CRAFT CLUSTER AND DOCUMENTATION

A DETAILED CRAFT STUDY

2017

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2
 BELL-METAL
CASTING

3
4
BASIC INFORMATION

NIFT Centre- BHOPAL

A detailed study on
The bell-metal casting
technique of BETUL,
Madhya Pardesh.

Group Members:

Nandini Pandit
Sonali Gour
Pavitra Sharma
Simran Sihag
Ekta Singh
Akanksha Shrivastava
Ainie Islam

Fashion and Lifestyle

Accessory Design 5
Department
 ACKNOWLEGEMENT
6
We are highly indebted to Mr. Ankur Raj for his guidance and constant supervision as well as for providing necessary information regarding
the subject & also for their support in completing the industrial orientation.
We would also like to express our gratitude towards Mr. Baldev Baghmare for his kind co-operation and encouragement which helped us in
completion of this module.
We would also like to thank Mr. G.G. Varke,manager of the Hast shilp orgnization for his thoughtful insights and important information about
the Government’s role in the promotion of this craft and the organization and its working.

This cluster was a great opportunity for us to get out of our comfort zones and experience one of the most wonderful crafts of the country.
Our heartiest gratitude goes to the artisans of Betul for their patience and energy who took out time from their busy schedules to provide us
with any information we needed.

Mr. Souik Haldar and Mr. Ankur Raj, our class coordinator and faculty-mentor respectively are specially to be recognized for organizing
everything and being our support system throughout the course of the module. Without their deliverance, we could not have been able to
achieve any fruitful outcomes of this expedition.

We would like to express our special gratitude and thanks to the various people whom we interacted with during the course of the subject for
giving us such attention and time.
Our thanks and appreciations also go to our class mates and people who have willingly helped us out with their abilities.

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 CONTENT

01 pircy- bWtUl
INTRODUCTION TO BETUL 14-15 03 sa/n Evm( P{aik{Yaa
TOOLS AND PROCESS 51
• INTRODUCTION TO BETUL
•INTRODUCTION TO THE
• RAW MATERIAL
TRIBE
•TOOLS AND MACHINES
• HISTORY
•PROCESS
• ORIGIN
•SOCIAL AND CULTURAL
INFLUENCES 02 pircy- ixLp
INTRODUCTION TO THE CRAFT 26-27
•ABOUT DHOKRA
•DHOKRA IN BETUL
•WORK ENVIRONMENT
•OTHER CRAFTS
•HEAD ARTISAN
*POPULARITY
•GOVERNMENT AID
•SPECIALIZATION
•DIFFERENCE FROM
CHATTISHGARH

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 04 vStu Evm( kairgr 06 hmara Anu.v
PRODUCTS AND ARTISANS 72-73 OUR EXPERIENCE 96-97
•DESIGNS
•PRODUCTS
•PRODUCT RANGE
•ARTISANS

05 lagt Evm( ivp<an

COSTING AND MARKETING 82-83
•COSTING
•MARKETING BIBLIOGRAPHY 100
• HOW DOES THE CRAFT HELP GLOSSARY 101
THE TRIBE AND COUNTRY
•EMPOWERING THE CRAFT
•MARKET COMPETITION
•DEMAND AND SUPPLY

9
 OVERVIEW

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 The students of semester 5, Fashion and lifestyle Accessory Design Department were to go through a Craft

OVERVIEW cluster initiative as per the course curriculum of NIFT. From NIFT, Bhopal, the students were taken tu
Betul district of Madhya Pradesh to undergo a detailed study of the caft of bell-metal casting and document
their experience and learning.

The students were supposed to work in groups and study the craft thoroughly over a course of 6 days and
document their research and field work in a systematic manner as a document.

Dhokra (also spelt Dokra)

is non–ferrous metal cast-
ing using the lost-wax-
casting technique. This
sort of metal casting has
been used in India for
over 4,000 years and is still
used. One of the earliest
known lost wax artefacts
is the dancing girl of Mo-
henjo-daro.

The product of dhokra ar-

tisans are in great demand
in domestic and
foreign markets because
of primitive simplicity, en-
chanting folk motifs and
forceful form.

11
 to the document
INTRODUCTION
This document is a reflection of our efforts, a collection of extensive information collected by various sources
and the complete guide with step-by-step procedure of the craft in focus- the Dhokra craft of Betul.

It consists of a variety of information under various topics, including the general information about Betul, its
people, flora-fauna, culture, festivals, etc , The process from sourcing of the raw materials to the finishing of final
product, costing, marketing, competitions and other aspects related to the craft.

Dhokra (also spelt Dokra) is non–ferrous metal casting using the lost-wax-casting technique. This sort of metal
casting has been used in India for over 4,000 years and is still used. One of the earliest known lost wax artefacts
is the dancing girl of Mohenjo-daro. The product of dhokra artisans are in great demand in domestic and
foreign markets because of primitive simplicity, enchanting folk motifs and forceful form. Dhokra horses,
elephants, peacocks, owls, religious images, measuring bowls, and lamp caskets etc., are highly appreciated.
This document doesn’t only contain the important information about the craft; it also is a collection of images
and diagrams helpful in understanding of the processes involved. Thoughtful addition and Systematic
compilation is what makes this document a worth-while read. Relevant information about the craft, its history,
its procedure, the final product, its marketing, its costing, and our experience can be easily found here.
Betul has a history of
Folk paintings, bam-
boo, jute, woodcraft,
stone craft, iron craft,
Metal craft, terra-cot-
ta, paper- mache, zari
work (gold thread em-
broidery), ornaments,
dolls etc.

Each hand-crafted
product of Madhya
Pradesh is charming
enough to sweep you
off our feet and lets
us wonder about its

12
INTRODUCTION
13
 01
14
pircy-bWtUl
ABOUT BETUL

• INTRODUCTION TO BETUL
•INTRODUCTION TO THE
TRIBE
• HISTORY
• ORIGIN
•SOCIAL AND CULTURAL
INFLUENCES

15
 introduction
to betul Betul District is a district of Madhya Pradesh state in central India. The city of Betul serves as its administrative
headquarters.

ETYMOLOGY The literal meaning of Betul is “without (be) cotton (tul)”.

It was the border of the cotton-growing area. Betul derives its name from the small town of Betul Bazar, about
5 km south of the present city which was the district’s headquarters. In 1822, the District Headquarters was
shifted to the present place, which was a village called Badnur at that time.

Betul is one of the marginally located southern districts of Madhya Pradesh, lying almost wholly on the Satpura
plateau. It occupies nearly the whole width of the satpura range between the valley of the Narmada on the north
and the bearer plains on the south. It forms the southernmost part of the Bhopal Division.

Betul has a history of

Folk paintings, bam-
boo, jute, woodcraft,
stone craft, iron craft,
Metal craft, terra-cot-
ta, paper- mache, zari
work (gold thread em-
broidery), ornaments,
dolls etc.

Each hand-crafted
product of Madhya
Pradesh is charming
enough to sweep you
off our feet and lets
us wonder about its

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17
 to the TRIBE THE CRAFT TALE OF BHAREVA - ‘MASTERS CASTERS
In the heartland of India lies its largest state, Madhya Pradesh filled with lush green forests, magnificent monu-
INTRODUCTION ments, exuberant festivity and blissful solitude. In this land of wonderful and contrasting variety, handicrafts lend
a touch of magic - a charm unique to Madhya Pradesh.
Folk paintings, bamboo, jute, woodcraft, stone craft, iron craft, Metal craft, terra-cotta, paper- mache, zari work
(gold thread embroidery), ornaments, dolls etc.
The ‘Bhareva craft of Betul’ is the art of sculpting brass with the ancient technique of lost wax casting. Practiced in
West Bengal, Orissa and Madhya Pradesh, this metal craft finds different forms of expressions with the different
tribes and traditions. The Gond, Baiga and Korku tribal communities of betul, and nearby districts of Madhya
Pradesh, are highly skilled in this ageless craft. The tribal crafts reflect the lives of their users, their food and its
source, their rituals to propitiate unknown forces, which include their art and crafts, music and dance and unfold-
ing the rich Indian heritage globally.
Every article produced authenticates the purity of the uniqueness of the design, as Bhareva craft involves casting
molten metal in moulds and each piece reflects exclusiveness of its origin as for every piece its own mould is made.
The tribal folk motif and design defines an inspiration that is epic and shed lights on the aspects of life. The legacy
created by the designs can attempt to keep the craft alive.
To make the imaginable
real’ personifies the Bhare- They radiate an aura, exhibit hereditary skills, whisper painstaking craftsmanship and evoke an urgent desire to
va craft as the artisans have learn more about the land and its colorful people The initiative for the elevation and sustainability of the Bharevas
skillfully harmonized their from getting unacknowledged is the required urgency as ‘Bhareva shilp` is a sheer revelation of the Indian heritage.
age old knowledge and ‘And in this craft lie thousands of our ancestral tales wrapped like a soul that only grows but not old.”
techniques sustaining their
priceless traditional designs
and also the new designs to
meet modern day market
demands.
The important ritualistic
objects like the rings and
daggers, which has now
taken diverse ornamental
forms still prevail impor-
tance for a young couple
who is anticipating a new
life after a sacred marriage
ritual. Their life would start
after enshrining their deity
in the house embodies the
18 traditions of the tribes.
INTRODUCTION TO THE TRIBE
19
 HISTORY AND ORIGIN

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 Betul popped up in the pages of indian history only during medieval period, when the erstwhile Gond Kingdom
seized the entire Central India. Besides, Betul medieval history few more important events which today have
become part of region’s folklore.
The statues and sculptures found near Betul by archeological survey of India illustrate the use of metal casted jew-
ellery in ancient times in this area. It is believed to be a part of Magadh dynasty initially, which was later taken over
HISTORY

by Vidarbha dynasty as written in “Malvikagnam” by Kalidas.

It later became the part of several different regimes like Mughals, Malwa, Marathas. The ruined city of Kherla
formed the seat of government under the Gonds and preceding rulers, and hence the district was, until the time of
its annexation to the British dominions, known as the “Kherla Sarkar.”
The Marathas in the year 1817 ceded this district to the East India Company as payment for a contingent, and by
the treaty of 1826 it was formally incorporated with the British possessions.

Betul was the Centre of

the first of the four an-
cient Gond kingdoms of
Kherla, Deogarh, Mandla
and Chanda. According
to Ferishta, the Persian
historian, these king-
doms engrossed in 1398,
all the hills of Gondwana
and adjacent countries,
and were of great wealth
and power.

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 Betul is one of the marginally located southern districts of Madhya Pradesh, lying almost wholly on the Satpura pla-
teau. It occupies nearly the whole width of the satpura range between the valley of the Narmada on the north and the
bearer plains on the south. It forms the southernmost part of the Bhopal Division
The district derives its name from the small town of Betul Bazar about 5 km south of Badnur, the Headquarters of
the district. During the Maratha regime also, in the beginning of the British rule, Betul or Betul Bazar was the district
Headquarters.
ORIGIN

NAMES OF THE DYNASTIES RUINED - VAKATAKAS, RASTRAKUTAS, KHERALA, SULTANS OF MALWA,

MUGHALS, GONDS, BHONSLAS, BRITISH

MAJOR RELIGIONS, CASTES AND LANGUAGES

RELIGION: Hindu, Muslim, Sikh, Jain, Christian, Buddhist.
CASTES : Gonds, Korkus, Kurmis, Kunbis, Bhoyars, Mehras, Chamars, Banias, Rajput’s.
LANGUAGES : Hindi, Gondi, Marathi, Korku.

In 1822 the District Head-

quarters was shifted to the
present place, then only the
village came to be known
as Badnur Dhana, meaning
Badnur village in the lo-
cal dialect. Now, even after
such a long time, not only
the district retains the old
name, but the name of the
new Headquarters town,
Badnur, has also been su-
perimposed by “BETUL”.

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HISTORY AND ORIGIN

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 CULTURAL AND SOCIAL
INFLUENCES
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SOCIAL & CUTURAL
Main tribes inhabiting the district are Gonds and Korkus.
Caste system of main tribes residing in Betul
• Gond and Korku do Forest associated works
• Bhareva are Bell metal workers
• Pradhan are the Story tellers of ancient Gond kings
• Gaiki are Cattle rearers
INFLUENCE
• Kumhar are Potters
• Bharewas are very less in numbers.
Hindi, Marathi, Gondi and Korku are the main languages spoken in this district.

The people worship both Hindu and tribal gods.

Bharewa is the tribe practicing ‘Cire Perdue’. The meaning of Bharewa is the one who fills (Hindi; Bharna- To fill).
Bharewas live in Phongaria, Chunahajuri, Barkhad, Kalamesara, Tigariya and Sitakamat villages of Betul district.

ECONOMIC STRUCTURE
Farming and metal casting are their traditional occupations besides which they also have secondary occupations.
The tribal economy is mainly based on the weekly hats and bazars in nearby villages. Generally, these people are from
the lower economic strata but their status is rapidly rising now because of the growing market.
Betul District is
divided into 10 Tehsils,
309 Panchayats, 2011
Villages. Shahpur Tehsil
is the Smallest Tehsil by
population with 95909
populations. Betul Teh-
sil is the Biggest Tehsil
by population with
539328 populations.

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 02
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pircy- iXlp
ABOUT THE CRAFT

•ABOUT DHOKRA
•DHOKRA IN BETUL
•WORK ENVIRONMENT
•OTHER CRAFTS
•HEAD ARTISAN
*POPULARITY
•GOVERNMENT AID
•SPECIALIZATION
•DIFFERENCE FROM
CHATTISHGARH

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 ABOUT THE CRAFT

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ABOUT DHOKRA
Dhokra is non-ferrous metal casting technique using the lost-wax casting technique. One of the earliest known lost
wax artefacts is the dancing girl of Mohenjo-daro. The product of Dhokra artisans are in great demand in domestic
and foreign markets because of primitive simplicity, enchanting folk motifs and forceful form. Dhokra horses, el-
ephants, peacocks, owls, religious images, measuring bowls, lamp caskets etc. are highly appreciated. The Dhokra
people are settled over a vast tract in the mineral-rich central Indian tribal belt covering the modern regions of Oris-
sa(mainly people from the aboriginal caste called Sithulias), Jharkhand, Chattisgarh and parts of Andhra Pradesh.

Origin of the name ‘Dokra’

Dhokra Damar tribes are the traditional metalsmiths of West Bengal. Their technique of lost wax casting is
named after their tribe, hence Dhokra metal casting. The tribe extends from Jharkhand to West Bengal and
Orissa; members are distant cousins of the Chhattisgarh Dhokras. A few hundred years ago, the Dhokras of
Central and Eastern India traveled south as far as Kerala and north as far as Rajasthan and hence are now
found all over India. Dhokra, or Dokra, craft from around Santiniketan, West Bengal, is popular.

The Dhokra motifs

have been inspired
by the folk culture.
Dhokra crafts are cre-
ated from Bell metal,
brass or bronze.The
proportion of the metal
in the alloys, consti-
tution of the mould,
firing techniques etc
vary from one region
to other. The material
used is not pure brass/
bronze, but contains
scraps of other met-
als which gives it the

29
 ABOUT DHOKRA
Dhokra- Art of Bell Metal
Dhokra (also spelt Dokra) is non–ferrous metal casting using the lost-wax casting technique. This sort of metal
casting has been used in India for over 4,000 years and is still used. One of the earliest known lost wax artefacts
is the dancing girl of Mohenjo-Daro.
The product of dhokra artisans are in great demand in domestic and foreign markets because of primitive sim-
plicity, enchanting folk motifs and forceful form. Dhokra horses, elephants, peacocks, owls, religious images,
measuring bowls, and lamp caskets etc., are highly appreciated. The lost wax technique for casting of copper
based alloys has also been found in China, Egypt, Malaysia, Nigeria, Central America, and other places.
Lost wax method of casting a sculpture was first practiced during indus valley era around 2500 BC. In India, the
ancient scholarly work ‘Shilpshastra’ goes into the detail of metal working with alloys and casting of wide range
of utilities from daily use items, sacred artworks and architectural products. Here, metal work largely derives its
inspiration from religion. Before any artisan sits to make the figure, he prays for guidance from Tvastram (son
of Lord Vishwakarma), said to be an expert in metal alloys.

The Dhokra motifs

have been inspired
by the folk culture.
Dhokra crafts are cre-
ated from Bell metal,
brass or bronze.The
proportion of the metal
in the alloys, consti-
tution of the mould,
firing techniques etc
vary from one region
to other. The material
used is not pure brass/
bronze, but contains
scraps of other met-
als which gives it the

30
DHOKRA IN BETUL
DHOKRA IN BETUL
31
 As a young couple enters the sacred institution of marriage, anticipating a new life, new roles and a new
IN BETUL household, a humble yet revered image of the tribal deity is enshrined in the new home, before anything
else. Sculpted by the local metal craftsman, the brass figurine embodies the tribal traditions and beliefs
of the Gonds of Betul, Madhya Pradesh.
DHOKRA
Farming and metal casting are the traditional occupations of families in Betul besides which they also
have secondary occupations. The tribal economy is mainly based on the weekly hats and bazars in near-
by villages.

The ‘Bhareva craft of Betul’ is the art of sculpting brass with the ancient technique of lost wax casting.
Practiced in West Bengal, Orissa and Madhya Pradesh, this metal craft finds different forms of expres-
sions with the different tribes and traditions. The Gond, Baiga and

In the heartland of India

lies its largest state, Mad-
hya Pradesh filled with
lush green forests, magnif-
icent monuments, exuber-
ant festivity and blissful
solitude. In this land of
wonderful and contrast-
ing variety, handicrafts
lend a touch of magic - a
charm unique to Madhya

32
33
 WORK ENVIRONMENT

The family works around the house i.e. the backyard of the
house for the preparation of the inner cores, wax, coiling,
moulds, making of the investment and preparation of the kiln.

Tigaria village is devoid of proper electricity, thus, makes a

very bleak chance for the family to work during the night.

Although some problems are still there, which include-

• No caretakers for the kids , some women have to take
care of their children while working.
• Heat and harmful gases are produced while heating
the wax and other ingredients.
• It becomes difficult for the artisans to work in winters
in the wet mud and sand.

The living environment is healthy. The craftsman has small

kuchha hut besmeared with clay and cowdung, with a roof of
bamboo structure and terracotta tiles. The 3 room hut has a
low entrance. The house is
surrounded by farms
creating a pollution free, pleasant atmosphere.

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OTHER CRAFTS IN BETUL
POTTERY• BAMBOO WORK

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 POTTERY IN BETUL
The earliest forms of pottery were made from clays that were fired at low temperatures in pit-fires or in open
bonfires. They were hand formed and undecorated. Because the biscuit form of earthenware is porous, it has
limited utility for storage of liquids. However, earthenware has a continuous history from the Neolithic period
to today. It can be made from a wide variety of clays. The development of ceramic glaze which makes it im-
permeable makes it a popular and practical form of pottery making. The addition of decoration has evolved
POTTERY
throughout its history.
Matkis (spherical earthen vessels used to store water), Gamla (flower pots), Gullak (piggy banks), Diyas (lamps),
Kulhar (famous chai glasses) are some of the traditional products people master here on manual potter wheels.
The process of production is typically organic comprising of mostly natural ingredients, eventually hand-made
and shaped – with no mechanical excesses. The basic raw material – black soil is procured in tractors from fields
– owners of which are willing to transact. Till recently, potters would excavate fertile soil from the river banks in
the vicinity, but the process ceased once that area came under the purview of Pench National Park and its forest
reserves. The other raw materials required are red soil for making the distinctive red color; water to mix large
proportions of earth so as to obtain a consistent concoction of pure black soil through kneading of clay. Fire
wood, cow dung, bricks, broken pots, and hay/husk are materials used to make ‘natural’ or ‘traditional’ kilns for
‘bisque firing’ earthenware so as to provide this fragile produce, with high durability.
Conducive to cotton
cultivation, black soil
exhibits high moisture
retention qualities,
and is one of the most
superior forms of soil
utilized in pottery all
across the country.
Farmers and potters of
Neempaani, practice
this timeless hand-
craftsmanship as their
primary occupation
next to only subsistence
agriculture. Painted
with white and blue,
almost every house
is made of mud (kac-
cha houses), has huge
36 verandahs for mould-
ing earth into earthen
utilities and beautiful
crafts.
 The potter village economy
A typical potter purchases around three tonnes of soil or a tractor full of earth for Rs 1000. This lasts for around a month and is moulded into around
400-500 matkis on an average. A matki is typically ready in half an hour on the potter’s wheel after which it is dried under the sun for a day. The initial
hue is usually a smooth greyish black seemingly delectable to the eyes in the scorching summer months. Thereafter, red soil is mixed with water to obtain
shades of red, russet or auburn – the color that typically distinguishes unglazed pottery all across the world. No synthetics or paints are used at this stage.

The next step is to meticulously stack the freshly made works into the traditional kiln in which clay works are bisque-fired into the flames for around
two- three hours. The longer the duration of firing the richer the color transmutes into. Typical black pottery, huge globular handi used for cooking len-
tils and rice is obtained from firing the unglazed works for longer durations. Women from the household usually engage in this part of the process. Once
this is done, well defined objects of a reddish brown shade emanate from the kiln that are now durable, robust, color fast and ready to be retailed.

The bulk purchase rates are nominal. Rs 25 for a Matki which otherwise sells for Rs 40-50; Rs 20 for a flower pot and so on. The economy runs on its
peak during summer, ironically the time when potters are usually less labour efficient owing to extreme temperatures. An average Neempani potter
works for around 5-6 hours over and above his subsistence agrarian preoccupations.

Catching up with time

37
Realizing huge potential of this art form and the imperatives of upgradation in occupation, some potters have forayed into product diversification there-
by, breaking a regional monopoly of traditional pottery. Bells and chimes in tune with the more polished terracotta, tea sets, kettle, kitchen ware, animal
figurines, mythical murals, and vases are being slowly introduced into the mainstream which is rendering a novel appeal to this otherwise pristine art.
 BAMBOO WORK IN BETUL
BAMBOO WORK Bamboo Work of Madhya Pradesh, India occupy an important place especially in the life of rural populace.
Various utility articles such as fishing traps, agricultural implements, baskets and hunting tools are made of
bamboo. In Madhya Pradesh, most of these items are usually made by a community called Basod or Basor.
These items are usually put up for sale in the weekly markets.

In the state of Madhya Pradesh, the major bamboo producing centers are the regions of Betul, Balaghat,
Shahdol, Seoni and Mandla. Local artisans and the tribals are skilled at putting it to good use.

Basket and mat weaving is a major craft in Madhya Pradesh because of readily available Bamboo. The Toori
community in Betul district weave about 50 different types of baskets which are used for various daily needs
and ceremonial presentations during the festive occasions. Beautifully crafted baskets and windows of bamboo
are found in Alirajpur. Bamboo and cane are used for chairs, tables, lamps and many other furniture accesso-
ries. Things made of bamboo are collectable art pieces.
Bamboo products include decorative pieces like flowers, vases, photo frames; utility items such as mats, bas-
kets, etc.
The local artisans
have skillfully
hamonized their age-
old techniques and
knowledge with
innovative designs
to meet the demands
of modern market.
Bamboo Products
of Madhya Pradesh,
India owes a lot,
especially to the
highly skilled Gond,
Korku and Baiga
tribal communities.

38
BAMBOO WORK

39
 HEAD ARTISAN

40
HEAD PERSON
The head Artisan in Betul is, “Baldev Baghmare”The craftsman Sukhram Baghmare re-sides in Tigaria village along
with his family which includes his wife, son Baldev, daughter in-law and two grandchildren.
Sukhram inherited the craft from his fore-fathers and has further passed on the skill to his son Baldev, who also runs
the Bhareva Shilp Kala Kendra in Tigaria.

The family has a

semi-pakka house and
also owns a piece of
land and agriculture is
their secondary
occupation.Baldev
Baghmare teaches all
the new coming arti-
sans to learn the craft
and keeps guiding
them .
He has helped a lot
of women and men
from his village get
employed through the
craft, even the wives,
mothers are a part of
this craft.

41
 POPULARITY

42
popularity
The metal craft of Madhya Pradesh has a fascinating range. The master craftsmen of the state
have created symphonies in metal. The earlier craft was confined to utensils and ornament but
later craftsmen diversified their work to include icons of locally revered deities, figures of hu-
man, animals and birds and other decorative objects.

The Dokra craft is highly esteemed in all parts of the world for its primeval simplicity and its
amazingly intricate motifs. Moreover, the figures have a rustic and antique finish that makes
them more appealing.

Dokra is one of the jewels

of our country as well
as our state. The craft
may be sold at high rates
all over the world, but
its makers often are not
getting their due.

43
 government aids
As based on the artisans’ statements, There are no specific privileges or facilities provided to the artisans . Although
the artisans and craftsmen admitted that they do have
certificates which have been recognized by the government and also added that the
certificates haven’t got them any facilities or support yet.

There are no aids giving for the expenses in-

• Electricity used for the craft on day to day basis.
• Water being used.
• Transport for the artisans while travelling from home to work place or while
representing the craft at different states during events.
• Any support for the eldery artisans in the craft.
The artisans have
been identified by M.P.H.S.V.N, BETUL (Samanya Suvidha Kendra)
the Madhya Pradesh HastaShilp Evam Hathkargha Vikas Nigam
government and
have even been It is to save, nurture and propagate this unique heritage that the Madhya Pradesh Hastshilp Evam Hathkargha
awarded with cer- Vikas Nigam Ltd has been working tirelessly over the years.
tificates of recog-
nition It aims to provide craftsmen of the state with the tools with which they can continue to practise with profit and
dignity what has been bestowed on them by gone generations.

44
GOVERNMENT AIDS

45
 specializations
Figures of goddesses and animals are mostly portrayed and products which reflect life.

Figures of elephants, horses, cattle and peacocks, utensils and jewellery are mostly made by the craftsmen.

Following the typical folk style of this area, the cattle bell is one of the oldest objects made by this technique. The
bell is even worshipped as a god by some Gonds, its sweet sound symbolizing cattle and hence, prosperity. The oil
wick lamp is another very important ritualistic object which has now taken diverse ornamental forms.

The diety figures which

are made by bell metal
casting are often found in
most of the homes in the
village for worshipping
and considered to be holy
and pure.

46
SPECIALIZATIONS

47
 FROM CHHATISGARH
difference
Chhattisgarh has a finely developed art of making lost wax cast ritualistic and utility objects. This art is
famous as Dhokra.
Bastar region has the largest concentration of craftspersons.

In Bastar, the Gharuas use wax for metal casting the idols ; they install them in the Devgudi ;Village
Shrine, of a deity under the trees.
Cast forms of Dhokra has three variations.
Two of them have only metal content and these are usually flat motifs or thin- walled hollow containers
or figurines without a clay core.The third one includes object of larger volume such as animals and lamp
stands, where a clay core is retained inside a thin layer of metals as an economic measure.
In some cases, when the outer layer is a lattice, then thin core is mechanically removed in the finishing
stage.
The different regions
of Madhya Pradesh Rice husk is added to the core to reduce its weight.
and Chattisgarh have a The decorative parts of the object are separately added with wax and joined together with chaar, a hot iron
prolonged rod.
tradition of metal Bamboo sticks are inserted to create channels for molten metal to enter the wax filled cavity.
craft. Number of tribal The Bharewa (one who fills) of Betul belong to the first category in which objects are made by pouring or
and folk artisans are filling molten metal into the mould.
traditionally involved Apart from utensils, they traditionally make harnesses for house andornaments for cattle, lamps and bird
in practising this craft. figures.
Malar from Sarguja,
Jhara from Raigadh,
Ghadwa from Bastar,
Swarnakar from
Tikamgarh and Bhare-
wa from Betul - they
all play a vital role in
keeping this craft in-
tact. The basic process
of casting from Sar-
guja to Tiktill exists.
amgarh and from Bas-

48 tar to Betul is similar,

whatever slight differ-
ence still exists.
DIFFERENCE FROM
CHHATTISGARH
49
 03
50
sa/n Evm( P{aik{Yaa
tools and processes

•RAW MATERIALS

•TOOLS AND MACHINES

• PROCESS

51
 RAW MATERIALS
•The age old technique of bell metal casting follows the traditional processes that have been applied since its origins with a few enhancements. The raw materials

52
required and the precise techniques that go into this handicraft are as follows.
LIST OF RAW MATERIALS THAT GO INTO MOULD

Husk —
1 Source: locally available wheat straw also used to feed cattle.
For giving extra strength and avoiding cracks while drying, which is the result of shrinkage in clay.

2
Kachchi Mitti —
Source: nearby grounds, fields.
For making the inner core structure.

Jali Mitti / Burnt Clay —

3 Source: broken moulds of previous casting products and available at work place only.
Applied on the surface for giving smoothness to clay mould.

Chikni Mitti —
4 Source: nearby fields.
Applied on clay mould for giving smoothness.
Substitute — terracotta clay

5
Soya bean oil —
Source: Nearby market.
Used in wax preparation to make wax moldable and flexible. Applied on hand before heating the wax on fire to
prevent wax sticking on hand.

53
 Wax—
6 Source: Procured from Chicholi. Tribals of Chicholi collect it directly from the bee hives.
This wax is processed with ral and soybean oil for use. For making wax moulds, wax threads and small parts.

7
Green Leaf—
Source: trees
To avoid sticking of wax on the clay mold.

Resin (ral) —
8 Source: secretion from sal tree
Prevents deformation of wax.

Cow dung —
9 Source: nearby homes and roads
Prevent cracks in the mould while baking.

10
Iron pins & water

54
55
RAW MATERIAL THAT GOES
INTO CASTING
56
 Metal —
1 Source: Old material and scraps from local market.
For making final product in bell metal.

Coal —

2 Source: purchase from local market and unauthorized dealers.

Used as a fuel in the kiln.

Cow dung cakes & Kerosene Oil –

3 Used as a fuel in the kiln.

Green Leaf & Balu –

4 For antique finish on the product.

5 Wood —
Source: Forest wood
Used as a fuel in kiln.

57
 TOOLS AND MACHINES
58
MOULD MAKING:
Kachni
1 It is a wooden tool used for sticking and shaping small wax rings.
There are different variations of kachni for different works.
Craftsmen get it made from local carpenters.

2 Hatha & Belna

These are wooden tools, used to make wax strips (flat) and thick wax rods.
Craftsman gets these made from local carpenters.

Patha
3 It is a wooden platform on which wax sheets and models are made.

Pichkari
It is a wooden, manual machine to draw wax threads.
The traditional pichkari consists of three parts.
4 1.Nozzle — in which wax lump is filled. It is a wooden handle, in the center of which a hollow cavity is fitted
with a hollow metal cylinder.
2.Piston — from which the pressure is exerted. It has a carted metal cylinder, fitted at the center, in a similar
wooden handle as Nozzle. The craftsmen get the wooden handle made from local carpenters and make the
brass casting by themselves.
3.Chhalni (Dye) — These are small, circular metal plates with holes of same diameters. There are different
types of dyes, according to the diameter of the holes.

FUNCTIONS:
•Both the wooden handles (Nozzle & Piston) are kept on one another.
•In the lower wooden handle, a circular dye is placed in the hollow cylinder, which contains the lump of hot
wax.
•This lump is pushed with the upper wooden handle consisting of a solid metal cylinder. 59
 KILN TOOLS AND FINISHING
TOOLS

60
 Sansi (pincers)
1 Iron pincer used for holding different things during the process. These are of various shapes and sizes,
and are procured from local market.

Hathora(hammer)
2 It is an iron tool for beating, which is purchased from the local market.

3
Weighing machine (tarazu)
Automatic digital weight machine.

FINISHING TOOLS
4 1. Power Blower or Manual Fan
2. Buffing Machine – to enhance the shine of the metal anfd reduce roughness.
3. Hand Buffing Machine
4. Hand cutter — mainly for cutting metal channels after casting
5. Files (reti) — used for finishing and shaping the metal.

61
PROCESS
62
 CORE

1
WAX MODEL

2
FINISHING REMOVAL OF INVESTMENT
MOULD CASTING

5 4 3 63
 Step 1 - CORE
PREPARATION OF MOULDS 1
Mould is made according to the requirement of the item (hollow / solid).
•Mould with core to cast hollow articles.
•Mould without core, i.e, completely hollow mould.
•Mould is prepared in three steps which include Core, Wax Model, Investment.

• Kachchi mitti and bhusa is mixed together with a very little quantity of water.
• A rough structure is made and allowed to dry for sometime.
• A thin coat of a paste, made from jali mitti, chikni mitti and water is prepard,
and it is allowed to dry. It provides a smooth surface to the basic structure.
• Green leaves are rubbed against the core, so that the wax which is to be applied
on the core does not remove the clay on melting in kiln.

64
4 3 2
Step 2 - PREPARATION OF WAX
• Ingredients 1
1) Ral (resin)
2) Bee’s wax
3) Soybean Oil
• (Resin + oil) & bee wax is mixed in the proportion of 1:3.
• Crushed and beaten pieces of wax are heated along with ral and soybean oil and stirred for
easy and quick flow and filtered through a cotton cloth.
• The filtered pure wax is collected in the container (for hardening) filled with water at room
temp., which is kept beneath the cloth.
•After hardening, wax is taken out of the water and kept in sun light / fire to make the wax
soft enough to be processed for further kneading and wire drawing.

65
4 3 2
Step 3 - PREPARATION OF WAX WIRES
1
• The die (kind of a sieve) of required diameter of wires is fitted in the nozzle of the
pichkari, the oil is applied inside the nozzle and a small lump of wax is inserted in it.
•The wires are drawn by pressing the wax in the nozzle with the piston.
•For a lump of wax, this process should be done quickly, because wax gets hard if kept
for a longer time.
•Sheets are made by beating the wax lump with hatha on a flat wooden platform.

66
4 3 2
Step 4 - APPLICATION OF WAX ON CORE
1
• This process involves two basic techniques, winding and merging.
• The wax wires are wound around the core according to the requirement of the design.
• Different motifs are placed on it.
• Merging of wax is done to join the different parts of the model, if any.
• Wax model for solid articles are made by molding wax lumps and ornamentation is done
by wax wires.
•Channels of wax are made and joined together at a point or through a path, to let the mol-
ten metal in while casting.
• Number of channels varies from design to design.

67
4 3 2
Step 5 - PREPARATION OF INVESTMENT
1
•It is a very significant process in casting as the quality of a cast depends on this to a larger
extent. It is applied carefully on all the details of the model to ensure that metal reaches in
all the parts of the mould.
•A thin coat of chikni mitti and water is applied over the wax, and is allowed to dry.
•Second layer is applied, consisting of, kachchi mitti, jail mitti and little amount of water,
to form dough and is allowed to dry.
•The final, outermost thick layer is done with kachchi mitti, bhusa and gobar ka ghol (cow
dung), and a chaadi (pouring cup) is also made with this composition.

68
4 3 2
STEP 6 - PREPARATION OF CASTING
Two bhattis (kilns) are set up, one for melting of the metal and another for baking of the mould. Both the kilns are setup one after the other, such that,
the baked moulds and the molten metal is obtained at almost same time.
Step 1 — KILN FOR MELTING OF THE MET-
•The kiln is first cleaned. Deposited ash and waste of previous firing are removed.
•Few iron rods and broken pieces of earthen pots are placed on the mouth of kiln, leaving air passage, to avoid the material kept in the kiln to enter into
the air pipe.
•A layer of cow dung cakes is put and Kerosene oil is spread and fire is lightened.
•A tire tube along with wood pieces is kept above these lightened cakes to ignite fire.
• Coal pieces are then thrown into the kiln.
•A blower is fitted in the air pipe to provide continuous air supply. The speed is regulated by tying the cotton cloth on the mouth of the blower.
•Coal is crushed at a regular interval with an iron rod and then more coal is added.
•After sometime, ember is achieved, i.e. a glowing, hot coal made of greatly heated wood, coal, or other carbon-based material that remain after. Embers
glow very hot, sometimes as hot as the fire which created them.
•They radiate a substantial amount of heat, long after the fire has been extinguished and more constant form of heat, as opposed to an open fire which is
constantly changing along with the heat it radiates.
•Now, a crucible, filled with metal scrap (to be melted) is kept and surrounded by more coal pieces and the kiln is covered with bricks, so as to retain the
heat produced in the kiln.

69
1 2 3 4
Step 2 - KILN FOR BAKING OF THE MOULD

• A layer of Cow dung cakes are kept and lightened up. Moulds are
placed upside-down, keeping the pouring cup downward, on the kiln.
• Gap between the moulds is covered with cow dung cakes. 1 2
• The moulds are allowed to be baked. The molten metal is then poured
into the moulds.
• The baked moulds are hold straight with the help of sansi (pincers).
• The molten metal is poured into the mould with the help of chamchi.
• Moulds are left to solidify the metal.
• Water is poured on them to cool down or they are dipped into the
water.
• The moulds are broken with the help of a hammer.
• Water is again poured onto the article, and then, the debris is re-
moved.

3 4 5

70 6 7 8
STEP 7 -FINISHING OF THE PRODUCTS

1
• Tools, materials and Equipment used :
— Buffing machine
— Power Saw
— Files
• For Antique Finish
— Soyabean oil is taken on cotton and rubbed on the prod-
uct.
— Green leaves are taken and the product is kept in the
smoke produced by the burning leaves.
— Then baalu (sand) is rubbed on it to get antique look.

71
3
 04
72
vStu Evm( kairgr
PRODUCTS AND ARTISANS

•DESIGNS
•PRODUCTS
•PRODUCT RANGE
•ARTISANS

73
 DESIGNS

74
 Craftsperson takes his inspiration from his enriched environment, be it the village, tribal, myriad of trees, birds and ani-
mals, mythology or rituals.
The traditional designs are very close to the craftsmen life, their surroundings and their culture. The craftsmen are deeply
influenced by the symbolic images of deities mainly Lord Shiva, one of the all-powerful Trinity in Hinduism, and his
DESIGN
spouse Parvati. The other enduring image is of ThakurDev, who rides a miraculous horse and is supposed to protect vil-
lage from calamities. There are other deities of peace, prosperity, happiness and health Craftsmen, basically, simplify and
give a form to their myths and magic through bell metal art pieces.
The art pieces reflects the aesthetics of the local community. Each piece of work is characterized by intricate attention to
detail, visible in the jewellery that bedecks the tribal heads, the elephant’s howdah, and tortoise shell or even in a simple
container’s geometric lines. The designs and motifs have their own norms of proportion. Surface ornamentation is an
important aspect of these metal casted products.

The art pieces reflects

the aesthetics of the
local community. Each
piece of work is char-
acterized by intricate
attention to detail,
visible in the jewellery
that bedecks the tribal
heads, the elephant’s
howdah, and tortoise
shell or even in a sim-
ple container’s geomet-
ric lines.

75
 PRODUCTS

76
 TRADITIONAL PRODUCTS UTILITY PRODUCTS
• Key Ring Holders
• Bells (for cattle) • Key Rings
• Bangles • Hooks
• Diyas • Hangers
• Chitkura (a musical instrument) (cymbals) • Jars (for sugar, tea, coffee)
• Story-telling frames • Boxes (in different sizes, shapes and designs) - Jewellery box - Sin-
dur box
• Door Handles
OCCASIONAL • Clock
• Candle stands
• Kataar (Ritual Weapon for groom) • Lampshades
• Rings for Bride-Groom • Mirrors (Wall and Hand mirrors)
• Flower Vase
• Photo-frames

RELIGIOUS

• God Idols (gora-

khnath, thakurji, bada
dev, bal bhawani,
Narayan dev )
• Pooja Chowki
• Rath (Chariot)
• Nandi (Bull)
• Incense Stick Holder
• Idols of God Shiva
and Goddess Parvati
with their bull Nandi.

77
 DINING ACCESSORIES SHOWPIECES STATIONARY PRODUCTS
PRODUCT RANGE • Cutlery • Dolls • Pen Stands
• Bowls • Animals (Deer, Horse, Tortoise) • Paper Weights
• Spoons (service spoons, eat- • Masks • Book-Ends
ing spoon ) • Tribal Idols • Envelop Holders
• Forks • Visiting Card Holders
• Coasters
• Spoon stands
• Napkin Holder

JEWELLERY

• Necklaces
• Pendants
• Ear Rings
• Bun Pins
• Bangles
• Finger Rings

78
PRODUCT RANGE

79
 ARTISANS OF BETUL

80
ARTISANS From 1911 to 1921 about 16000 people from different parts of the country mainly Hoshangabad and Amravati
( Maharshtra) migrated to Betul district. The migration gradually seeped into the dialect and lifestyles.

Hindi, Marathi, Gondi and Korku are the main languages spoken in this district. The people here worship both Hin-
du and tribal gods without any bias.

Bharewa is the tribe practising ‘Cire Perdue’. The meaning of Bharewa is the one who fills (Hindi; Bharna- To fill).
The people who craft artifacts by filling molten metal in moulds are called Bharewa and the caste is known as ‘Bhare-
wa’. In some areas, Bharewa are also called Bharias, but they do not belong to Bharia caste which is distinctively dif-
ferent from Bharewa caste. Bharewas live in Phongaria, Chunahajuri, Barkhad, Kalamesara, Tigariya and Chitakamat
villages of Betul district.
Most of the artisans
started working for bell They generally live in nuclear families and the eldest male member is the decision maker of the family. Whole family
metal works as a unit, women are also involved in metal casting. The younger generation is also interested in taking this
as an inherited craft craft furthe
from their
ancestors and pass
their learning to the
further generations.- Deatails of some of the artisans woring with Baldev Baghmare-

NAME,AGE WAGES EXPERIENCE NATIVE PLACE

Dilip Durvey,23 Rs 7,000 4 Years Tigariya Village

Raj Sarkar,24 Rs 20-25,000 10 Years Bastar,Chhatisgarh
Asha Aharkey,30 Rs 5000-6000 11 Years Betul
Soomti Durvey,17 Rs 5000-6000 1-2 Months Tigariya Village
Sunita Parpachi,27 - 3 Days
Tigariya Village
Leela Bai,45 Rs 5000 33 Years
Tigariya Village
Pushpa Baraskar,23 - 2 Days
Tigariya Village

81
 05
82
lagt Evm( ivp<an
COSTING AND MARKETING

•COSTING
•MARKETING
• HOW DOES THE CRAFT HELP
THE TRIBE AND COUNTRY
•EMPOWERING THE CRAFT
•MARKET COMPETITION
•DEMAND AND SUPPLY

83
 COSTING

84
 COSTING
COSTING
 The elements determining the pricing are:
1. Cost of raw material
2. Weight of the product
3. Labour.

RAW MATERIAL QUANTITY COST (IN RS.)

Bees Wax 350 gm 200-300/kg
Metal 300 gm 120/ kg
Coal 2 kg 90/ kg
Cow dung cakes - 28/ kg
Soil 10 quintel 1200/ tractor
The local artisans
Ral - 350/ kg
have skillfully
hamonized their age-
old techniques and  Other costs:
knowledge with • Selling price of product of 1kg = Rs. 1000- 1200/KG.
innovative designs • Cost of labour: approx. Rs. 300/kg (with design)
to meet the demands • Cost of 1 mould of 1 kg = Rs. 5
of modern market.
Bamboo Products
of Madhya Pradesh,
India owes a lot,
especially to the
highly skilled Gond,
Korku and Baiga
tribal communities.

85
 COSTING
 Salary of Craftsmen per month with other factors

NAME AGE WAGE WORK- WORK- NATIVE FACILI- MOTIVE

ING ING PLACE TIES
HOURS YEARS
Raj Sagar 24 20-25,000 7-8 hours 10 years Bastar same Teach
livelihood
for entire
family
Dilip 23 7000 7-8 hours 4 years Tigariya certificates Work
Durvey
Asha 30 5000 5-6 hours 11 years Betul certificates Work
Aharey
Soomti 17 5000 5-6 hours 1-2 Tigariya certificates Learning
months
Sunita 27 5000 5-6 hours 15 days Tigariya certificates Learning
Parpachi
Leela Bai 45 5000 5-6 hours childhood Tigariya certificates Teach
Pushpa 23 5000 5-6 hours 2 days Tigariya certificates Learning
Barashar

 Factors affecting wages

• Profits are not constant as sales are not regular.
• Rainy season is known as slag season due to significant decrease in production.
• Craftsmen earn enough in peak season and save for slag season.

86
COSTING

87
 MARKETING
88
 The final products are sold through 3 major channels::
MARKETING LOCAL SHOWROOMS
EXHIBITONS EXPORT HOUSES
The ‘Madhya Pradesh Hast
Exhibitons are the most Due to the high demand of
shilp Vikas Nigam’ or The
common and widely accept- these product outside India,
‘Madhya Pradesh handicrafts
ed place of selling of these many export houses also asso-
development authority’ helps
items on moderate rates. ciate themseles with a group of
the artisans by providing
This mode of selling allows artisans and act as middlemen
them space, funds and con-
the artisans themselves to between these artisans and the
nections for the setting up of
go and sell their products at foreign market .
their business.
their convinience, on their In this mode of selling, the
Delhi, Mumbai, Kolakata and
prices. role of artisans is limited to the
Chennai are the majore cities
The clientelle here is local manufacturing only. Marketin
of business.
and it is a small scale selling is done by the export houses.
It has tie-ups with 27 show-
business. The clientelle includes foreign-
rooms in the state of MP and
ers and middlemen.
The technique of lost 10 showrooms outside MP.
wax casting using bell
metal is a skillful and
unique craft which
has a high demand all
over the world.

The families engaged

in this sector have a
good market. If they
choose to spend and
market their prod-
uct wisely, they can
develop into a lot.

Hand work and skill,

if marketed correctly

89
can result into great
revenue.
 HOW DOES IT HELP THE
TRIBE AND COUNTRY
90
HELPING THE TRIBE
AND COUNTRY HOW DOES IT HELP THE TRIBE?
The craft of these people isn’t just means of their livelihood; it is also their tradition which they have been
following for generations now. Because of their passion and respect towards the craft, it has now become
world-famous and has been recognized as one of the dying arts of India and therefore is given a special place
among the other art forms.
The ‘bairawas’ benefit a lot from this craft in terms of money, respect as well as growth. The craft brings them
employment opportunities, start-up opportunities and most importantly, creates employment for the women
of the tribe. Since most of the work can be done indoors and individually, majority of the women are engaged
in the making of metal products which brings them an extra income and acts as an additional benefit for the
family as well as the women.
Apart from creating employment, the craft brings the tribe, the necessary exposure of the market which most
tribes do not get by their usual activities.
There is another important aspect which cannot be missed. The craft is a depiction of the distinctive style of
the tribe’s art and by making innovative products and selling them, their style and a part of their culture gets
promoted worldwide.

This topic follows

through the diar need HOW DOES THE CRAFT HELP THE COUNTRY?
to our country: Em- Some powerful words by our former Prime Minister, Mr. Atal Bihari Vajpayi, “Empowering the individual
powerment of wom- means empowering the nation.” Seem apt in this scenario as when in a country like India, there is financial
en and promotion growth among the lower strata of Society, the country gets benefitted the most.
of the country;s own The bell metal products have a huge market in India as well as in foreign countries due to their innovative
handi-crafts. style and uniqueness. So, as a result, two things can be achieved. :
1. Revenue generation through local market where people are getting jobs, there is an internal business
Apart from the major inside the nation and the local market is coming into focus.
source of income 2. Revenue generation through export where exporters, traders, etc. are exporting these products to oth-
of these families, er countries, India’s trade is increased and foreign market is into main focus.
handicrafts like these
also are a source of The country benefits from this craft in other ways also. In the process of bell-metal casting, the old utensils,
self-development and jewellery decorative items which are made of brass are reused and made into something of value, thus helping
esteem. the environment and using the country’s resources in a better manner.
As mentioned above, this craft in particular empowers women of this tribe which is a huge step for India
towards betterment and growth. In a nation like ours, even to this day, the gender inequality factor comes into

91
play but if something as little as a traditional craft can help a woman to feel empowered by working inde-
pendently, it is something to be noted and encouraged.
 EMPOWERING THE CRAFT

92
empowering the craft
We, as individuals can be of some help to the ‘Bairawas’ by empowering their means of livelihood- their craft.
•Promotion of Dhokra: On a platform that we are on and in an age that we are in, we can easily promote dhokra
by using products made in this style, telling ours peers about its importance and thereby get it ‘trending’.

•Innovation in the craft: if certain changes are made in the traditional style and some more products of utility
can be made, the business of these metal items will reach new heights.

•Betterment of technology: If better technology and better infrastructure is provided to these people, the result
is bound to be better and there may also be a hike in the sales.

•Conducting workshops: Workshops which create awareness as well as promote dhokra can be conducted in vari-
ous institutions so that people have a better idea about this craft and its procedure.

•Organizing exhibitions: The major source of income as well as promotion for this particular craft is through the
small exhibitions organized across the country for the small scale businesses. Organizing more exhibitions and
Empowerment of the improving their aesthetic, entertainment and public appeal may result into better scope of business.
tribes is essential for
the overall develop-
ment of the country,

Here are some sug-

gestions as to how
can one promote
the use of handicraft
products thereby
promoting the whole
tribe and helping in
their growth

93
 MARKET COMPETITION-
DEMAND AND SUPPLY

94
OTHER ASPECTS MARKET COMPETITION
The craftsmen depend on haats, bazars and fairs to sell their articles.
They sent their products to Pachmarhi and Bhopal for selling.
The craftsmen of Betul face competition from the craftsmen of Bastar, in the larger market, in terms of quality, range
of products and cost. Bastar metal craft is well exposed and there had been remarkable interventions in the field of
design and technology whereas Betul craftsmen are facing infrastructural and technological constrains.

DEMAND AND SUPPLY

The market for ornaments made by this process has decreased but in its place the demand for icons, lamps and other
decorative articles has sprung up.
The market is both demand as well as supply driven. The increasing market has even influenced some craftsmen who
had stopped practicing the craft to start his work again.
Becuse of the unique- The craftsmen get orders from HSVN, Mrignayanee and other organisations too.
ness of craft and
fierce competition, As they had to take their goods to different places they transport it through trucks, tractors and loaders.
there is a stable
deman-supply system
existing in the
market.
Tere are many types
of dhokra art prac-
ticed in different
parts of the country
which act as com-
petitors and have an
approximate equal
market share,

95
 06
96
hmara Anu.v
OUR EXPERIENCE

97
 our experience NANDINI PANDIT
“First hand learning from the masters of
the craft is one of the most lucky thing one
can ask for and this craft cluster made it
happen. i am extremly grateful and thor-
oughly satisfied by this leaning experience
and would take this great opportunity
again if given a chance.”

SONALI GOUR
The learning experience of
the betul craft cluster was
This topic follows
beneficial for me i have learnt
through the diar need
many things from the experi-
to our country: Em-
enced artisans and they were
powerment of wom-
very helpful .it was really a
en and promotion
wonderful experience for me.
of the country;s own
handi-crafts.

Apart from the major

source of income
of these families,
handicrafts like these
also are a source of AKANKSHA SHRIVASTVA
self-development and we had a holistic learning experience
esteem. during our trip to betul. along with learn-
ing the ancient ‘Dokra Art’, we also got an
insight into the humble lifestyles of the

98 people presiding in the area.it was truly a

remarkable experience.
 PAVITRA SHARMA
The learning experience was SIMRAN SIHAG
very good.it was helpful in un- Getting an opportunity to see and
derstanding traditional crafts study the local craft the bell metal
and their importance in our casting was really great. Looking and
society as they hold historical learning how artisans cast such beau-
roots of our country.the work- tiful art pieces was wonderful and an
ing environment was socially indeed an amazing experience.The
friendly and all the artisans artisans were really sweet and humble
were very knowlegeble journey to give their time to us students. It’s
and working with my team was really wonderful to know that states in
an immense pleasure. India have so many beautiful crafts to
offer.

AINIE ISLAM
It was my privaledge to get this type of opportunity
to see the artisans and thier work. All the learning ex-
perience of the betul craft cluster was very helpful to
me for the better understanding of bell metal casting.
Artisans were very humble and shared their knowleg-
de with us. Over all experience was wonderful..

EKTA SINGH
It was a great leaning experience. I was felt like a part of the craftsmaen’s family, trying to
understand their problems and how they live.
With our study of dhokra craft we have indentified various clusters such as
poetry, bamboo and how they bring their product into the final market.

99
 BIBLIOGRAPHY
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https://upload.wikimedia.org/wikipedia/commons/8/82/Cow_Dung..JPG
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This topic follows

through the diar need
to our country: Em-
powerment of wom-
en and promotion
of the country;s own
handi-crafts.

Apart from the major

source of income
of these families,
handicrafts like these
also are a source of
self-development and
esteem.

100
GLOSSARY

101
 Taking out sone time to create memories.

102
Mesmerized by the creative vibes all around.
DEFINITELY moere interesting than Baghmare sir.

103
Betul through our eyes-QUITE Literally.