Bengaluru, 13th September 2025 – The Handicrafts and Carpet Sector Skill Council (HCSSC) successfully organized the Industry Meet under the esteemed chairmanship of Shri K.L. Ramesh, Chairman – HCSSC, in the presence of the Council’s Board Members Ms. Jesmina Zeliang (Co-Chairman), Mr. Om Prakash Prahladka (General Secretary), Mr. Rishi Soni (Executive Member), Mr. Dinesh Kumar (Executive Member), Mr. Nirmal Bhandari (Executive Member), Mr. Krishan Kumar (CEO) along with other esteemed Board Members and dignitaries of the Council at La Marvella, Bengaluru. The event brought together industry leaders, and key stakeholders from Karnataka, Kerala, Tamil Nadu, and Andhra Pradesh to deliberate on the future of the Handicrafts and Carpet industry.

In his address, Shri K.L. Ramesh emphasized the critical role such industry engagements play in strengthening the sector, ensuring sustained growth, and preserving India’s rich heritage of Handicrafts and Carpet sector. He urged all industry members to actively participate in shaping skill development strategies that align with industry needs and emerging market trends.

Mr. Krishan Kumar, CEO-HCSSC, further reinforced the Council’s commitment towards facilitating structured skill development interventions, bridging skill gaps, and promoting sustainable livelihoods for artisans and weavers. He remarked, “This platform serves not only to identify industry challenges but also to collaboratively evolve actionable solutions, ensuring that the sector remains vibrant and competitive.”

The meeting’s key discussions revolved around:

• Assessing the subsector and product-wise industry size across districts and clusters.

• Mapping craft-wise skill gaps and artisan concentration in key clusters.

• Evaluating the feasibility of setting up Centres of Excellence within industry premises.

• Defining the industry’s skilled manpower requirements for the short and long term

• Reviewing existing skilling and training programs and identifying future needs

• Understanding the need for advanced technologies and futuristic qualifications.

• Preserving dying traditional crafts requiring urgent attention.

Industry representatives from Karnataka, Kerala, Tamil Nadu, and Andhra Pradesh unanimously expressed their belief in the value of such forums. They shared that these deliberations provided not only clarity on immediate challenges but also offered insightful perspectives for a sustainable and progressive way forward.

The event concluded with a networking lunch, facilitating further interactions between industry members, policy makers, and skill development stakeholders.

For further information, please contact:
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Bangalore/New Delhi, 23rd December 2024: Mr. K L Ramesh has been appointed as the new Chairman of the Handicrafts and Carpet Sector Skill Council (HCSSC), effective 23rd December 2024. The announcement was made during the recent Governing Council meeting, where Mr. Ramesh was welcomed with great enthusiasm. Mr. Ramesh brings a wealth of experience in leadership roles across various organizations. He has served as Vice President (1996–1998) and President (1998–2000) of the All India Agarbathi Manufacturers Association (AIAMA), Chairman of FAME R&D Center (2000–2004), and Regional Convener (South Zone) and Vice Chairman of the Export Promotion Council for Handicrafts (EPCH). His extensive contributions include roles as Chairman of the Import Raw Materials Committee at Karnataka Agarbathi Manufacturers Cooperative Society (KSAMCS) and Co-Chairman of the Governing Council at HCSSC, New Delhi.

In addition to his professional endeavors, Mr. Ramesh has actively contributed to social and community services. He is the President of Sri Sai Kutumbam Charitable Trust, Trustee of the Sri Shirdi Saibaba Temple Trust (Channapattana), and General Secretary of Asha Kiran Dialysis Center under AMCT. Mr. Ramesh is also a Member of the Community Services Committee of the Rotary Club of Bangalore and COA Member of Rotary Bangalore Vidyaalaya.

Expressing his gratitude, Mr. Ramesh said, I am deeply honored to take on this prestigious role as Chairman of the Handicrafts and Carpet Sector Skill Council. This opportunity allows me to work closely with a diverse group of stakeholders, including artisans, industry leaders, government bodies, and training partners, to collectively uplift and empower our skilled workforce. My focus will be on fostering innovation, enhancing skill development initiatives, and creating sustainable opportunities that ensure the growth and prosperity of the handicrafts and carpet sectors. Together, we can preserve the rich cultural heritage of our crafts while equipping artisans with the tools and knowledge needed to thrive in a competitive, modern economy.

New Delhi, 14th July 2023 (Friday): Under the flagship skilling scheme Pradhan Mantri Kaushal Vikas Yojana by Hon’ble Prime Minister Shri. Narendra Modi ji in a bid to empower the country’s youth with employable skills, Hon’ble Minister of State for Ministry of Skill Development and Entrepreneurship Shri Rajeev Chandrasekhar on Friday, 14th July 2023 inaugurated the first consignment of Export of Namda products to England from Srinagar, India.

During the launch, the Hon’ble MoS said this is a proud moment for all the stakeholders with such a defining outcome of the program, which Hon’ble Prime Minister Shri Narendra Modi ji has visioned for the Skill India Mission. He also said that such efforts to bring traditional and heritage products to the world market will be continued for the years to come. This is a successful example of creating new opportunities and prosperity for the artisans in association with the Industry and Handicrafts and Carpet Sector Skill Council to establish a viable ecosystem in the handicrafts and carpet sector.

During the launch of the first export consignment to England, Shri Arshad Mir, Chairman of Handicrafts and Carpet Sector Skill Council and Mr Krishan Kumar, CEO- HCSSC were among the present dignitaries.

During the discussions, Mr Krishan Kumar thanked the Flipkart Group for acknowledging the importance and uniqueness of the Country’s traditional and heritage crafts and promoting Handicrafts and Carpet products through its E-Commerce platform.

Friday, 22^nd July 2022: Handicrafts and Carpet Sector Skill Council signed an MoU with Flipkart Group in its endeavor to provide forward linkage to the artisans and weavers working in the traditional and heritage crafts clusters of the country through E-Commerce platform. Mr. Krishan Kumar CEO HCSSC and Mr. Rajneesh Kumar, Chief Corporate Affair Officer Flipkart Group signed the MOU. Mr. Dhiraj Kapur, VP-Govt. Affair, and Dr. Tafheem Siddiqui, Director Policy, Flipkart Group were among the dignitaries present during the event.

During the discussions Mr. Krishan Kumar thanked the Flipkart Group for acknowledging the importance and uniqueness of the Country’s traditional and heritage crafts and promoting the Handicrafts and Carpet products through its E-Commerce platform.

To know and understand more about the initiatives from the HCSSC, capacity building of artisans and weavers, curriculum development for the sector at the school level, etc. we conversed with Mr. Krishan Kumar, CEO, Handicrafts and Carpet Sector Skill Council (HCSSC). Read on to know more

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.

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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.

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