FIVE HANDICRAFTS OF WEST BENGAL THAT ARE GEOGRAPHICAL INDICATION REGISTERED ON 28 TH March 2018

Bengal Dokra - GI Application No. 563
Bengal Patachitra - GI Application No. 564
Purulia Chau Mask - GI Application No. 565
Wooden Mask of Kushmandi - GI Application No. 566
Madur kathi - GI Application No. 567
Are registered as Geographical indication on 28th March 2018

1. FIVE HANDICRAFTS OF WEST BENGAL THAT ARE GEOGRAPHICAL INDICATION (GI) REGISTERED ON 28.03.2018

2. FIVE HANDICRAFTS OF WEST BENGAL THAT ARE GEOGRAPHICAL INDICATION (GI) REGISTERED ON 28.03.2018

3. WOODEN MASK OF KUSHMANDI Application Number 566

4. Wooden masks that are used for the decorative purpose Assorted collection of masks of Bishyal , Hanuman, Kali, birds etc. Wooden mask that are used in Gomira dance

5. Details about the Applicant and how the Applicant represents the interest of the producers of the GI goods Applicant: Mahisbathan Hastashilpa Samabay Samiti Limited Vill-Mahisbathan , P.O- Manikar , P.S- Kushmandi , Block- Kushmandi , District: Dakshin Dinajpur , PIN: 7332132 Contact Person: Paresh Chandra Sarkar ( Secretary) Contact Number: 9733462109 e-mail: [email protected]

6. Proof of Origin (Historical records) Annexure C.I Robert Henry Clark “A study of the religions customs and practices of the Rajbangshis of North Bengal” Year 1969

7. Proof of Origin (Historical records) Annexure C. II Ajitcoomar Mookerjee “Folk art of Bengal” Year 1939

8. Method of Production The basic form is made by the use of sharp tool

9. Method of Production The use of a broad chisel and hammer to bring out the final shape

10. Hammer, Scissors, Chisel and hand drills. Chisels and sickle Bench Knives Bent gouges Straight Gouges Chisels TOOLS

11. Area of Production (Map & other relevant particulars) SOUTH DINAJPUR DISTRICT KUSHMANDI BLOCK

12. Uniqueness The masks are worn during performance as part of ritual activity. This is the aspect which makes it unique. Each character has a name and a story with mythological connect. The mask is made from a single log of wood. There is no joining of multiple logs or wood block. The Gamar ( Gmelina arborea ) wood gives the mask a unique character. The Gamar is very good and it does not rot easily like other wood. Gamar wood is strong, and durable and is termite free. It is also easy to design on the wood since it is relatively soft and has a silky luster. Like other kind of woods it will not get infested by termites very easily and the masks also don’t get cracks.

13. Other information 1. Number of cooperative societies involved 1 2. Total no of crafts man / Family 186/151 3. Average earning per family 8000 4. Average production per day 4 Action taken by the state government/government of India District Industries Centre, Dakshin Dinajpur , and Office of the DC Handicrafts keep on arranging skill development workshops and provide the artisans with opportunities of showcasing the products in different fairs, festivals and exhibitions. Since 2013 Department of MSME&T, Govt of West Bengal and UNESCO signed an MOU to develop 10 Rural Craft Hubs in West Bengal. Wooden mask is one of the prominent Craft Hubs. During the course of the project direct market linkage has been done across India through a number of fair, festivals and exhibitions. Linkage has been established with retail outlets and business houses. In June 2015, Shankar Das an eminent Wooden Mask artist visited France to attend the Gannat festival and showcase his skills at UNESCO head quarter in Paris. He again travelled to London in May 2016 to take part in London Craft Week and toured to Edinburg. West Bengal Khadi and Village Industries Board in there project named “Renovation and Construction of CFC Building under Cluster Development programme (RCH) has constructed a Common Facility Centre at Mahisbathan including a gallery for the development of wooden mask art. WBKVIB also supported the cluster with a working capital grant of Rs. 5 Lakhs in 2015. The artists celebrate their annual festival “ Mukha Mela ” since 2014.

14. Name of the applicant : Chau Mukhosh Shilpi Sangha Address : Village: Charida, GP - Sindri, Block - Baghmundi,, Purulia, West Bengal, India, 723152 Name of the geographical indication: Purulia Chhau Mask (G.I Application no. 565) Type of Goods: Class - 27, Handi Crafts

15. "Chau Mukosh Shilpi Sangh'‘ is a self help group registered with Udyog Aadhaar Memorandum of Department of MSME, Govt. of lndia. The organisation has its own by-laws, it is a separate autonomous body representing almost all of the interested concerned to "Purulia Chau Mask".

16. Proof of Origin (historical evidences) Around 150 years back during the rule of king Madan Mohan Singh Deo of Baghmundi the tradition of making Chau Masks started. Book: Damaru ( Festival of Traditional Theatre & Theatre Crafts of Eastern India) Published: April, 1989 1

17. “Purulia Chau of Bengal presents another facet of allied tradition ...” Influenced by the more respected Hindu culture the natives adopted the epical themes but they naturally opted for the warfare scenes that would reflect their life of perpetual hardships and conflict with nature itself. Even the noble and heroic characters like Rama and Sita are depicted with forceful gestures Book: Damaru ( Festival of Traditional Theatre & Theatre Crafts of Eastern India) Published: April, 1989 2

18. Book: Gazetteer of lndia- West Bengal, Purulia, Page number 198 Year of Publication : 1985 Author: Kumar B.B., Ranjan C.B., Mukherjee S., Ray P.,Sengupra S., Sanker S.K., Nath S.N., Maity T. Gazetteer of lndia- West Bengal, Purulia depicting the Mask making unit of Charida village of Baghmundi block of Prurulia district 3

19. Gazetteer of lndia- West Bengal, Purulia depicting the former Raja (king) of Baghmundi was a great contributor to Chau Dance. The Chau Mask is traditionally associated with this age old dance form of Purulia, where the performers wear masks of various mythological characters and also different animals. Book: Gazetteer of lndia- West Bengal, Purulia, Page number 427-432 Year of Publication : 1985 4

20. Area of Production (MAP)

21. The Purulia Chhau Masks are painted in vivid colour & the masks have a glossy finish. The pattern of them symbolizes the rank and temperament of the character. The crown is completed with beads and yarn . The mask of Lord Rama is green whereas Lord Krishna's mask is blue with white designs. ln contrast the masks of Ravana in Purulia Chhau are in vivid red or dark green colours . Masks contain ferocious facial expressions, blood shot eyes and open mouth with messy black hair and black beard. Mask of lord Rama Mask of lord Krishna Mask of Ravana UNIQUENESS

22. The masks have feathers and other ornaments that surround the face part of the mask. These can extend up to 2 feet from the mask itself. Size varies from 4.8” to 36” Indigenous mask of many Hindu God, Goddesses and animals to act on mythological tales. Traditional gurjan oil (Oleoresins from Dipterocarpus sp. ) is applied on the mask for a fine shiny finish. Small mask Medium mask Large mask Technical specifications

23. Product

24. Festival

25. Other Informations Annual turnover year wise ( latest 5 years)

26. Dokra of West B engal Application no. 563

27. Antique Dhokra items from West Bengal Collection of Robert F Bussabarger ( 1961)

28. Bankura Bikna Dokra Hastajata Kutir Shilpa Kalyan Samity , Shilp Danga , Bikna District: Bankura , PIN: 723152 An autonomous body registered on 26.04.2013 under Certificate of Registration of Societies West Bengal Act XXVI of 1961 Dariyapur Dhokra Artisans Co-operatives Industrials Society Ltd, Dokrapara , Dariyapur , Bardhaman , PIN: 713128 An autonomous body registered on 11.08.2015 under Entrepreneurs Memorandum for Micro, Small &Medium Enterprises under the Directorate of Micro, Small & Medium Enterprises, Govt.of West Bengal. Details of the Applicant

29. How the Applicant represents the interest of the producers Of the GI goods

30. Proof of Origin ( Historical Records)

31. West Bengal District Gazetteers, Barddhaman, page 247 ( publication year March 1994)

32. Resley , “Tribes and Cast of West Bengal”, Page No 236, 388-389,publication year 1891

33. Ruth Reeves, “ Cire perdue casting in India” 19,Page No 36-46, publication year 1962 Documentation of method of production of Dhokra items of Artisans of Rampur, Bankura

34. Crafts council of West Bengal, 1985-86. “ Mohamaya ” Script by Ira De and research by Neelanjana .

35. Courtesy : Museum of Anthropology, Mizzou North, Suite 2002, 115 Business Loop 70 W, Columbia, MO 65211-8350 https://anthromuseum.missouri.edu/minigalleries/lostwax/intro.shtml Bussabarger, Robert F., and Betty Robins. The Everyday Art of India. New York: Dover Publishing, 1968.

36. Horne Lee “The Brasscasters of Dariapur , West Bengal”, Expedition Magazine 29.3 ( publication year November, 1987)

37. Rabindranath Samanta , Shilparupamaya , Bankura , pp 83-84, 109-112 Publication year 1991

38. David Smith , Rajesh Kochhar Report on “The Dhokra Artisans of Bankura and Dariapur , West Bengal”, 2001

39. Method of Production Cire – Perdue or lost wax process of metal casting

40. Materials used: The brass metal, wax ( mohum ), clay, bees-wax threads, coal, mustard oil, ‘ dhuna ’ (extracted from the Sal tree) Tools used: They use different types of tools like Furnace ( bhatti ), sulka (to give impressions), Small chisel ( nihan ), big chisel ( batani ), hammer, and Graphite container to melt brass ( kui ), tongs ( chimta ). The production involves 6 stages :

41. 1. Core-making: 2. Modeling: Wax- Dhuna mixture preparation

42. Creating objects in wax 2. Modeling:

43. 3. Moulding :

44. 5. Pouring 4. De waxing

45. 6. Finishing

46. Bankura - Bikna and Rampur 23°15’19’’N 87°05’38’’E Bardhaman - Dariapur 23°15’35.9172’’N , 87°52’34.7520’’E Purulia – Manbajar 23°03’41’’N, 86°39’51’’E Area (Map & other relevant particulars)

47. The entire decoration is done during modeling process using Dhuna ropes to create the finer decoration on the product. No farther decoration on the finished product. The Dokra artist of Bengal [Bikna, Rampur and Dariapur] use Brass metal [alloy of Copper (Cu) and Zinc (Zn)]. Because of that Bengal Dokra have a unique muted yellow colour Dokra artist of Bikna and Dariapur are highly influenced by the local culture and also by the nature, and that reflect on their art. As a result of this “ Durga ”, one of the foremost goddess have a high abundant . Uniqueness

48. The entire piece of art is made from a single mould without any assembly or soldering by the artisans of Dariapur

49. Impact of environment Human Skill involved Bankura and central-western part of Burdwan and Purulia district is fortunate in having extensive forest area and is the source of Bee wax and resin used to make Dhuna ( resin from Shorea robusta ). The main hallmark of Dokra craft is enchanting folk motif, primitive simplicity, a rustic beauty and imaginative designs and patterns which finds influence from life and surrounding environment of the artisans. Red clay soil obtained from local river or pond that is used to make the mould has unique property which make it resistant to crack during heating in furnace The thickness of Dhuna strip and Dhuna wires in very vital to translation of designs in the molten brass. The interlacing of the Dhuna strips onto the clay core involves significant amount of skill. The thickness of the primary mould The uniformity of space between clay core and primary mould

50. Quality control Mechanism The quality of the Metal casting is initially inspected by artisans themselves, as they are the best judge for the crafts. The artisans ensure that the quality is maintained from the stage of metal selection and at each of the stages of production till the finished product. Finally, the inspection body will check the crafted products with respect to fine finishing, design lines, shine and shade variations.

51. Village Festival: Bikna and Dariyapur

52. Resource Centres and Community Museums: Bikna & Dariyapur

53. Year 09-10 10-11 11-12 12-13 13-14 14-15 Annual Turnover 2 Lakh 2.30 Lakh 2.50 Lakh 2.60 Lakh 3.20 lakh 6 lakh 1. Number of cooperative societies involved in Dokra art 2 2. Total no of crafts man / Family 326 3. Average earning per family 8000 4. Average production per day 25 – 30 (small figures) Socio economic profile Other Information Annual turnover on sale of the product:

54. Madur kathi (G.I -567)

55. Name of the Geographical Indication & Applicant details Name of the geographical indication: Madur Kathi Name of the Applicant: The Chief Executive Officer, West Bengal Khadi & Village Industry Board, Government of West Bengal Address of the Applicant: West Bengal Khadi & Village Industries Board, Hemanta Basu Khadi 'O' Gramin Shilpa Bhaban 12, B.B.D. Bag (East), 2nd & 3rd Floor, Kolkata - 700 001

56. West Bengal Khadi & Village Industry Board is the applicant seeking registration of “ Madurkathi " as a geographical Indication in India There are about 4170 artisans of Madukathi scattered throughout Purba and Paschim Medinipur working individually or in small cluster with no common ground to form a single association or society. The Department of Micro Small & Medium Enterprises , Govt. of West Bengal engaged West Bengal Khadi & Village Industry Board, Government of West Bengal (W.B.K.V.I.B) to provide necessary hard interventions including common facility centre, marketing outlets and equipments to the Madurkathi artisans as per community expectation and requirements. W.B.K.V.I.B is an autonomous body registered in 1959 under West Bengal Act XIV of 1959. Hence, qualifies as an Applicant .

57. Madur kathi is a rhizome based, perennial plant ( Cyperus tagetum or Cyperus pangorei ), which is found abundantly in the alluvial tracts of Purba and Paschim Medinipur in West Bengal. It is harvested twice in a year. The weavers of Madur Kathi mat in Medinipur are known as ‘ Mahishya ’ and there are almost 4170 craftsmen engaged in this delicate artistry. Name of the Geographical Indication: ‘Madur Kathi’ Classification of Goods: Class 20,27 Class 20 in respect to goods made of reed cane and Class 27 in respect of mat and matting materials

58. Wide range of industrial application of Madurkathi ... Madur weaving is an age old cottage industry of Bengal. Expanding the scope of creativity in order to suit the present market, the artists today make various diversified products, which include table runners and mats, curtains, hats, purse, sun-guards etc.

59. Proof of Origin (Historical records) Records of the Medieval Period provide the first information about mat weaving in the region of Bengal when both ordinary mats and the fine variety were produced. It is the name given to mats woven from a specific type of reed. Mats have been an integral part of the social scene of rural Bengal. The age old craftsmen of Madur kathi are known as ‘ Mahishya ’ and are acknowledged for their contribution to Bengal culture and rural economy in the pages of history-

60. 1. Bengal district gazetteer- Midnapore ; L.S.S O‘Malley (1995) Mat making was described as one of the dominant occupation in Midnapore . Narajol , Raghunathbari , Kasijora are some of the places in the districts were thousands of craftsmen were engaged with it. A small village Maslandpur of Tamluk subdivision was mentioned here for its superior quality mats production and export.

61. 2. A Statisticai Account Of Bengal-Midnapore; W.W Hunter (1876) Narajol , Raghunathbari , Kasijora are addressed here for manufacturing of superior quality Madur mat since ages. Mat has been mentioned as one of the principal articles of trade and commerce in the district of Midnapore

62. 3. The Arts Of Bengal And Eastern India- Craft Council Of India (1982) Here, the finest quality mat- ‘ Masland ’ has been mentioned being a treasure of West Bengal, mainly in the Midnapore district. The madur kathi is said to be the raw material of this mat.

63. 4. Art Manufactures Of India; T. N Mukherji (1888) Usage of Madur grass of the species Cyperus tagetum to prepare mats in Midnapore is mentioned here The superiority of Masland mat again as been acknowledged.

64. Method of Production The process of Madur production involves a series of toilsome activities.

65. Pictorial representation of Method of production Madur kathi ( Cyperus tagetum ) at field Post harvesting sizing & dyeing of the reed Looming process- Final decoration bamboo framing and weaving

66. Geographical area of production Bhagabanpur of Purba Medinipur and Sabang , Pingla and Naryangarh block of Paschim Medinipur are the main areas where Madur mats are produced from lhe Madur Kathl (reed).

67. Uniqueness of the product The locally available grass / soft reed ( Cyperus tagetum or Cyperus pangorei ) is found abundantly in the alluvial tracts of Purba and Paschim Medinipur in West Bengal. The damp and morass area with alluvial soil and tropical climatic condition of this area are the criteria for optimum growth of Madur kathi . The non-conducting property of Madur reed is worth mentioning that infers sweat absorbing ability to the mats The Madurs are made with vegetable dyes only, The vegetable dye preparation comes from natural sources. Black dye is produced using Haritaki fruit, fruit and barks of Babla tree. Reddish dye is formed from a local tree name Rang gaach .

68. Human factor is of great importance.... The processing of Madur Kathi and the Skill full weaving of Madur mat is a delicate piece of work The quality of Madur depends on the skill required in their production. The weaving also involves the use of threads which bind the mat together The placing of reeds one by one very efficiently, the making of designs and other required traditional skills are acquired from the ancestors of the artist in the area of Medinipur

69. Product

70. Village Festivals: Madur Mela

71. Quality control measures The maturity and grade of the reeds selected for ‘ Madur ' is initially inspected by artisans themselves. as they are the best judge of the crafts. The artisans ensure that the quality is maintained from the stage of reed selection, dyeing, drying, weaving at each of the stages till the finished product. Finally, the inspection body will check the crafted products with respect to tine finishing, durability and weave.

72. Geographical Indications Application No. 564 Bengal Patachitra

73. Applicant Name Chitrataru Village: Naya , GP: Maligram , Block: Pingla , Paschim Medinipur , West Bengal, India, Pincode : 721140. Chitrataru was formed by Patuas of Naya village in 2007, who came together to revive their unique tradition of Patachitra and Pater Gaan .

74. LOGO Type of goods : Handicrafts

75. Description of the Goods The name Patachitra has evolved from the Sanskrit words patta , meaning canvas, and chitra , meaning picture. Patachitra is thus a painting done on paper, and is manifested by rich colourful application, creative motifs and designs, and portrayal of simple themes, mostly mythological in depiction.

76. Evidences Source: Folk Art of Bengal, Ajitcoomar Mookherjee, 1939

77. Features of Patachitra of West Bengal There are big eyes of the character. The perspective used is limited. It is imaginative, simple. Inspiration obtained from surrounding and traditional stories. There are less hand movements The whole set of male character look alike and the whole set of female character as well, differentiation of sex and individual can be made on the basis of skin, clothes, hair styles etc. There are no eyelashes, no nails and mouths are closed. Use of borders on all 4 sides and between the divisions of panel

78. Patas can be painted in two different styles- Jarano Pata and Choukt Pata . There are various length and duration of patas : those with 10 to 15 rectangular panels are known as latai potas , those of 6 to 8 oblong panels are the Arelatai patas and there are also smaller square chaukhosh patas . Technical Specification

79. Classification Patachitra is inexorably linked with Pater Gaan where the artists sing the story while displaying the Patachitra. Patachitra is classified : under class l6 as it is a painting and artists’ material under class 24 it is painted on textiles and textile goods

80. Proof of Origin Folk Art of Bengal by D. P. Ghosh, Asutosh Museum , Kolkata (1977)

81. Proof of Origin Folk Art of Bengal by D. P. Ghosh, Asutosh Museum , Kolkata (1977)

82. West Mednipur Purulia Bakura Birbhum Area of Production

83. The base is prepared by coating the cloth with the soft, white, stone powder of chalk and glue made from tamarind seeds. This gives the cloth tensile strength and a smooth, semi-absorbent surface, allowing it to accept the paint.

84. Method of Production

85. Evidences In MAHAMAYA, it is mentioned that the panels of drawings of the jarana pata are painted with pure earth and vegetable colours, in growing primary hues

86. Themes/Rasa Source: Mahamaya, 1985-1986 Source: Mahamaya, 1985-1986

87. Drawing and Colouring

88. Products

89. Village Festival: potMAYA

90. Resource Centre and Community Museum

91. SUSOVAN PAIN Email: [email protected] THANK YOU for watching