kutch, gives craftswomen a living wage, and advertises traditional craft in domestic and international markets. Due to Shrujan's success, LLDC was established in 2016 with a focus on the holistic development of traditional crafts from Kutch and serves as a resource hub.
LLDC : Living Learning and Design Centre
The Shrujan Trust established the Living and Learning Design Centre (LLDC) to protect, revive, and promote Kutch's rich craft tradition. The Kutch artisans are the primary focus of the LLDC, which aims to be a multifaceted resource and education facility for crafts. It is located in Ajrakhpur, Kutch, on a campus with three buildings and eight acres. To help artisans practice their traditional skills for modern markets and make a respectable and affluent living, LLDC trains, educates, and supports them. With the opening of the Museum complex in January 2016, LLDC was able to begin operations. Within the Museum, a gallery, a library, and three craft studios are presently operational.
The living and learning design Centre (LLDC) was envisioned as a project with the goal of becoming a "place" that would serve as a tactile and visual repository for the
diverse Kutchi crafts. In addition to serving as a reference centre for artisans, it also serves as a public museum and a location for experiential learning. The Museum Block, the Craft School, and the Residential Enclave are the three main parts of the centre
1. Sustainability issues and solutions: This project's foundation was to be economy of meansandresources.Thermalcomfortwasdevelopedandincludedinthecampus'design through the thoughtful use of materials and environmentally friendly design principles.
2. Thermal barriers: To reduce costs and obtain the required strength and thermal stability in comparison to any other material, lime and fly ash bricks were made on site utilizing waste carbide lime slurry, sand, and fly ash.
3. Rainwater harvesting tanks were built into the foundation's design to collect roughly 7 lac liters of rain yearly, which is used to cool the building.
Khamir, Kumkma, Kutch
Khamir seeks to support and further develop the region's illustrious craft traditions. The native language, Kachchhi, has the definition "intrinsic pride" as "khamir." Its Hindi translation is "to ferment," a term that is equally suitable considering the ongoing fermentation of ideas and activity in Kachchh as well as within the organization. The Nehru Foundation for Development and the Kachchh Nav Nirman Abhiyan jointly established Khamir in 2005, the same year it was formally registered as a society under theSocietiesand Trust Acts. Thepromotionoftraditionalhandicraftsand related cultural practices, the steps taken in their production, and the preservation of culture, community, and neighborhood contexts are all supported by it today.
Image 88 – Street Planning Image 89 – Stay Facility• Engagement - Public Workshops and Festivals that invite locals to participate in discussionsaboutthevalueofcraftandits advancement,rebuildingbroken linksbetween traditional communities of users and skilled artisans.
• Curated Exhibitions, which provide artists the chance to develop their own distinct identities and learn how to tell their own stories. They also provide the Khamir Team with a venue for conducting important oral history projects that preserve intangible knowledge.
• Promotion of the cultural valuable of craft and the social environment in which it is produced through marketing and exhibitions, which facilitate trade. Khamir conducts interactive craft demonstrations on campus and chances for interaction with artisans at exhibitions in India's major cities as a means of educating the general public.
• Visitors can explore and purchase Kachchhi handicrafts at the Khamir Craft Outlet. Small and medium-sized artisan units that have fewer access to marketplaces are given greater visibility in the outlet's stock on purpose.
• The Social Security Program's Artisan Service assists artists with obtaining health insurance, locating social security cards, and connecting to government programmes.
• The Credit Initiative, in which Khamir collaborates with a number of lenders who can offer low-interest funding to artisan communities. Raw materials are frequently given to craftsmen on credit for orders that Khamir facilitates, and this credit is later subtracted from their payment for finished products.
• Craft studios for weaving, dying, and ceramics that are available to artists to utilize, address ideas with, and experiment with other creative partners on the Khamir site.
5.2 Schemes
Ministry of Culture:
The nation's arts, culture, and heritage both tangible and intangible are preserved, developed, and promoted by the ministry of culture. The Ministry is still supporting mature cultural forms like theatre, the arts, and literature at a time when digital content
platforms and film are gaining popularity. By planning Indian festivals abroad, it also promotes India's artistic and cultural history to the rest of the globe.
Ministry of Housing and Urban Affairs (MOHUA)
The Smart Cities Mission (SCM), Atal Mission for Rejuvenation and Urban Transformation (AMRUT), and Heritage City Development and Augmentation Yojana (HRIDAY) are three programs conducted by the Ministry with the goal of giving the chosen cities under each initiative a unique character. A new National Urban Policy has also been launched by MOHUA to plan cities of the future. One of the projects within SCM, called "Placemaking," was created under the Culture and Identity category. It involves using a citizen-centric planning, design, and management strategy to handle vacant public places. The Livability Index, created by MOHUA to measure a city's livability, includes Identity and Culture as a significant component.
Ministry of Tourism
To promote tourism, theme development, and highlight specialty and identity for the chosencircuitsandcities,theMinistryofTourism hasdevelopedtwoprograms:Swadesh Darshan and Pilgrimage Rejuvenation and Spiritual Augmentation Drive (PRASAD) schemes. These plans and programs assist a city in claiming its culture and developing a distinctive identity. With a view to addressing areas critical for the survival and propagation of these forms of cultural heritage, India has a vast basket of living and diverse cultural traditions, traditional expressions, and intangible cultural heritage comprising masterpieces.
The scheme's objective is to reinvigorate and revitalize various organizations, teams, individuals, non-MOC institutions, non-governmental organizations, researchers, and academics so they can work on projects and activities that will strengthen, protect, preserve, and promote India's rich intangible cultural heritage. The program seeks to assist organizations, universities, state and local governments, non-MoC institutions, organizations,andnon-governmentalorganizationsthatareengagedintheprotectionand promotion of intangible cultural assets and other forms of expression.
Image 95
Image 100– Desalsar Lake Montage
Image 105 – Land Use Map
Image 106 – Land Ownership Map
Image 107 – Road Network Map
Image 108 – Vegetation Map
Image 109
Image 110 – Mapping the Buildings
Image 111 – Building Negotiation Map
Image 112 – Building Age Map
Image 114 – Area Statement for City Centre
Image 116 – Existing Plotting Layout
Image 117 – Proposed Plotting Layout
