On the surface, the story of Nandana hand block printing sounds similar to any other languishing textile craft of India. However, when you dig deeper, you realize how this craft had its unique origins, purpose and technique much akin to the name derived from ‘Naand’ the pot which was used to prepare indigo dye.

Let’s learn more about the craft and how it can be saved from further decline along with possibilities of restoring its original glory.

Origins of Nandana hand block printing

Nandana originated in the villages of Ummedpura and Tarapur in Neemuch district of Madhya Pradesh. This is where the incredibly beautiful hand block printed Nandana fabrics were worn by women of the Bhil and Bhilal tribes as their traditional attire. Though the 500-year-old craft has survived till today, it has lost many patrons and practitioners during its long journey; for the tribal community it has remained more of a ceremonial costume than their regular wear.

Nandana involves wax resist dyeing process with 18 steps. The technique is used to print thick and heavy-duty cotton fabric with limited colours and motifs.  The fabric was used by Bhil and Bhilal community who were engaged in physically challenging activities like farming. The motifs of Nandana are few and they are used in the backdrop of deep, dark and rich colours that suits the rugged use by the hard-working community.

The craftspersons belonged to the Chippa community of Tarapur. With the gradual reduction of these artisans who are directly engaged in the craft, today there are about 125 – 150 families who are connected with Nandana in Tarapur and Ummedpura clusters. Out of this, 50 to 60 families are still actively practising the craft with 150 dedicated artisans.

This traditional craft has been the source of livelihoods for artisans but today, both the craft and the crafts persons are facing challenges.

• The link between the Bhil and Bhilals (patrons) and the Chippa community (the artisans) has weakened over the years
• The printed craft has been facing competition from mill printed cloth affecting its unique artistic value and cheap imitations
• The fabric has remained confined to the region and was used mostly for making full-length skirts (ghaghras) worn by the Bhil women
• The design was limited to traditional motifs and it did not evolve or adapt to changing times and trends
• The fabric has not been explored for functional uses like furnishings that could have widened its use

Material and process

Nandana makes use of a natural mordant, five designs and carved wooden blocks. The craft has 18 steps of printing and dyeing, quite similar to Dabu printing. Traditionally, the Nandana process involves the use of four motifs such as Mirchi, Champakali, Amba and Jalam buta, derived from plants and flowers. Dholamaru was introduced later in this craft.

Materials used for the traditional Nandana hand block printing and few unique aspects:

• Natural mordant like alum is used to get red with alizarin; pomegranate peel and indigo to get green or black colors
• The cotton fabric is treated multiple times before it gets printed
• Five designs called Mirchi, Champakali, Dholamaru, Amba and Jalam are traditionally used along with three different blocks for one design
• Use of blue and green background in addition to black

Current status of the craft and challenges

Despite the rich traditional art form, there are a few critical challenges faced by the artisans while printing the craft.  It’s highly time-consuming, the process takes a month to finish a volume of fabric. There is a shortage of skilled workers and there is also environmental consciousness growing in the material used in dyes. So, the craftsmen are seeking alternatives to use eco-friendly processes. Mud is being used instead of artificial dyes.

There is an employment crisis as this craft is being retained according to the market demands and also there is a decline in the volume of production of materials. Many craftsmen have migrated for more income and fewer working hours.

Though Nandana craft has exquisite designs, artisans need to upskill and re-skill themselves according to the changing times. They should be adequately trained to use eco-friendly dyes and power sources, new techniques, modern methods to keep the Nandana craft alive.

How skill-based training can help in realizing the market potential

To save the Nandana craft from extinction and rebuild the livelihoods of the artisans who have depended on it for ages, efforts should be followed with upskilling and creating entrepreneurship support systems.

• The artisans can be encouraged to use modern techniques and blend it with traditional material. This can bring in process efficiency and enhance productivity.
• To expand the beyond the families of the artisans, youth can also be inspired to take up the craft as a profession through awareness programs and demonstrations conducted by the Nandana artisans. Through such measure, we can ensure longevity of the craft and sustainable livelihoods for people connected with it.
• The artisans should explore more designs and re-visit the craft according to modern times. Youth can learn the craft, take it to other countries and increase the potential both in domestic and international markets.
• The government, the artisans, industry bodies and the educational and training institutions are needed to implement the plans and programs designed to save the craft from extinction.

Most importantly, the 500-year-old traditional craft should be saved from extinction by providing a good amount of income to the artisans. A craft rooted in history becomes a part of our rich cultural legacy and we need to explore many ways to preserve the legacy and pass it on to future generations.

Though these traditional crafts have been sustainable sources of livelihoods for artisans from many regions in Kashmir, today, both the craft and the crafts persons are going through tough times! Especially, the Namda craft which has caught the attention of the government and the exporters to ensure its revival and restore its potential to empower people and develop local economy.

In case you had visited any stall of Kashmiri handicrafts in an exhibition or tried buying a souvenir from Kashmir, few decades ago, Namda rug or a Namda jacket would have been on your list. Today, it’s hard to find them being displayed in stores and exhibitions, with hardly a few craftsmen practicing it, signally the decline of the craft!

Materials and process

The process starts with gathering, cleaning and laying of thick wool on a grass or jute mat within a defined border. This is followed by many steps till the final piece of Namda unfolds:

• White/dyed wool is spread evenly on a jute or grass mat and sprinkled with soap.
• The mat is then rolled tightly and tied up with a rope and rolled to and fro on the floor using hands and feet. This allows fusing of the fiber technically known as ‘fiber to fiber’ fusion.
• The rope is then untied and the mat is unrolled to the well-shaped Namda. This plain Namda is then embroidered with the beautiful Kashmiri Aari
• For making a patterned Namda, a pattern is laid on the grass or jute mat which is then surfaced with wool spread evenly with the help of a broom locally called ‘manzyen’. Then, the same process of sprinkling soap water and rolling of the mat is carried out.
• On untying, it reveals a beautiful Namda with colourful Aari

Current status of the craft and challenges

Despite the richness of unique designs and being a cultural artifact, there are few existential challenges faced by the artisans while felting, such as limited availability of wool carding machines, lack of human resources, low marketing and demand for new designs.

In addition, the dwindling number of artisans are forced to take up other activities and forms of employment to supplement their earnings , leaving Namda craft as a part-time activity among a handful of them. Further, they lack exposure to latest technologies that could help them save time, intense laborious effort and innovate to blend with modern sensibility and taste.

Though Namda craft dates back to centuries and has exquisite designs, artisans need to upskill and re-skill themselves according to changing times. They should learn new designs, marketing techniques, modern technologies which will help them to sustain the Namda craft in the country keeping the authenticity alive.

Efforts to revive the craft through RPL, upskilling and other forms of support

Despite encouragement and patronage from connoisseurs, Namda craft has not been able to get sustainable support and appropriate linkages to connect with the market.

In a recent development to promote and propagate the craft, the Ministry of Skill Development and Entrepreneurship (MSDE) has announced a pilot project with an increase of financial outlay.

To boost this traditional craft of Kashmir and upskill the local artisans, Hon’ble Minister of State (MSDE), Shri. Rajeev Chandrasekhar, launched a pilot Special Project under Skill India Mission for the artisans working on the traditional an heritage crafts clusters.

This pilot project will benefit 2,250 artisans of 30 Namda clusters from six districts of Kashmir. There will be an industry-based training programme and exposure to the international markets.  (https://hcssc.in/2021/11/29/honble-minister-of-state-shri-rajeev-chandrasekhar-visits-the-traditional-crafts-cluster-of-baramulla/)

How skill-based training can help in realizing the market potential

To save the craft from extinction and rebuild livelihoods of the artisans who have depended on it for ages, promotional efforts should be preceded with upskilling and creating entrepreneurship support systems.

• Like many other artisans who practice traditional crafts, Namda craft person would resist any ‘modern’ intervention that interferes with the traditional material or the process. We need to educate them about using suitable technology that can make it less laborious and apply similar techniques from other countries to make the craft more sustainable. This necessitates designing of formal training programs to upskill the artisans and empower them with right knowledge and skills.
• Technology can also be used to innovate and explore new designs that can be used to decorate functional items to expand the market potential. Rather than being confined to its identity as a woolen rug or carpet or a jacket meant for colder climates, a small piece of Namda can be patched up on other functional and furnishing items to transform it into a piece of splendid art!
• Youth from Kashmir can be inspired to take up the craft through orientation programs and demonstrations conducted by the Namda artisans. By addressing issues like availability of raw material (sheep wool) through regular transport, the craft can spread beyond its present location or a family.
• Most importantly, the practicing artisans need to see the potential both in the domestic and export markets when they re-visit their craft and align it with modern times. Concerted efforts from different stakeholders like the government, the artisans, industry bodies and the educational and training institutions are needed to implement the plans and programs designed to save the craft from extinction.

For ages, Kashmiri handicrafts have been integral to the development of the local economy and a source of income for thousands of artisans from different clusters. While few crafts have been able to withstand the challenges of dynamic markets, others are not so lucky to survive on their own. Though Namda appears in the list of dying crafts, the measures taken for its revival bring in new hope and aspirations to reinstate its fading glory.

We are talking about the opulent Danka embroidery or Danke ka kaam.

Danka embroidery or Danke ka kaam is a unique embroidery, practised in few parts of Udaipur in Rajasthan. With little formal documentation on the history and evolution of this craft, not much can be understood on how exactly it originated. However, the reason for this craft to survive till today is the unstinted patronage it received from the royal Rajput women of the Mewar region who adorned it on various occasions in ceremonial costumes.

However, with the passage of time and disruption in fashion and tastes, this mandatory embellishment on the fabrics has lost its royal patronage and this precious form of art remained confined to a small region. And, owning such an exquisite masterpiece was simply out of reach for common people.

What is Danka Embroidery

Put simply, the embroidery involves sewing the square shaped pieces of gold, silver or other metals on a fabric using multiple strands of zari using motifs from nature.

Danka is a small diamond shaped concave piece of metal, originally gold or silver that are hand-embroidered on silk, chiffon and satin with zari (or kasab). The Danka pieces are stitched on the fabric in Zardosi style using a few strands of gold or silver zari.

The process involves fine craftsmanship with delicate handling of the metal pieces to ensure that the motifs are neatly formed as they get engraved on the fabric. Some of the commonly used motifs include peacocks, paisleys, flowers and other patterns inspired by nature. The price of Dankas could be about Rs. 3000 per 10 grams and the number of Dankas for each design is counted and distributed to the craftsmen.

Materials and process

The Danka is cut from thin metal sheets of about 30cm X 2cm. Each piece is about 1 to 1.5 sq cm. The pieces are hammered gently to get a concave depression on the plate. The pieces have tiny holes pierced on them in the four corners for sewing on the fabric. While the craft originated with the use of gold or silver plating, gradually brass and plastic sheets were also used to make it affordable.

To get started with the embroidery, first, the fabric is laid on the wooden frame called adda and it is evenly stretched till it gets the right amount of pull. The craftsmen sit on the floor to work on the fabric. The Dankas are picked up and stitched on the fabric with the needle, using matching thread,  from the corner towards the center.

Current status of the craft and challenges

 The craft is predominantly practiced by men from the Bohra community and today there are 39 recorded practitioners of Danka.

( http://handicrafts.nic.in/CmsUpload/01092016110920Danka%20Embroidery%20Lang0.pdf)

While the craft has remained within their families and picked up by younger generations, mostly as a part time engagement; one can sense the resistance to propagate the craft since the artisans are apparently quite content with their clientele and satisfied with the earning.

• Danka embroidery has remained confined to the kaarkhaanas (workshops) where the embroidery is done; the clients often visited them and there was no need for the craftsman to move out of their place.
• The limited patronage and lack of awareness and appreciation of the craft outside the traditional Rajput royals has made it difficult to spread beyond the confines of Udaipur.
• Moreover, the non-availability of the craft in off-the-shelf mode makes marketing and promotion a bigger challenge.
• In addition, the affordability factor has also worked against its popularity even among the connoisseurs due to the ‘local’ identity of the craft.
• And, today, very few can appreciate its richness and subtlety since people’s preferences have changed over the years
• Another challenge emerges from the process wherein cheaper alternatives to the materials used could affect its original appeal

Efforts to revive the craft through skill development and other forms of support

Today, thanks to the efforts of a few organizations and individuals, Danka embroidery has survived through the ages despite its self-limiting, aristocratic patronage. Since it’s not an ordinary craft that can be revived and made popular among today’s generation. The cost factor, the skills involved infusing life in the motifs and the nature of material call for many measures to save the craft from dying.

• Danka embroidery could become a part of luxury couture, thus creating a demand for the craft by unveiling it to fashion designers who can work closely with the craftsmen and convince them to share their expertise with others for training and skill development
• There is a dire need to include include dying crafts in the Design School curriculum to the younger generation can pick up the skills under the guidance of the master craftsman
• The use of Danka embroidery can be extended to beautify furnishings and combine it with other crafts to widen its use on different fabrics and not just ceremonial attire of royal women
• Workshops, exhibitions and demonstrations can help in sensitization about the value and intricacies of the craft and the nuanced process of actually working with the materials and tools
• Combine it with tourism and heritage to showcase the traditional talent of craftsmen who’ve practiced it for centuries
• Identifying and developing the craft cluster through access to common facilities and educating the artisans about including contemporary taste could benefit many practitioners
• Creation of forward and backward linkage to the artisans who want to launch themselves as entrepreneurs and grow the market for the craft, connect with funding agencies, CSR project, banks is essential in instilling confidence in their business

Whether it forms a part of luxury modern costume or traditional bridal trousseau, Danka embroidery needs to attract designers and promoters who can proudly exhibit the craft and display the embroidery skills on a global scale.

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(Images Credit: http://www.handicrafts.gov.in/)

Dimapur, Nagaland, is known for its traditional arts and crafts. The city of Dhansiri is located near the Dhansiri River. Because bamboo grows abundantly here, artists have learnt to create a variety of ornamental and functional products from it. If markets are expanded and demand is enhanced, there is still a lot of room for more jobs to be generated in this area.

Ms. Jesmina Zeliang, Executive Member, and Mr. Krishan Kumar, CEO, both from the Handicrafts and Carpet Sector Skill Council, showed him around the Training Centre, where more than 600 artisans and weavers have been trained through an industry-based training programme and have since been connected with the industry.

Ms. Jesmina Zeliang highlighted the need of industry collaborations in taking the region’s cultural traditions and heritage crafts to the next level in order to ensure long-term employment and promote the country’s export of handcrafted products. She also underlined the necessity for a Centre of Excellence where artisans may interact directly with stakeholders, with the stakeholders’ job being to connect them to national and international markets.

Hon’ble Minister of State Shri Rajeev Chandrasekhar stated that the Ministry will place a greater emphasis on traditional skilling, re-skilling, and up-skilling, as well as collaborating with industry to help skilled craftspeople gain market access.

He also advised that more cluster-based training programs with industry connections, self-employment options, and a micro-entrepreneurial approach be implemented and expanded for the overall benefit of the region’s traditional heritage crafts.

The Sector Skill Council also aims to establish a Centre of Excellence in various traditional crafts clusters of Nagaland for skilling, re-skilling, and up-skilling the existing artisans and weavers, starting with Sovima Village, Dimapur, Nagaland, with the goal of promoting and developing traditional handloom and handicrafts products.

Click here to download or view the complete report

The visit was part of a Government of India outreach programme aimed at connecting with people on the ground and monitoring the execution of different Central Government Schemes in the UT.

Mr. Arshad Mir, Chairman of the Handicrafts and Carpet Sector Skill Council, and Mr. Krishan Kumar, CEO of the Handicrafts and Carpet Sector Skill Council, took him around the centre, which is well-equipped with all of the infrastructure and raw materials for the region’s traditional crafts, such as carpets, embroidery, paper machine, and Namda products.

Mr. Arshad Mir also briefed the Hon’ble Minister on the process of making handicrafts, as well as the sector’s growth and possibilities. The Chairman stressed the need for skill development in the handicraft industry in order to not only resuscitate the region’s traditional and cultural heritage crafts, but also to provide work possibilities for artists and weavers.

Hon’ble Minister Shri Rajeev Chandrasekhar expressed his delight after speaking with the artisans about the great art and talent displayed by the locals. He stated that a specific emphasis will be placed on the development of local artists through the skilling and up-skilling program. He also presented certificates of recognition to local artists who had successfully completed training and assessments in the various job roles of the Handicrafts and Carpet Sector Skill Council in accordance with the National Skills Qualifications Framework as part of the Skill India Mission.

Jammu and Kashmir handicrafts have gained international acclaim for their delicate refinement and artistic grace. These crafts have a wide range of applications and are in high demand. There are approximately five lakh artists in the state who rely only on handicrafts for a living, and there is still a lot of scope for more jobs to be created in this sector if markets are extended and demand is boosted.

Click here to download or view the complete report

IHGF is amongst Asia’s largest gifts & handicrafts fair, held biannually (Spring & Autumn edition) and is organised by Export Promotion Council for Handicrafts (EPCH). The most significant and distinct sourcing platform in Asia – (IHGF Delhi Fair Autumn 2021), bringing you much more of everything you need and everything you want, bringing you a thoughtfully re-conceptualized & renewed IHGF Delhi Fair Autumn 2021 with 12 clear product categories in enriched display spaces.

Handicrafts in India symbolize our rich heritage and culture along with many skills handed over through generations. Nevertheless, the value they generate through exports remained to be realized and we are yet to explore their potential for economic development. The sector is low on low capital investment and has significant export potential. One of the ways, we can achieve overall growth in this sector is through empowerment of artisan clusters.

“Cluster can be defined as concentration of micro, small and medium enterprises in a given geographical location producing the same or a similar type of products or services and these enterprises face similar types of opportunities and threats. The cluster is known by the name of the product being produced by principal firms and the place they are located in.” United Nations Industrial Development Organization: UNIDO

Most of the handicraft artisans are based in clusters in different regions of India. It’s a labour-intensive sector mostly dependent on traditional methods of production. The clusters have a geographical identity and it comprises groups of crafts persons and artisans who come together to achieve common goals like better production, sales and networking.

Main clusters include Gujarat, Madhya Pradesh, Uttar Pradesh, Maharashtra Assam, Mizoram, Manipur, Meghalaya, Tripura, Delhi, Rajasthan, Jammu and Kashmir, Bihar, Jharkhand, West Bengal, Andhra Pradesh, Tamil Nadu and Kerala. All these clusters have location-specific products often identified with GI tag. Within the cluster, we find close linkages between the artisans and they are interdependent to fulfill their requirements.

State-wise Handicraft clusters: The State of Uttar Pradesh tops with 282 handicraft clusters, followed by Orissa and West Bengal with 271 and 245 clusters respectively and Gujarat with 199 clusters. The region-wise distribution of clusters shows that in the Eastern Region there are 982 clusters, South 485, North 509 and in West there are 706 clusters. 37% of handicraft clusters are located in the 4 States of UP, Orissa, West Bengal and Gujarat.

Source: https://niti.gov.in/planningcommission.gov.in/docs/plans/stateplan/upsdr/vol-2/Chap_b4.pdf

Product group-wise Handicraft clusters: The 2682 handicraft clusters in India produce 292 types of products. These 292 products have been placed in 24 product groups. The largest of the group is that of textiles having 548 clusters followed by Basketry with 418, woodwork with 298, metalware 251 and earthenware 203 clusters.

Source: https://niti.gov.in/planningcommission.gov.in/docs/plans/stateplan/upsdr/vol-2/Chap_b4.pdf

5 challenges faced by handicrafts clusters:

1. Manufacturing, production techniques
2. Operations and technology
3. Market access and logistics
4. Financial and infrastructure
5. Uncertainty in supply of raw materials, fluctuation of prices

To overcome the above mentioned challenges we need to re-look at the strategy for capacity building through skill development. It is only by imparting the right skills that we help them overcome outdated methods of production, increase productivity, improve quality, packaging and delivery. In other words, they need technical skills to come up with innovative designs, use tools that compliment their manual work and diversify their products through proper branding and marketing. The challenge gets doubled since most artisans’ level of education is low leading to low standard of living and low exposure to the world outside their local region.

Handicraft Clusters need skill development in three critical areas:

1. Industry based upskilling
2. Design and development of products
3. Technology Upgradation
4. Marketing and distribution

With most artisans, being nano, micro or small entrepreneurs the skilling requirements in this sector demand an orientation towards micro-entrepreneurship along with self-employment.

With the formation of HCSSC, the training and skill development needs of this sector are in the process of getting thoroughly organized as per NSQF levels. Following are the key areas where skilling interventions are needed.

• Training in technical skills and soft skills
• Upskilling the artisans who are already a part of the clusters
• Training on packaging, branding and e-marketing of handicrafts, customer interaction, networking

Common facility Centre (CFC) can be leveraged for skill development

CFC will address the need for training centres in a cluster as per the local or regional requirements with active involvement of artisans from that region. Through CFCs the artisans can be trained in relevant skills pertaining to:

• Getting access to capital tools and equipment
• Being aware about the market and correct linkages
• Availing incubation support for nano, micro or small entrepreneurs
• Upgrading technology and infrastructure to produce quality, timely delivery

In addition to professional training programmes, industry seminars, workshops, awareness about export potential is much-needed. This will also provide support, motivation, handholding and mentoring for many who are keen on working in this sector.

The Craft Clusters of India portal showcases 35,312 products under 32 different categories with clustered details about where the product was actually made. This is an example of market linkage to these artisans of various clusters for enabling direct sales or sending any enquiries. To expand the reach through digital technology for the benefit of many artisans it is essential that we focus on empowering them with right knowledge and skills. At the same time, it is important to build competitiveness of the cluster through efficient processes, production and marketing. This can be achieved through multi-stakeholder involvement by harnessing the power of public-private participation and outcome-oriented approach.

At present, most of the learning happens in the family of the craftsperson. It’s most likely that in the family of artisans, the younger ones playfully pick up the skills and knowledge to make the crafts. Up to a certain age, the children assist their parents after coming back from their schools or in their free time. Learning mostly happens informally through transfer of hands-on skills that is the core of ‘kaarigari’.

In today’s competitive world, this model of learning will not help in sustaining the crafts to enable livelihoods of the craftspersons or help in gainful employment. Let’s look at few examples:

In the case of the makers of Kondapalli toys, wooden craftsmanship is acquired over the years and it has survived till now. However, the craft is on the brink of extinction with few people who use their generational knowledge to keep it alive.

Similarly, Bidriware, the unique metal craft, involves a lot of instinct and a completely manual process from casting to oxidation. It is time-consuming and required real dedication to the craft to practice.

Another craft that draws our attention is carpet and rug weaving. Many techniques and patterns are lost over the years in the absence of sustained, formal training to transfer the knowledge and skills from the master craftspersons.

Need for formal and organized training for skilling and upskilling

If crafts such as those mentioned above have to grow and survive, we need more people to learn the craft in addition to the limited number of families practising it. Also, the younger generation in most families have preferred other jobs and opted to move out of their native places.

At the same time, for those who are engaged in the crafts, there are other challenges that need to be addressed. These include:

Boosting production, delivery and sales of the crafts through knowledge and skill updation: Let’s assume, few artisans who make earthen and ceramic products, get online order and they need to deliver the product carefully so that it reaches the customer in proper shape without damage. How to package it? How do they work with a logistics service provider? These aspects of delivery need upskilling and linkages with relevant service providers.

Creating awareness about the crafts and growing the market: It’s well known that handicrafts have a huge potential in the export market, nevertheless, the awareness about these markets is limited among the craftspersons. They need networking, communication and promotion skills besides using the latest technologies to communicate and reach out to potential buyers.

Ensuring quality for global exports: Anything handmade poses a challenge in meeting quality standards since it is typical of a craft to have certain uniqueness that may be seen as imperfections. Since most handicrafts are not mass-produced, they have to consciously follow few quality standards to meet the expectations of the global market. This is where upskilling in improved production and packaging processes will be of great help.

Today, even though most learning happens informally, we do have instances where organizations that are into marketing and selling these crafts also take up the responsibility of skilling people to help them craft their livelihoods, mostly in rural areas. While it may be difficult to ascertain the willingness of the artisans and master craftsperson to share their knowledge and skills with others, we need ways to document it and make it transferable through competency-based training frameworks like NSQF.

Generational skills of the artisans and traditional wisdom can be captured and presented in the form of learning material with active participation of the artisans as key resource persons. To make it organized and formal we need to map it with existing Qualification Packs (QP) and National Occupational Standards (NOS) and create new ones to include skills for proper use of new technologies and tools. Whether it is availability of raw material and its procurement or skills in the domain of finance, marketing, human resources, logistics, the handicrafts and carpet sector has to prepare the artisans for a world that is fast changing and markets that are spread far and wide!

• Bamboo basket maker
• Hand rolled agarbatti maker
• Jute product stitching operator

For the above job roles, the candidate has to be 5th class pass and apparently these are entry level job roles. However, the scope of the Handicrafts and Carpet sector is so huge that it has tremendous potential to provide job and entrepreneurship opportunities to many youth in India.

The question we need to ask at this juncture is how prepared are we to tap the potential of this extensively rural-based industry sector? Particularly, in the backdrop of the fact that most artisans have acquired the skills informally as it was passed on from generations and the professions are limited to certain families. Also, their literacy levels are quite low and their awareness about the markets and business is poor. This makes it difficult for younger generations to continue the family tradition and they prefer to migrate to cities in search of better livelihood opportunities. A ray of hope and lot of positive reinforcement comes in the form of the support from the policy makers who laid special emphasis on arts, crafts and creative education in National Education Policy 2020.

Handicrafts and Carpet sector is in urgent need of skilled professionals who can transform the sector by making it organized and formal for better productivity and business.

One of the key recommendations of National Education Policy 2020 (NEP 2020) is the introduction of formal education and training in handicrafts from the school level. Placing the need for hiring local artisans and crafts persons as guest faculty for these courses, the policy emphasizes on integrating craft-centered subjects that can in fact help students discover and nurture their innate talent and skills, besides appreciating local traditions and culture.

How this is going to help

• There is a dire need to revive the traditional crafts and boost the morale of local crafts persons by connecting them with markets to improve their business
• Since Indian handicrafts are deeply rooted in our culture, it creates new avenues for youth to discover our rich heritage
• The need to introduce new designs and contemporize the production methods can also get catalyzed through formal training
• Craft clusters get a boost by infusing new energy and enthusiasm when children and youth participate in their activities
• Being an unorganized sector, handicrafts and carpet needs an urgent orientation towards recognizing and preserving the skills and knowledge of existing artisans
• The eco-friendliness of many handicrafts provides opportunities for innovative products that can replace overuse of plastic and other non-biodegradable materials
• The craft clusters can be re-energized by encouraging entrepreneurship among children of artisans, who would otherwise stay away from pursuing and continuing family traditions
• Research and documentation in handicrafts and carpet will go a long way in making the sector more organized and paving way formalizing the industry

Whether it’s a wooden toy or a piece of terracotta jewellery or bamboo craft or a woolen carpet – when children show interest in these crafts, we need to boost it with the right knowledge and connect them with artisans who can mentor and groom them.

Head, hand and heart: Crafts in the school curriculum

Holistic education is all about enlightening our intellectual progress through a balanced approach to learning. At least in the formative years, children should get exposure to working with hands and appreciate manual work. Any craft related or creative work automatically provides a multi-sensory experience as it involves our head, hand and heart, besides inculcating a respect for manual work.

Based on this principle, there has been a special emphasis on including craft related activities in the school curriculum. For example, the CBSE curriculum at the Middle school level has already incorporated Handicrafts as a subject and it offers courses in Paper Mache and Fashion Jewelry. The link below gives access to the workbook with practical demonstrations of the crafts included at the school level:

http://cbseacademic.nic.in/web_material/Curriculum22/publication/middle/Handicrafts-Student-Workbook.pdf

While it is heartening to see small beginnings at the school level, we await similar curricular changes in the higher education level. If the school level curriculum is creating awareness and laying the foundation about the careers in crafts, we also need college level vocational courses that strengthen the skills and knowledge by opening new doors towards entrepreneurship for the new artisans-in-the-making.

References:

https://www.pbssd.gov.in/course/course_list/9bf31c7ff062936a96d3c8bd1f8f2ff3

http://www.cbseacademic.nic.in/skill-education-curriculum.html