heritage management plan & project development proposal...

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Heritage Management Plan & Project Development Proposal, Jodhpur

Volume 2B: Intangible Assets

April 2018

Industry List and Evaluation Framework Report

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Project Team:

Anurag Anthony, Anushnath Ravichandran, Chitra Iyer, Gilbert Nazareth,

Krishna Patel, Krunal Parmar, Manvita Baradi, Meghna Malhotra,

Munindra Joshi, Nilesh Prajapati, Rujul Joshi, Shipra Patel, Tushar Hajare

and Vinay Patel.

This report was prepared as a part of Heritage Management Plan for the city of Jodhpur. This report should be read in conjunction with other documents prepared during the course of the assignment. The entire list of documents prepared includes the following Volume 1A Heritage Management Plan Volume 1B Toolkit Volume 2A-I Tangible Assets Volume 2A-II Tangible Assets Volume 2A-III Tangible Assets Volume 2B Intangible Assets Volume 3 Local Economic Development of Sardar Market- Girdikot

The Urban Management Consulting Pvt. Ltd. (UMC) is a women

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management in India and worldwide. UMC provides technical assistance

and support to city governments and facilitates change through peer-to-

peer learning processes. It enhances the capacity of city governments by

providing expertise and ready access to innovations on good governance

implemented in India and abroad. UMC extensively works in the areas of

urban water and sanitation, heritage management, planning, urban health,

municipal finance, urban management, urban transportation and

institutional restructuring. UMC is a legacy organization of International

City/County Management Association (ICMA) and hence is also known

as ICMA-South Asia. For more information, visit our website:

www.umcasia.org.

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Copyright All the recorded data remains the property of NIUA & The World Bank and cannot be used or replicated without prior written approval.

Prepared for

Department of Local Self Government Government of Rajasthan

In support for Rajasthan State Heritage Program Financial support

Advisory and Technical support

Consultant

Urban Management Consulting Pvt. Ltd.

Heritage Management Plan & Project Development Proposal, Jodhpur

Volume 2B: Intangible Assets

April 2018

Intangible Assets, HMP Jodhpur

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Disclaimer

This document presents the Heritage Management Plan for Jodhpur based on the primary

survey conducted by our team, information collected during our site visits and secondary

information provided by the stakeholders and relevant organisations. During the course of the

study and report preparation, we were provided with both written and verbal information. We also

supplemented the study with photos and digital maps. Nothing has come to our attention to cause

us to believe that the data or maps provided by various sources are not true or not correct. We

believe this information to be authentic and therefore have not conducted an independent audit of

the same. No investigation of the title of tangible and intangible assets has been made and matters

of a legal nature relating to the title of the assets have not been considered.

Nothing contained herein, to the contrary and in no event, shall UMC or any of its staff or any

of its contractors be liable for any loss of profit or revenues and any direct, incidental,

consequential damages incurred by any user of this document. In case this document is to be

made available or disclosed to any third party, this disclaimer must be issued to the concerned

party.


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Acknowledgements

We acknowledge the help and support extended by all the stakeholders, community and

citizens of Jodhpur. In addition, we personally acknowledge the support of Dr. Manjit Singh

(IAS), Principal Secretary, Urban Development and Housing Department, GoR; Mr. Pawan

Arora, Director, Department of Local Self Government; Mr. R.K. Vijayvargiya, ACTP,

Department of Local Self Government; Mr. O P Kasera (IAS), Municipal Commissioner,

Jodhpur Nagar Nigam (JNN); Shri Ghanshyam Ojha, Mayor, JNN; Mr. Anil Mathur, Sr. Dy.

Town Planner, JNN; Mr. Rahul Gupta, Executive Engineer, JNN; Mr. Anuj Agrawal, Deputy

Town Planner, Jodhpur Development Authority (JDA); H. H. Maharaja Gaj Singh, Managing

Trustee, Mehrangarh Museum Trust; Mr. Karni Jasol, Mehrangarh Museum Trust; Mr.

Mahendra Tanwar, Convener INTACH Jodhpur Chapter; Mr. Bhanupratap Singh, Department

of Tourism, Jodhpur; Mr. M L Bapna, The Jodhpur Initiative; Mr. Dhananajaya Singh, Owner,

Raas Haveli; Mr. Mahendra Singh, Former CEO, Mehrangarh Museum Trust. We also would

extend our appreciation to the team at the National Institute of Urban Affairs, the World Bank

and the Cities Alliance comprising of Dhiraj Ajay, Jagan Shah, Madhurima Waghmare, Mayura

Gadkari, Mohit Dhingra, Sanjay Saxena, Stefania Abakerli and Uditi Agarwal, for supporting

and coordinating at every level for the ease of carrying out the work at the state as well as the

city level and to all other stakeholders we met since the inception of this project.

We also wish to thank Ms. Minakshi Jain and Mr. Debashish Nayak for their contributions as

project advisors, and for sharing their data and experiences on and off the site with our team.


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Acronyms and abbreviations

CCRT Centre for Cultural Resources and Training

DCH Development Commissioner of Handicrafts

GST Goods and Services Tax

ICH Intangible Cultural Heritage

IGNCA Indira Gandhi National Centre for the Arts

INTACH India National Trust for Art and Cultural Heritage

JDA Jodhpur Development Authority

JHEA Jodhpur Handicraft Exporters Association

MMT Mehrangarh Museum Trust

NIUA National Institute of Urban Affairs

RIFF Rajasthan International Folk Festival

RTDC Rajasthan Tourism Development Corporation

UMC Urban Management Consulting Pvt. Ltd.

UNESCO United Nations Education, Scientific and Cultural Organisation


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Table of Contents

1 Introduction .................................................................................................................... 1

2 Assessment of intangible heritage assets ...................................................................... 2

2.1 Social practices, rituals, festivals and fairs ............................................................................. 2

2.2 Performing arts ........................................................................................................................ 4

2.3 Traditional Crafts ..................................................................................................................... 8

2.4 Summary of issues and challenges in ICH ........................................................................... 15

2.5 Recommendations for intervention ....................................................................................... 16

3 Listing and Mapping of intangible heritage assets ........................................................ 20

Bibliography ...................................................................................................................................... 21

Annexure ........................................................................................................................................... 22


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List of Figures Figure 1 Locations associated with Festivals.......................................................................................... 2 Figure 2 Marwar Festival ......................................................................................................................... 3 Figure 3 RIFF performances ................................................................................................................... 3 Figure 4 RIFF poster and performances ................................................................................................. 4 Figure 5 Locations associated with Performing Arts ............................................................................... 5 Figure 6 Street performer- Puppeteering ................................................................................................ 6 Figure 7 Dhadi singer with instruments ................................................................................................... 6 Figure 8 Crafts Practices in the city ........................................................................................................ 8 Figure 9 Crafts in the walled city of Jodhpur ........................................................................................... 9 Figure 10 Lac bangle making in the shop itself..................................................................................... 10 Figure 11 Mojdi making and vendors .................................................................................................... 10 Figure 12 Sword making workshop cum shop ...................................................................................... 11 Figure 13 Bandhej in making ................................................................................................................ 11 Figure 14 Horn & Bone; Seashell; Mother of Pearl artefacts ................................................................ 12 Figure 15 Musical instruments making ................................................................................................. 12 Figure 16 Urban Haat in Delhi (left), Urban Haat in Navi Mumbai (right) ............................................. 18 Figure 17 Location of Urban Haat from Ghantaghar Market ................................................................ 19

List of annexures Annexure 1 Summary of traditional performing arts in Jodhpur ........................................................... 22 Annexure 2 Summary of traditional craft in Jodhpur ............................................................................. 24

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Introduction


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1 Introduction Intangible cultural heritage (ICH) is the aspect of heritage which deals with the living heritage of the communities. It indicates the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated with them – that communities, groups and, in some cases, individuals recognize as part of their heritage. It is transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity Jodhpur has a rich and diverse cultural heritage which can be seen in different facets of the city. Jodhpur was the capital of the Marwar state and region and is today the district headquarters and the biggest city in the region. It is thus at the centre of much of the commercial, social and cultural activity of the region. Jodhpur has some of the richest ICH practices, some of which have global recognition while some don’t. The practitioners face many advantages and disadvantages in the continuation of the practices. In the course of the project we studied and examined the practices along with the problems faced by them. As a part of the project, the team surveyed and documented the ICH of Jodhpur with a look at the communities, cultural significance and the economic impact of the practice. We looked at 3 aspects of ICH which were found to be significant in Jodhpur:

- Performing arts; - Social practices, rituals and festive events; & - Traditional craftsmanship

Assessment of Intangible Assets


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2 Assessment of intangible heritage assets

2.1 Social practices, rituals, festivals and fairs Jodhpur also has some of the highest densities of traditional practices and practitioners. Much of this can be traced back to the distinct culture of the city and its different communities. The city has significant populations of the 3 major religions i.e. Hinduism, Jainism, Islam. (Anon., 2017) These faiths have their distinct practices and multiple communities based on caste and profession. These have their distinct festivals and associated rituals. Thus, there are significant religious spiritual and social practices of all three groups in the city. These also have associated traditional performing arts and crafts The practices are both the ones generally followed by people following these traditions across the country and the world as well as those which are unique to the region. Some of the Pan-Indian festivals celebrated in Jodhpur are:

• Diwali

• Holi

• Janmashtmi

• Eid

• Mahavir Jayanti

• Muharram Unique festivals of the city/region

• Gangaur

• Dinga Gavar

• Teej (Bohra, 2017) Figure 1 Locations associated with Festivals


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In the recent past some festivals to showcase Jodhpur’s unique culture have been started by government bodies and NGOs. They are:

• Marwar Festival: With the increase in tourist visits to Jodhpur and to further promote the rich and diverse culture of Jodhpur the Rajasthan Tourism Development Corporation (RTDC) through its Tourist Reception Centre in Jodhpur organizes the Marwar festival every year. This festival is held in the month of October and this year it was held on the 4th and 5th of October. Festivities are held in Jodhpur and Osian. The festivities in Jodhpur included Surya Aradhana (Morning Prayers), heritage walk, ceremonial processions, competitions, Deepdan (lamp lighting) and a cultural evening of folk performances.

Figure 2 Marwar Festival

• Rajasthan International Folk Festival (RIFF): To promote the folk artists of Rajasthan as well as to create a platform to bring together national and international folk performers together the Mehrangarh Museum Trust (MMT) started the Rajasthan International Folk Festival also known as RIFF. This festival is held in the month of October in concurrence with Sharad Purnima in Mehrangarh Fort, Jaswant Thada and surrounding areas. This year it was held from the 5th to the 9th of October. It is organized in collaboration with Jaipur Virasat Foundation and hosted at different locations in Jodhpur. The festival was started in the year 2007. The festival has been endorsed by UNESCO as a "Peoples" Platform for Creativity and Sustainable Development." The festival provides a platform to folk musicians from India and around the world. More than 250 artists participate in it. Most of the artists are from Rajasthan with some coming from abroad as well. (Anon., 2017)

Figure 3 RIFF performances


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Figure 4 RIFF poster and performances

• World Sacred Spirit Festival: The festival is organized by the MMT to promote performing arts with a spiritual leaning. This festival is held in the month of February with celebrations and performances at Mehrangarh Fort and Jaswant Thada in Jodhpur. This festival was started in 2007. (Anon., 2017)

2.2 Performing arts Associated with the festivals and rituals, are certain performances and performing arts like Ghoomar, Gher these dances are performed at special events in almost all communities by its members as a form of celebration. Some of the performing arts are performed by specific communities as a form of entertainment for the entire locality or are patronized by specific communities. Most of these have ancestors who have moved to the city in the past 50-100 years from surrounding towns and villages. 5 performing artists belonging to 4 traditions were interviewed for the HMP by the UMC team. The significant performing art in Jodhpur are:

• Kalbelia Dance

• Pupeetering

• Langa Singing and Music

• Dhadi Singing and Music


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Figure 5 Locations associated with Performing Arts

The information collected during site visits, interviews and consultation meetings about above mentioned performing arts are given below.

• Kalbelia Dance: It is traditionally performed by the Kalbelia community. Traditionally the men would play the music and showcase a pet snake dancing to their music to earn their wages. They used to perform in the month of falgun, while travelling around. The community was a nomadic community. After the practice was banned due to animal cruelty the women of the community took up the dancing. The community would originally perform in towns and villages. The viewers would pay them in kind and the Kalbelias would sustain themselves on it. In the words of one of the artists “hum log maang ke khane wale hai (we get our food by begging for it)” The performance has been included in the UNESCO list of Intangible Heritage and is the only practice from Rajasthan which is a part of the list. In the present the community performs the dance commercially. The men play instruments and the women sing and dance. They perform at functions organized by government bodies, performing arts organizations and at hotels and specific tourist fairs and festivals. Some of the more skilled and prominent ones also perform across the country and the world. It is also performed in other regions, villages and cities of Rajasthan. It is one of the popular performing arts of Jodhpur. (Kalbelia, 2017)

• Puppeteering: Puppeteering is traditionally done by the Bhaat community. They would narrate the story of Amar Singh Rathore of Nagaur and his valor. In the words of one of the artist “in the days before television this was the only source of entertainment”. They were patronized by the Meghwal community but also performed for the general community. They also made their own puppets. In the present the community performs commercially and sell puppets. Men and women


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both can do the puppeteering. They perform at functions organized by government bodies, performing arts organizations and at hotels, weddings, birthdays and specific tourist fairs and festivals. They have also increased their repertoire to include more stories and tales. However, they are struggling to find work and the numbers of the performers is reducing. Most members of the community have low education levels and would prefer to work in another sector if given the opportunity due to the low pay and less work availability (Bhaat, 2017).

Figure 6 Street performer- Puppeteering

• Langa Singing and Music: This is traditionally performed by the Langa community. The men perform for the entire community while the women perform only for the women of the patron community. They were originally patronized by the Sindhi Sipahi community. They would perform at every important function of the community like birth, weddings, birthdays and death. They would get paid in kind at those occasions and on need. In the present the community performs for the patron community and commercially. The men sing and play traditional instruments like Dholak, morchang, Sindhi sarangi, Gujarati sarangi and perform for the patron community and at functions organized by government bodies, performing arts organizations and at hotels and specific tourist fairs and festivals. The women perform only for the women of the patron community as before. Some of the more skilled and prominent ones also perform across the country and the world (Langa, 2017).

• Dhadi Singing and Music: This is traditionally performed by the Dhadi community and was originally patronized by the Jaat community. The Dhadis would perform at every important function of the community like birth, weddings, and birthdays. They would get paid in kind at those occasions and on need. In the present the community performs commercially. The men and women play instruments and the women sing. They perform at functions organized by government bodies, performing arts organizations and at hotels and specific tourist fairs and festivals. Some of the more skilled and prominent ones also perform across the country and the world. (Dhadi, 2017)

Figure 7 Dhadi singer with instruments

When we did a qualitative analysis of the information they shared the following major themes emerged:


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Historical Context:

• All of them have learned their skills from their ancestors and started their training from childhood itself.

• All the performers have their roots in villages around Jodhpur and it is only in the past 70-100 years that they have moved and settled down in Jodhpur

• There are many more individuals and groups belonging to their traditions in other towns and districts of Rajasthan.

• In the past they had certain social roles and had close connections with their patron communities

• Their performance was the way they earned their livelihood; but it was done in kind. It was a form of begging in the case of some of the communities like the Kalbelia or the puppeteer. In the words of one of the artists “hum log maang ke khane wale hai (we get our food by begging for it)”

• In the past the social connection and the patronage patterns were the most important factors affecting their lives. They would receive food grains and other materials to sustain themselves from their patrons on a regular basis.

Present Context:

• In the present we met and interviewed the artists from Jodhpur city. For them their earlier rural connections had considerably weakened or vanished.

• The patronage pattern is still maintained only in the case of the langas, for the others it has greatly reduced or completely vanished.

• Presently some of them perform all over the country and some also go abroad to perform.

• They receive minimal support from government bodies although they do perform at festivals and functions by organisations like Rajasthan Sangeet Natak Akademi, Sangeet Natak Akademi(Delhi) and the Rajasthan Tourism Development Corporation. Besides some of their work falls under the purview of Ministries of Social Justice and Empowerment; Skill Development and Training, Human Resource Development, Tourism, Culture and its sub-organisations like Centre for Cultural Resources and Training (CCRT), Indira Gandhi National Centre for the Arts (IGNCA) and their parallel ministries at the state level.

• In the non -government sector they have been supported by Rupayan Sansthan and perform at different hotels and festivals and events in the city and outside.

• Many of them are changing their ways and performances to suit current demands, some of them are incorporating instruments and styles contrary to their traditional systems to survive.

• While most of them feel that the next generation is continuing and will continue with their traditions they feel that the low incomes and lack of security will be an impediment in the future. Some of them actively wish for their descendants to study and get a stable job rather than perform.

Issues identified

• Artists face stiff competition from newer entertainment sources and acknowledge the need to innovate and change but don’t have much guidance and know how to be able to do so.

• They lack a space where they can practice and train and teach others.

• From our observations we can see that there is a lack of cohesion amongst them and that many of them face similar issues but there is no conversation amongst themselves.

• One of the issues we see is that there is great variation in the work availability and the economic status of the artisans.

• Presently one can see that many visitors and tourists are interested in the local performing arts and would like to learn more or engage more deeply with them but there is no way to facilitate it.


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2.3 Traditional Crafts Traditional crafts have roots in the needs of people and are rooted in the regions geography, climate and resources. Jodhpur also has many of these. Many of the crafts are based in daily necessities like clothing, furniture and jewelry. Crafts and craftsmanship also reached a zenith in the city during the period of the erstwhile royals. The crafts reached a high level of intricacy and workmanship and used materials from not just the region but across the world.

Figure 8 Crafts Practices in the city

Presently Jodhpur is a major hub of Handicrafts export, this has reached a scale of a 2000 crore business in 2015-2016 from 300 crores in 1998-1999. (Association., 2017) Most of the production for export in done in small workshops and factories which employ craftspeople on wage basis. Many of the crafts persons involved in this work have migrated from other districts and even states to Jodhpur to work in this sector, many are also not traditional craftspeople but have learnt at these places. Since these factories cater to the export market the objects and materials they work on are also slightly different from the traditional ones. They are much more focused on furniture and sculpture and primarily work on wood and metal with bone to some extent. Crafts persons (34) belonging to 8 crafts traditions were interviewed for the HMP by the UMC team. The significant crafts in Jodhpur are:

• Mojdi

• Lac bangles

• Tie & Dye

• Block Printing

• Bone and Mother of Pearl

• Metals (Sword, metal, goldsmith)

• Musical Instruments


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• Papier mache Besides these Jodhpur is also home to many crafts workshops/factories which manufacture handicrafts goods on a semi-industrial scale.

Figure 9 Crafts in the walled city of Jodhpur

The major crafts of Jodhpur and their issues which emerged from it are:

• Lac bangles: Lac bangles are an indigenous Indian craft form where a plant resin is used to make bangles by hand. Lac is a plant resin which is used to make the bangles. It is traditionally colored using natural pigments and dyes. Some decorative items are also made of Lac, but bangles are the most common and popular product. Traditionally the bangles are an integral part of a bridal trousseau and are considered auspicious for married women. There is a large community of crafts persons in Lakhara Bazaar and Pratap Nagar in Jodhpur. The bangles are extensively used by women for regular wear and popular with tourists both national and international. Making bangles and other products from lac is a common practice across Rajasthan. According the craftspersons there are approximately 7-10 major shops in the city and they have an annual turnover of 20-22 lakh. Many shops employ craftspeople on jobwork basis. According to the iformation shared by the artisans the market is approximately 1.4- 2.2 crores. (Manihar, 2017)


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Figure 10 Lac bangle making in the shop itself

• Mojdi is an indigenous leather footwear made by hand used by both men and women. In the past it was worn by people from all classes and communities both for special occasions and on a regular basis. Mojdi making is an intricate process and both men and women are assigned roles in the making process. Women do the embroidery and men do the cutting and stitching. This craft has a large number of practitioners in Sivanchi Gate area and Pratap Nagar. They have seen a decline in their market due to westernization, change in tastes and influx of other types of footwear in the market. Today they are mostly used for specific occasions like weddings. According to artisans there are approximately 300- families which practice mojdi making at different scales. Each family usually make products worth 1.5-3 lakh annually. Some craftspeople also have shops of their own. According to their information the handmade mojdi sector should be worth 45-90 crore in Jodhpur. (Gurjar, 2017) (Panwar, 2017)

Figure 11 Mojdi making and vendors

• Handicrafts workshops are a major part of the handicrafts sector in Jodhpur. The workshops usually work on wood, metal and bone. They are oriented towards the export sector. Wood was not a significant craft for Jodhpur, but the recent emergence of the export market has led to its expansion and the immigration of many Suthars (traditional wood craftsperson) to Jodhpur to cater to this market. (M.P.Ranjan, 2007). Presently the outskirts of the city in areas like Pratap Nagar and Gayatri Nagar have factories and workshops catering to the export market. It makes up more than 16% of the handicraft export market excluding sculptures. Many people have migrated to Jodhpur to work in these spaces. Most of them learn the craftsmanship on the job. The work happens in workshops out the outskirts and according to some workshop owners, there are 5000-6000 workshops in the city and their average production is INR 48-60 lakh per annum. Thus, this sector is about INR 2400-3600 crore economically.

• Metal work (Includes swords, jewelry, traditional utensils) is an important aspect of the Jodhpur handicrafts sectors. It is also one of the biggest components of the handicrafts market. Many communities are traditionally involved in this sector. Traditionally communities like sonar, siklilar, lohar, kansara used to work on metals like gold, iron and copper. Presently some of them have shifted to related crafts and some craftsperson


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form related crafts have shifted to their crafts. a. Sword making was an important craft in the past especially for the armies which the

erstwhile royal state. In the present era swords have lost their importance and are mostly used for ceremonial purposes. The craft has seen a decline and the number of craftsperson have reduced. Intervention in terms of product expansion is urgently required. Swords are usually used only for weddings and ceremonially. There are inky about 20-25 families practicing it with 5-10 shops in the city. Each shop has an annual turnover ranging from 2 to 5 lakhs. Thus, the market is worth 10 to 50 lakh. (Rathore, 2017)

Figure 12 Sword making workshop cum shop

• Bandhej (Tie and Dye) Bandhej is a very popular cloth dyeing technique which is practiced extensively in Gujarat and Rajasthan. Bandhej cloth is considered auspicious for women. In recent years the range of products made from it have expanded beyond the traditionally made saris and dupattas to include scarves, shawls and other products. The market for the artisans has also expanded beyond the traditional local patrons to include a national and global patronage. It is one of the few crafts which is flourishing. According to the artisans approximately 1000 families practice it with each family producing products worth INR 10 to 12 lakhs. This makes the Bandhej market 100-120 crores in size. (Chadwa, 2017b) (Chadwa, 2017a).

Figure 13 Bandhej in making

• Horn & Bone; Seashell; Mother of Pearl artefacts: These craft practices emerged after ivory was banned in the country. The artisans shifted to bone and seashell because of similarity in their appearances. The artists do find the working on these materials more difficult and can’t reach the scale they could achieve with ivory; however, they still have a small niche market catering to tourists. Some workshops catering to the export market


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produce products of different scales from bone. There are only 7-10 families still practicing it and each family produces product worth INR 2.5-3 lakhs annually. This makes the market worth 18 to 30 lakhs. (Suthar, 2017) (Gaffar, 2017)

Figure 14 Horn & Bone; Seashell; Mother of Pearl artefacts

• Musical instruments making: Jodhpur is a centre for musical instruments. It is known for its manufacturing of membranophone instruments. The practice emerged from Shield manufacturing. The community shifted to making musical instruments which have a leather membrane when shields became redundant. They primarily make tablas and dholaks and are important accompaniments to folk and classical music. It is a very small community and there only a handful of craftspersons still making the instruments. Some have shifted to other instruments like harmoniums and many also sell popular western instruments to sustain themselves. Although it is a unique craft of Jodhpur and they provide instruments to some of the country’s most well-known musicians it isn’t given any recognition by authorities and their market has reduced considerably due to cheap imitations and influence of western music and instruments. Even the Development Commissioners of Handicrafts hasn’t recognized their craft and hasn’t documented or provided artisan cards to them. There about 15-20 shops in the city which have annual turnovers of INR 4 to 7 lakhs. Thus, the market is worth INR 60 lakhs to 1.4 crore. (Chauhan, 2017).

Figure 15 Musical instruments making

Besides these crafts papier mache and block printing is also practiced in the city but they are of a much smaller scale. Many of these crafts are related to each other and some of these skills can/have been transferred to each other. In the present context many craftsperson have shifted to allied crafts if they offer better prospects. Historical Context

• All the major crafts traditions were rooted in the needs of the population ranging from clothing, cooking utensils, furniture to weapons

• Specific work was performed by specific communities and all activities were extremely dependent on caste and religion.


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• Many of the crafts were produced with local materials but for some material was bought from other places outside the region as well.

• Many of the craft products had social, cultural and religious significance.

• Most of the products were created for usage thus were supposed to last a long period of time

Present Context

• While the community-based division of work still exists in many places the level of popularity of the craft also decides the numbers. In the case of popular crafts many individuals belonging to allied communities or completely disconnected to the work have also started practicing the crafts. In the case of struggling crafts many individuals have left their traditional work for modern works and the numbers have greatly reduced.

• Aesthetics is one of the biggest factors influencing production and sale of the crafts and their longevity is not a big factor.

• Some artisans have received Identity cards from the Development Commissioner of Handicrafts (DCH). Besides some of their work falls under the purview of Ministries of Social Justice and Empowerment; Skill Development and Training, Human Resource Development, Medium, Small and Micro Enterprises- its sub-organisations like Khadi and Village Industries Commission, Textiles and its sub-organisations like Central Cottage Industries of Corporation India, Development Commissioner of Handicrafts, Development Commissioner of Handlooms; Tourism, Culture and its sub-organisations like CCRT, IGNCA, and their parallel ministries at the state level.

• Some crafts persons have their own shops or sale units while many artisans are employed with small scale factories and workshops while it’s not necessary for everyone to have their own enterprise and workshops are a good way to reach the market many of them have less than ideal work conditions. Work in these factories often assures little in terms of job security and stability. On ground realities often involve harmful work conditions with long working hours and no safety measures in place. Most artisans work on wage basis without even minimal benefits. There is no safety equipment or health insurance.

• There is no artisan collective or cooperative in Jodhpur where the retail or wholesale buyer can reach the craftsperson directly.

• There is very limited information about the traditional crafts of the city online for any visitor who might be planning a visit to the city or already visiting.

• The Handicrafts market is heavily export oriented with limited value given to the local market.

• There are negligible mechanisms in place to facilitate direct interactions between visitors and craftspersons. The currently existing Urban Haat is too far from the city for the visitors and is currently closed

• Of all the active craftspersons we consulted a majority were continuing their ancestral traditions. Some had started themselves in a particular craft but they worked for the export-oriented workshops and had trained on the job.

• Although the crafts of Jodhpur are well known they don’t figure on the tourist’s advisories. Even for the crafts which are accessible the craftspersons have to deal with commissions to the likes of tour guides in order to reach the visitors. (Liebl, 2000)

• The present crafts production caters to 2 major groups- local consumption including tourist and exports. Both of these have very distinct demands and different crafts and their applications are in use for them


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Economic Summary As per our interactions with and interviews of craftspeople and stakeholders we have the following information on the economic scale of the crafts sector of Jodhpur.

Table 1 Economic and livelihood scale of ICH in Jodhpur

# Craft Scale of the craft

in Jodhpur

Average scale of business for each family/ shop (INR

in lakh)

Estimated market size (in INR Cr) **

Lower limit Upper limit

1 Tie and dye 1000 families 10 to 12 100.00 120.00

2 Mojdi 3000 families 1.5 to 3 45.00 90.00

3 Lac bangles 7-10 shops 20 to 22 1.40 2.20

4 Musical Instruments 15-20 shops 4 to7 0.60 1.40

5 Sword Making 20-25 families;

5-10 shops 2 to 5 0.10 0.50

6 Papier Mache 2-3 families 1.5 to 2 0.03 0.06

7 Bone, Horn & Mother of Pearl

7-10 families 2.5 to 3 0.18 0.30

8 Block printing 100 families 4 to15 4.00 15.00

9 Workshops (metal, wood, bone) *

5000-6000 workshops

48 to 60 2,400.00 3,600.00

Total 2,551.00 3,829.46

* Workshops products are made mostly for exporting and mostly made by craftspersons not local to the region. **all numbers have been reached by interviews with craftspersons and their understanding of the market. Note: The workshop production and market exceed the other crafts as these are done as a small-scale industry; have involvement of some mechanised processes and cater to the export market.

The market is the approximately INR 2,551 crore if calculated conservatively or INR 3,829 crore at the higher end. From the information we can see that the sector of crafts which involves big and small workshops is the largest in scale and dominates the economy. The workshops mostly work with wood, bone and metals and export their products to the rest of the country and abroad. Besides these the Bandhej and Mojdi market are also large scale and support a large number of craftspeople. The information has been collected by interviews with the stakeholders and based on their estimates. Complete and reliable data on the sector doesn’t exist and our data is based on a small sample survey we have done for the HMP. Some of traditional practices like Mother of Pearl, Papier Mache have very small number of people associated with them and their market and margins are minuscule. They are in danger of dying out and need support. Issues identified

• Low wages: The artisans are paid on wage basis which besides being low offers no security and is highly exploitative. They etch out a day-to-day existence with no job security. Often the artisans get less than a fraction of what their products is worth in the market. There are multiple people and traders between them and the market which greatly increases the price of the product without benefitting the artisan. (Liebl, 2000)

• Lack of protection: Health hazards like exposure to chemicals and particulate matter is high in some practices like bandhini, stone, metal and wood. In crafts which use materials like metals, bone stone and wood they often use heavy and dangerous equipment’s like blowtorches, soldering irons, drills and mechanical cutters with no safety devices. They also receive no insurance or security from their employers. In case of any harm or injury to them there is no compensation. (Liebl, 2000)

• Waste disposal: Many craftspersons who work in their traditional neighbourhoods release their waste and effluents in open drains which are designed for domestic purposes. This is especially prevalent in the case of Bandhini, stone, wood, bone and metal works. Even in the case of small workshops which work on stone, bone, metals no proper mechanism for waste disposal was observed.

• Competition from cheap machine-made imports: The handicrafts sector is constantly


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threatened by machine made goods which are cheaper and have greater economies of scale both in the domestic and the export market. These have particularly affected the local market for the craftspersons with the local consumers shifting to factory produced goods since these larger producers are able to create demand and brand loyalty using consumer psychology.

• Goods and Services Tax 2017: The recently introduced GST has very adversely affected the sector. The small craftspersons are unable to understand and incorporate it fully and the bigger traders find a large part of their funds locked up due to time consuming paperwork, this has had a trickle-down effect on the craftspersons who work for these traders as they don’t have work. With GST many handicrafts which were either untaxed or very minimally taxed found themselves very highly taxed. This adversely affected their market. GST and the taxation rates are under revision and slabs have been changed since the data collection was done.

2.4 Summary of issues and challenges in ICH Following are the issues identified from the interactions with artisans, performers and consultation with various institutions. 1. Government support: Most of the individuals stated that they received negligible to zero

support from the government. The support they received was in the form of artisan cards made by DCH and occasional participation in fairs organized by the government across the country, but even this has gone down in recent years according to them. The DCH mission document provides for many support mechanisms and schemes for the artisans either directly or indirectly, but unfortunately there is a gap between the vision and its implementation since few of these are benefitting artisans in Jodhpur

2. Multiplicity of support organisation and departments: The management and regulation of the intangible cultural practices falls under the purview of multiple ministries and departments at the national and state level. This includes but isn’t limited to Ministries of Textiles, Culture, Tourism, Medium, Small and Micro Industries, this confuses things for the practitioner and the individual doesn’t know whom to approach in which case and which scheme or policy is administered by whom. A single window system would greatly aid the practitioners.

3. Traditional patronage system: Every craft and performing art had traditional patrons and patronage systems. For all of the arts and crafts there has been either a complete breakdown or much reduced interactions between the two in some cases or exploitation in others. This has meant that the practitioners either have to depend on the external market to sustain themselves or provide their skills to their patrons at a reduced price which may make sustenance difficult.

4. Sustainability: The practitioners are dependent on the vagaries of the market. Artisans following different practices show different levels of sustainability. Crafts such as Bandhej are flourishing and have an expanding market while those like mojdi or sword making are struggling due to shrinking markets, this may be because their products are obsolete or competition from industrial products. The performing arts also face a lot of competition from popular entertainment forms. A major issue faced by all of them is low levels of wages for their work which makes it difficult for the artisan to sustain themselves and makes it unattractive for the next generation to continue it.

5. Diminishing of local market: The local values of many of the crafts products has diminished and the craftspeople are dependent on the tourist and export market for their sustenance. The local population has shifted to machine made products which might be cheaper or presented in a more attractive manner. They are also not directly connected to the external markets thus they find it difficult to expand.

6. GST: The recently introduced goods and services tax (GST) 2017 has affected exports of crafts intensely. There is a lack of clarity of the processes and the mechanisms which


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has slowed down the market. According to the JHEA; the negligible rates of taxation applied on handicrafts has been removed and rates ranging from 5% to 18% have been applied to different categories of crafts based on material. The GST list also doesn’t take into account the handmade and is completely focused on the mechanized processes. (Jaitly, 2017)This has very adversely affected all crafts related activities in the city. This is also due to the trickle-down effect from the bigger traders and exporters whose businesses have been affected and who are thus not employing or sending work to artisans.

7. Lack of space in city: From our observations we could see that the city lacked a functional space where visitors could explore, experience and acquire a number of the traditional performing arts and crafts. Commercialization and expansion of other markets has reduced the markets and visibility of these. The major markets do not cater to these needs which significantly short changes both the visitors as well as the native practitioners.

8. Number of craftspersons: The numbers as expressed by the different craftspersons for their crafts varied but approximate numbers are: upwards of 10,000 for Bandhej; around 1000 for mojdi; approximately 15-20 shops for musical instrument makers; 20 shops for sword making; 250 families according to metal craftspersons; 15-20 families for puppeteering; 100-150 performers for dhadi music and song; 150 families for langas. The exact number of practitioners in the city is not known at the moment and a detailed survey and study needs to be carried out to know them. Many of crafts are now also being practiced by communities which supported them in the past

9. Movement of practitioners: Many of the practitioners are now found outside the core walled city. Practitioners of many of the performing arts have moved to Jodhpur in the past 60-70 years from surrounding villages. They have settled in the suburban areas around the city like Masuriya Hills and Badwasia. Many of the craftspersons work in workshops and small factories in the suburban areas like Pratap Nagar. This has shifted and changed the spatial fabric of the city and also led to the practitioners being very scattered.

10. Lack of Training: Many of the craftsperson are not trained or are unable to adapt to modern markets and their requirements, they lack 2 major skill sets: one is design adaptation and the other is soft skills like English language usage or using modern technology to reach a wider market. This puts them at a great disadvantage with optimally using their existing skills or capitalizing on their crafts fully. Many times, external actors who may have these skills are able to capitalize on the craftspersons skills. There are some attempts made to support them but they are scattered and lack cohesiveness.

2.5 Recommendations for intervention Following are recommendations to resolve most of the issues identified above in the previous section 2.4. 1. A platform for the practitioners to get together and be able to share issues and help each

other get solutions and even approach decision makers for support and assistance. This would help them get expert advice, design intervention collectively, make it easier to access soft skills trainings and capacity building and also help them reach and capitalize on various government schemes and policies and put forth their issues collectively and in an organized way, bridging the distance between them and the authorities.

2. Detailed study and documentation of the different practices along with understanding the current context and individuals practicing till date. Awareness building about their practice and support for its inclusion in the touristic activities.

3. A mechanism to preserve the original forms while allowing change to take place. While change is inevitable and trying to stop it is futile there needs to be some mechanism to


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ensure that the practice in its pure form can coexist with the variations bought about by market demands.

4. A mechanism to facilitate greater engagement between visitors and the practitioners. If such a mechanism was to be created there would be greater employment and stability for the artists and a new layer would be added to the tourist experience in the city.

5. Skill development and capacity building of the practitioners in different areas like entrepreneurship, design enhancements and language and presentation skills. This would enable them to reach a wider market and also take informed decisions and make choices.

6. Support for workshop owners and entrepreneurs to provide better workplace conditions and job security and benefits like health insurance to the craftsperson’s.

7. A tax break or benefit to the local craftspersons. A policy to reward those hotels or commercial establishments who support and work with local craftspersons and performing artists

Recommendation 1 can be done by forming an artisan association with support from government bodies like Rajasthan Sangeet Natak Akademi, Development Commissioner of Handicrafts and the newly formed City Heritage Cell and civil society bodies working in the culture sphere. It should have representatives from the relevant government bodies, artists groups and other civil society members who can provide support and expertise. Recommendation 2, 3 & 4 can be done with the help of government bodies like Rajasthan Sangeet Natak Akademi, Development Commissioner of Handicrafts and the newly formed City Heritage Cell and civil society bodies working in the culture sphere. Support from academic institutions can also be taken. A website which has details of the practice along with practitioner information, history and significance and location would greatly aid Recommendation 4. Recommendation 5 can be implemented with support from CHC, Rajasthan Sangeet Natak Akademi and Development Commissioner for Handicrafts along with the proposed association. Recommendation 6 & 7 can be implemented by bringing in friendly policies and bye-laws at the local level. This can be accomplished with the help of the CHC and JNN.

Projects identified

Several projects have been proposed for traditional crafts and performing arts to address the

issues and challenges identified in the previous section. These include

2.5.1 Form an association/ cooperative body for ICH artisans and enterprises of Jodhpur

The artisans and craftsperson are poorly organized and do not have an umbrella

organisation for their trade promotion, welfare and support. We recommend that the JNN

facilitates formation of an association of artisans and craftsperson of Jodhpur for the listed

arts and crafts with the help of the local office of DCH. The association would play a role in

negotiating tax and export incentives, a policy for local government tax rebates, and

obtaining hallmark/ geographical indication (GI) for the crafts and arts. The association shall

also build capacity of artisans to apply for recognition/ hallmarks/ GI.


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2.5.2 Market enhancement for traditional arts and crafts

Handicraft is an intangible asset depicting the tradition and culture of respective region.

There are many handicrafts for which Jodhpur is known for (the list and detailed description

is given before in this report). Worldwide demand of the products has led businessmen to

use advanced machineries for mass production and huge profits. This is directly affecting the

lives of the artisans who are working for the sector from generations.

To give them a fair chance, it is required to provide them a marketing platform and relevant

facilities. There is a requirement of a designated space like Urban Haat near the heart of the

city where such skilled artisans can earn their livelihood. The Urban Haat should have

designated space for shops/market, storage, work space for artisans, food court,

entertainment area, etc. Successful examples of such Urban Haats can be seen in various

cities of India itself, like Delhi, Navi Mumbai, Ahmedabad and Jaipur.

Figure 16 Urban Haat in Delhi (left), Urban Haat in Navi Mumbai (right)

Source: CIDCO & Fairtrade Forum

There is an existing Urban Haat in Jodhpur which is about 10 km away from the heritage

core of the city. Since it is so far from the core city, it is being neglected and non-functional

since long time. Now it is being used around once in 2-3 years for short term exhibition.


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Figure 17 Location of Urban Haat from Ghantaghar Market

2.5.3 Entrepreneurship development support to artisans and craftsperson

The association should also provide incubation support to artisans and craftsperson to setup

enterprises and converge with schemes such as NULM. The association may also facilitate

linkage of artisans for entrepreneurship development training and support. The JNN may

engage an incubation support agency to support the artisans and craftsperson and provide

training at the enterprise development centre (housed within the ‘Market for handicrafts cum

exhibition space and training centre’).

2.5.4 Technical support for green handicrafts

Waste generated by handicrafts is poorly managed in many cases. For example, the effluents from bandhej are discharged in sewers and open drains and the stone dust from stone carving workshops is disposed as solid waste in the city’s SWM stream. Hazardous working conditions in some of the crafts also result in poor health and safety of its workers. Such practices are not desirable and present health, safety and environmental challenges for the city. We recommend that the association shall also play a crucial role to introduce a mechanism for green handicrafts (for establishments recycling their waste, using environment friendly practices and materials). It should also explore possibilities of waste water treatment units/ plants for dye-related establishments. The Associations shall also provide support to establishments to comply with their respective health and safety standards.

Listing & Mapping of Assets


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3 Listing and Mapping of intangible heritage assets Detailed description of the most significant practices along with the major issues faced by them and recommendations covered in previous sections of the report. A brief list of all these traditional and cultural practices are as follows.

Table 1 ICH in Jodhpur

Traditional Crafts Leather (footwear), lac bangles, hand printed textile scarves, zari goods, embroidery, crochet, carpets, Papier Mache, painting, jewelry, beads, bead craft, art metal wares, shawls as artware, wood carving, woodwares, horn & bone products, cane & bamboo products, textile (hand embroidery), goldsmith, applique, tie & dye, hand printed textiles, bidri and terracotta

Performing Arts Kalbelia dance, Langa music and song, Qawwali, Kathputli, Ghoomar dance, Gher dance, Ramleela Bhavai, Chari dance, Nagada Vadan

Social practices, rituals, festivals and fairs

Traditional - Makar Sankranti, Mahashivratri, Holi (Holika Dahan, Dhulendi), Navratri & Gangaur, Basant Panchmi, Krishna Janmashtmi, Ganesh Chaturthi, Navratri & Dusshera (VijayDashmi Shastra Poojan), Diwali (Dhan Triyodashi; Rup Chaturdasi & Apamarg Snana, Deepawali), Sheetalmata Mela, Kejuti Mela Contemporary - Marwar Festival, RIFF, World Sacred Spirit Festival

Source: (Development Commissioner of Handicrafts, 2017) (Bohra, 2017)

All the relevant maps for each aspect are attached in the respective sections in previous chapter.

End of document.


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Bibliography Bohra, G., 2017. List of Festivals. Jodhpur: Mehrangarh Museum Trust. Chadwa, M. M., 2017b. Bandhej Craft and Market [Interview] (5 October 2017b). Chadwa, R. A., 2017a. Bandhej Craf and Market [Interview] (4 November 2017a). Chauhan, R., 2017. Musical Instrument making craft and market [Interview] (4 November 2017). Development Commissioner of Handicrafts, 2017. Artisan Data. [Online] Available at: http://www.handicrafts.nic.in/ArtisanData.aspx?MID=SZmOd%2fCrxTo9CHD2XKF+pA%3d%3d [Accessed 27 September 2017]. Gaffar, S., 2017. Mother of Pearl & Bone artefacts [Interview] (5 October 2017). Gurjar, C., 2017. Mojdi craft and market [Interview] (5 October 2017). Jaitly, J. &. S. R., 2017. A plea for reconsideration of GST rates for the crafts sector, Delhi: Dastkari Haat Samiti & Craft Revival Trust. Liebl, M. &. R. T., 2000. Handmade in India: Preliminary Analysis of Crafts Producers and Crafts Producers in India: Issues Initiatives Interventions, Stony Creek: The Policy Sciences Center. Inc. M.P.Ranjan, A. R. &., 2007. Handmade in India. New Delhi: Council of Handicrafts Development in India (COHANDS). Manihar, M., 2017. Lac Bangle craft and market [Interview] (5 October 2017). Panwar, J., 2017. Mojdi craft and market [Interview] (4 November 2017). Rathore, K., 2017. Sword making craft and market [Interview] (5 October 2017). Suthar, J., 2017. Bone Artefacts [Interview] (3 November 2017).


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Annexure

Annexure 1 Summary of traditional performing arts in Jodhpur # Performing

art Description Communities

involved Allied

communities No. of

practitioners Annual Income (INR in Lakh)

Location Ward Instruments Audience External support

Possibility of

continuation by next

generation

Strengths and

Opportunities

Threats and Weaknesses

Image

1 Kalbelia music and dance

Women dance and sing and men play musical instruments in the traditional folk music and dance tradition

Kalbelia none 100 dancers; approximately 50 troupes

1.5-2.5 Badli, Chopasni, Paota

19 & 55 Been, Dhafli, Manjira, Dholak, Bada Duff, black costume

Perform across the country and also travels abroad

Occasionally perform for programmes organized by government bodies; Rupayan Sansthan

High • Unique skill set;

• Have UNESCO recognition

• Perform across the country and abroad

• Threat from modern entertainment forms

• Work availability seasonal and variable

2 Puppeteering Men and

women both make puppets and do the puppeteering

Bhaat Meghwal (traditional patrons)

5 families 0.75-1.5 Pratap Nagar

11 wood (Babool), cloth

Perform for Meghwals and commercially at weddings, parties and hotels.

None from government; Rupayan Sansthan

Medium • The performers increasing repertoire to cater to market demands;

• Unique skill set

• The community extremely poor

• market reduced due to modern entertainment

• limited engagement with visitors

• work availability seasonal and variable

3 Langa music and singing

Men sing and play musical instruments in this traditional folk musical tradition

Langa Sindhi Sipahi (patrons); Manganias music similar

150 families 2.5-4 Masuriya 21 Sindhi Sarangi; Gujaratan Sarangi; Morchang; Halgoja; Khadtal; Dholak

Perform for Sindhi Sipahis and also perform commercially in the city

Occasionally perform for programmes organized by government bodies; Rupayan Sansthan

High • Community cohesion strong,

• Practitioners highly skilled in unique skill set

• Limited engagement with visitors;

• Lack of space to train, teach, perform


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# Performing art

Description Communities involved

Allied communities

No. of practitioners

Annual Income (INR in Lakh)

Location Ward Instruments Audience External support

Possibility of


generation

Strengths and

Opportunities


Image

4 Dhadi Music and Singing

Women sing and both men and women play instruments in this musical tradition

Dhadi Jat (traditional patrons)

100-150 families

0.75-1.5 Badawasiya

60 Kansa Thali, Dhol

Perform for Jats as well as commercially in the city

None from government, Rupayan Sansthan

low • Community cohesion strong,

• Practitioners highly skilled in unique skill set

• The next generation doesn’t want to continue

• Loss of market and reduction in patronage

• Alcoholism in community

• Limited engagement with visitors


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Annexure 2 Summary of traditional craft in Jodhpur # Traditional

Craft Description Communities

which practice

Material used



Location Ward Material source

Consumer Possibility of


generation

Strengths & Opportunities


External Support

Image

1 Lac Bangles and products

Lac is a plant resin used to make bangles and other products. Lac bangles are considered auspicious for married women

Manihar lac, stone, diamond, pigments, metals

7-10 shops 20-22 Lakhara Bazaar, Sanjay Colony

25, 38 Uttar Pradesh, Bihar

Local population, tourists

Medium • Popular with local consumers and tourists

• Design innovation low

• Not capitalising on export market much

• Some have DCH artisan card

• Some have stalls at MMT crafts bazaar

2 Leather Mojdi

Mojdi are intricately made traditional footwear used by men and women. Traditionally men do the cutting, pasting and stitching and women do the embroidery

Gurjar, Jingar, Rehmani, Mochi

leather: buffalo, camel, goat, Camel and Thread

3000 families

1.5-3 Sivanchi Gate, Pratap Nagar

31, 18, 19, 20

Chennai, Kolhapur; Jodhpur, Kanpur

Royal families to commoner, farmer; tourists; export, retail market

Medium • Strong footwear

• Has the property of being uniquely Indian

• Market has reduced due to competition

• Not much design innovation



3 Sword Making and other metal works

Traditional metal crafts like sword making, work on precious metals

Siklikar, Rathore, Jingar; Lohar, Soni

iron, brass, silver, white metal, car sheets, hard metal, gold

25-35 families

2-5 Pratap Nagar, Ada Bazaar

18, 19, 20, 33

Jodhpur Fairs; Rajputs, people from surrounding areas; rest of Rajasthan, exports

Medium • Used for ceremonial purposes

• The market has greatly reduced


4 Tie and Dye It is a very

popular traditional dyeing technique used to ornament cloth. Traditionally women do the tying and men do the dyeing

Chadwa, Chunarigar

cotton, georgette, chiffon, silk, china cloth, dyes

1000 families

10-12 Chadwon ki Gali, Pratap Nagar, Bagar Chowk

15, 18, 19, 20, 51

Bhiwandi, Surat, Kolkata

Tourists, regular people, Rajputs, royals (for safas); goes all over the country even internationally

High • Still very popular across the country

• Has a unique identity

• Large number of practitioners

• Mostly used for traditional garments, not capitalised on modern clothing




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# Traditional Craft

Description Communities which

practice

Material used



Location Ward Material source

Consumer Possibility of


generation

Strengths & Opportunities


External Support

Image

5 Bone, Horn & Mother of Pearl

Artisans make intricate decorative items from horn, bone and mother of pearl

Sheikh brass, wood, aluminum, meenawork; copper along with Mother of Pearl, horn and animal bone

10 families 2.5-3 Pratap Nagar, Basni

4, 19, 20 Orrisa, Kachchh, Jodhpur

Visitors, local population

Medium • Popular with tourists and for export

• Economies of scale small



6 Musical Instruments

Jodhpur is home to the production of membranophone musical instruments made using leather and wood

Dabgar goat, buffalo leather, iron, brass, bronze; wood (shisham), iron powder and gum

15 shops 4-7 Sojati Gate 29 Amroha- UP, Delhi

Delhi, Punjab, Mumbai; schools, artists

Low • Unique history and association with Jodhpur

• Strong skill set

• The craft has no recognition from the government

• Western instruments have adversely affected the market

nothing

7 Block Printing

Artisans ornament cloth using the technique of block printing

Chipa cotton, blocks, dyes

100 families 4-5 Pratap Nagar, Nagori Gate

18, 19, 20, 44

Bhiwandi, Surat, Kolkata

Local population, Visitors

Medium • Important cloth ornamentation technique

• Threatened by processes like screen and digital printing



8 Papier Mache

Decorative products made with paper, wood powder multani mitti; derived from thate made in the past

Sheikh Paper, wood powder, gum arabic /fevicol, multani mitti

2-3 families

1.5-2 Mahamandir Road, Paota

55 Local market

Visitors/ tourists

Low • Technique has been adapted for visitor market

• Few artisans left

• Demand low


• Awards in the past


1

Industry List and Evaluation Framework Report

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heritage management plan & project development proposal...

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