Regional textile craft

the presentation was prepared to promote the use of regional textiles which signature mark of Indian tradition and culture.

1. Promotion of Regional Textile Craft of India for Employment Generation Presented By: Dr. Mona Verma Assistant Professor Deptt . of Textile and Apparel Designing, I.C.COHS,CCSHAU, Hisar

2. Introduction With 28 states, 18 languages and more than 1500 dialects, the country offers an enormous range of handicrafts from different states and regions.  The epitome of India, lies in the art and craft, which symbolizes the culture, tradition and societal values. Indian handicraft industry is one of the oldest & biggest industries of India. It play important role in employment generation because it has 3% growth rate within last five year. It provides employment nearly sixty seven lakhs artisan and is one of the important suppliers of Handicraft to the world Markets.  This is one of the sectors which required very less amount of money to start the business like raw material, small instrument etc.

3. The roots of Indian art and crafts are entrenched very deep and they are capable of influencing the generations passing by. The present status of craft in India owes much to the rich craft traditions of the past. Most of the crafts from the past continue to flourish due to their utilitarian nature, their availability to the common people, and popularity in domestic and foreign markets. Indian Artifact industry takes a look of the contribution of Indian handicraft industry in the Indian Economy. The dilemma of the growth in handicraft sector has become a thing of deep concern due to the recessionary trend witnessed in the global economy. The handicraft products have very large market in the world due to its growing potential in the world.

4. A comprehensive range of handicrafts and gifts products is made all over India. Although it is quite difficult to limit a particular place for a specific craft, the following places are well known for their unique crafts. Art Concentration Areas Name of Textile based Craft State of Origin Phulkari Punjab Kasuti Karnataka Chikankari Uttar Pradesh Chamba rumal Himanchal Pradesh Kanta West Bengal Sujini Bihar Kalamkari Andhra Pradesh Madhubani Bihar Sanganer block printing Rajasthan Bagru Printing Rajasthan

5. Name of Textile based Craft State of Origin Bandhani / Bandhej Rajasthan Patchitra Orissa Banarasi brocade Uttarpradesh Kota Doria Sari Rajasthan Gadwal Saris, Pochampally Ikat Saris, Dharmavaram Saris, Mangalagiri Saris, Narayanpet Saris Andhra Pradesh Kanjivaram Saris, Kornad Saris, Chettinad Saris, Madurai Saris Kanchipuram , Tamil Nadu Patola sari Gujrat Balarampuram Mundu-Veshti Saris Kerela Ilkal Saris Karnataka Baluchari Saris, Jamdani Saris West Bengal Bomkai Saris Orissa Muga Saris Assam Paithani Saris Maharashtra Chanderi Saris, Maheshwari Saris Madhya Pradesh

6. The Indian rural sector play very important role in the Economy. The production of Handicraft produce is maximum in the area which gave numerous varieties but due lack of technical and market knowledge, this sector is far away from the main competition. They have also lack of modern marketing knowledge like quality delivery, schedule, and packaging and after sales services etc. The marketing of the rural products through organized retail format is an important concept to explore the hidden market in the rural sectors. Challenge Before Handicraft Industry

7. Web marketing has a significant impact on the selling of the craft products. The marketing sectors need to invent new method to provide update information the different regional products. To provide technology based training and platform to the regional artisans for easy access to the consumer. To develop the interest of young generation towards their traditional heritage and culture . This help in the conservation and preservation of their local craft.

8. Present Status of Regional Textile Crafts The textile sector in India accounts for 10% of the country's manufacturing production, 5% of India's GDP, and 13% of India's exports earnings. Textile and apparel sector is the second largest employment provider in the country employing nearly 51 million people directly and 68 million people indirectly. The sector employs about 7 million people directly and indirectly, which include a large number of women and people belonging to the weaker sections of the society and over 67,000 exporters/export houses are involved in promoting regional art and craftsmanship in the domestic and global markets. It is estimated that out of the total number of persons employed in Handlooms, Handicrafts, and Sericulture, about 50% are women.

9. Indian textile & Handicrafts industry constitutes an important segment of the Indian economy as it is one of the largest employment generators after agriculture. Art Metalwares U.S.A., Germany, U.K. & Italy Wood Wares U.S.A., U.K., Germany & France Hand Printed & Textiles & Scarves U.S.A., U.K. , Germany & Canada Embroidered & Crocheted Goods U.S.A., Saudi Arabia, U.K., Germany Shawls as Artwares Saudi Arabia, U.S.A. Japan & U.K Zari & Zari goods U.K. U.S.A., Japan & Saudi Arabia Imitation Jewelry U.S.A., U.K., Saudi Arabia & Germany Miscellaneous Handicrafts U.S.A., Germany, U.K. & France Due to its uniqueness and quality, the number of Indian handicraft customers are increased in present era. Foreign Buyers of Indian handicrafts are:

10. Traditional Regional Textile Crafts of Bihar Applique – Khatwa patch work of Bihar Bhagalpur silk Madhubani paintings Sujini embroidery work of bihar India has always been rich in handicrafts and the woman of the country always had an interest in these handicrafts. The scenario of Bihar is that, if we check the list of art and handicrafts in the state, maximum of them are practiced by a woman who works as a homemaker. In old times, the men from the state used to migrate to big cities for a job, the woman of the house spent their time stitching, painting, drawing and learning various skills to keep themselves busy.

11. KHATWA The applique and patchwork of Bihar is commonly found on wall hangings, Shamianas (or decorative tents and canopies that are used on festive occasions, and on religious and social ceremonies), and even on saris, dupattas, cushion covers, table cloths, curtains, bedspreads, bolster covers etc. The Khatwa design and marketing intervention has been in two fold. Development of new products, including garments, accessories and soft furnishings will add diversity and create an understanding of he basic concepts of product development in order to give them touch of local aesthetic as well as sociological base. The Khatwa craftswomen also have used hand woven silk and naturally dyed cloth. The two principal items of this craft continue to be used today as modern utility items such as cushion covers, curtains, tea-cozies, table-cloths, curtains, blouse pieces and sari borders. The canopies are made of thick background material, usually red or orange, appliqued with geometric patterns cut from thin white cloth. The walls of the tents bear designs of flowers, birds and trees. The vibrant colors used in the applique reflect the joyous mood of the revellers .

12. Anavila Misra has been closely working with khatwa , an appliqué work that originated in Bihar, and was locally used to create decorative tents, canopies, wall handguns and home furnishings. Fluid silhouettes, colour palette reminiscent of water colour paintings and an unconditional belief in the power of functionality are at the core of Anavila Misra’s design universe. From her debut runway collection to her most recent launch, the brand’s lightweight drapes and separates are enhanced with the patch needlework. She walks us through her initiation with the craft and process, with a glimpse at the season’s offerings of floral khatwa in pastel tones.

13. History of the Bhagalpur weavers date back to a period more than 100 years. The industry is 200 years old, with skills passed on to the craftsman over many generations. More than 35,000 handloom weavers, with 25,000 looms live in Bhagalpur. Total trade of Bhagalpur is approximately 100 crores per annum, 50% comprising domestic and 50% from the export market. Around 1,00,000 people are engaged in the work of separating silk threads from cocoons, and spinning the yarn to weave into cloth. Bhagalpur is a town with historical importance situated on the banks of the river Ganga in the state of Eastern Bihar. Once considered as the biggest trade centre of Eastern India, the city is famous for its unique silk fabrics called 'Tussah or Tusser '. Silk weaving is an age old tradition in the city. Bhagalpuri Silk

14. Bhagalpuri silk  or Tussar silk is a dyeing style of silk sarees and other clothes from Bhagalpur, Bihar in India. This material is used for making sarees named as Bhagalpuri Sari. Bhagalpur is also known as “silk city” of India. Besides Sari, shawls, kurtis etc are also made from Bhagalpuri silk. Fabrics produced in the city are famous both at the domestic and the international market. Silk fabrics made in Bhagalpur are being exported to countries like West Asia, Europe, U.S., and Japan. Home furnishings are becoming increasingly famous in the international market. Outfits designed with this exclusive silk fabric have gained immense popularity in ramp shows, and fashion weeks.

15. Sujani (or Sujini ) is one of the most popular form of conventional art and craft prevailing in Bihar. It is a traditional quilt made in the rural areas of that state. The word Sujani is a compound word of ‘ su ’ meaning "easy and facilitating" and ‘ jani ’ meaning "birth". Traditionally, at the time of child birth, patches of different colored cloth from old saris and dhotis were sewn together with a simple running stitch and the outline of the motif was usually done with a chain stitch in dark color to make a quilt called Sujani . The purpose of using old cloth with sujani was very specific – to wrap the newborn, to allow it to be enveloped in a soft embrace, resembling that of its mother. Three or four sections of saris or dhotis were laid on top of each other and quilted with the thread that was unpicked from the used garments. Sujani

16. The art has been preserved in the remote villages by the women who prepare articles of great aesthetic value, primarily meant for household use. Created with the simplest of stitches, with readily available fabrics and at times with well-worn pieces of clothes, the Sujani works are generally crafted by women in their free time at home. The craftswomen produce furnishings such as bedspreads, wall hangings, cushion and bloster covers, as well as clothing items like saris, dupaattas , and kurtas . Sun and cloud motifs signifying life-giving forces, fertility symbols, sacred animals, fantastic winged creatures for protection against destructive forces, and other motifs to attract blessings from the gods. Different coloured threads were also symbolically used, such as red, signifying blood, a life force, and yellow for the sun.

17. The pattern of making the Sujani product had almost become extinct till it was revived in 1988 at the initiative of Nirmal Devi of the Mahila Vikas Sahyog Samiti (MVSS), an autonomous society, located in the village of Bhusra near Muzaffarpur . Now, there are about 600 women of 22 villages around Bhusra who actively pursue this craft work.

18. With the evolving times, the craftsmen started embellishing Indian ethnic outfits like sarees, kurtas ,  dupattas  and other clothing items with Sujani embroidery. Home decor items such as cushion covers, bedspreads, and wall hangings are some of the popular items decorated with Sujani embroidery. Winter wear clothing like Stoles and Jackets with Sujani embroidery are made using the  Tussar silk  fabric.

19. UNESCO Seal of Excellence 2019, which is also called the Seal Award, was given to Sujani art (also known as Sujini ) but it is at the stage of obscurity.  To compete with the demand of the market the artists started making patterns on the saris and on other fabrics. Well in recent days, Sujani embroidery is also practised in the southern part of Rajasthan for making patterns on Sarees, dupattas and other clothing and home furnishing.

20. The history of Madhubani paintings A 2500-year-old folk art, the history of Madhubani paintings is said to date back to the time of Ramayana, when king Janaka asked an artist to capture his daughter Sita’s wedding to prince Rama. These paintings were usually created by women on walls and floors of homes during festivals, ceremonies or special occasions. Having originated in the Mithila region in Bihar, this form of painting, also known as Mithila art, has been in practice in areas around Bihar and Nepal. income. Madhubani Paintings In 1960’s when draught hit Bihar, the All India Handicrafts Board encouraged upper caste women in villages around Madhubani town to make the ritualistic paintings on paper to generate

21. Mithila or Madhubani paintings are done using fingers and twigs as well as matchsticks and pen nibs in the modern day. Usually bright colours are used in these paintings with an outline made from rice paste as its framework. There are rarely any blank spaces in these paintings. If there’s a border, it is embellished with geometric and floral patterns. Natural dyes are used for the paintings. For example, charcoal and soot for black, turmeric extract for yellow, red from sandalwood, blue from indigo and so on. Speciality of Madhubani paintings

22. Madhubani paintings are characterized by figures that have prominently outlined, bulging fish-like eyes and pointed noses. The themes of these paintings usually include natural elements like fish, parrot, elephant, turtle, sun, moon, bamboo tree and lotus. Geometric patterns can also be seen in these pictures that often symbolize love, valour , devotion, fertility and prosperity. This ancient art form has also been known to depict scenes of wedding rituals, religious rituals and different cultural events such as festivals, from mythology like Ramayana.

23. Madhubani remains ever popular on the home décor front in the form of prints for table linens, napkin rings, and lamps and most importantly on wall hangings. Slowly the style of painting found its way onto many articles from greeting cards to salwar kameez materials. Mostly because Mithila art was originally used for decorating walls and floors of homes. The beautiful patterns of these paintings don’t seem to have been used by Indian designers. But they have found their way onto silk sari borders, dupattas, kurtis and more. Here’s to making our lives a bit richer by paying tribute to our nation’s heritage and buying some authentic Madhubani art.

24. Adaptation of Madhubani motifs in Apparels and Accessories

25. In 2012, more than 100 trees were decorated using Madhubani painting. Shashthi Nath Jha , who runs the Gram Vikas Parishad , an NGO, started the initiative as an attempt to protect trees that were being cut down in the name of expanding roads and development. This proved to be an effective way to make the villagers aware of its consequences like climate change and global warming. Ecological aspect of Madhubani paintings

26. While the campaign was an expensive one (the villagers used synthetic paint to make the artwork last longer), not a single tree was cut down. The main reason behind this was the trees being adorned with forms of gods and other religious and spiritual symbols like Radha -Krishna, Rama- Sita , scenes from Ramayana and Mahabarata and other mythologies. This instilled reverence and prevented the trees from being cut.

27. Literally translated as honey from the forest, Madhubani got recognition when Sita Devi, a painter received the state award in 1969 and Jagdamba Devi was given a Padma Shri in 1975. The government also awarded Sita Devi the National Award that year. Another noted Madhubani painter is Bharati Dayal . Her work finds a place of pride among many collections, like the Ministry of External Affairs; India, Minister of Commerce. Dayal was awarded the National Award in 2006 and the Indira Gandhi Priyadarshini Award in 2013. Her works have also been displayed at Craft Exchange Program of SAARC Countries Meet at Delhi Hatt , Pritampura in 2008; Indiart Gallery, Belgium in 2013 and at the Nehru Centre, London in February 2011 among many others. Madhubani Artists

28. Madhubani painting is still practiced by many women in Ranti village of Bihar. In fact, Karpuri Devi, sister-in-law of known artist Mahasundari Devi, Dulari , and Mahalaxmi are women from three generations of the village who have made extensive efforts to keep the art form alive by educating other women in the village and teaching them how to make Mithila painting a way of life and take the legacy forward. Works of the three women have been commissioned by the government of India and also found a place in the Mithila museum of Japan.

29. Though the art form has become quite popular, it can be further promoted by laying emphasis on its revival in different platforms, creating employment opportunities for artisans so that the art form does not die out and artisans are keen to pass on the rich legacy to their next generation. Government bodies, public sector organisations , designers and manufacturers can collaborate to play a vital role to promote the art form and take it out of rural confines to a global platform. The office of development commissioner (ODC) (handicrafts) under the union ministry of textiles is working with the Bihar state government to provide an opportunity for local artisans to showcase their art on different platforms. The prime objective of the learning centres being established all over Bihar is to inculcate the required skillsets among artisans, to provide financial assistance and organising awareness-cum-training workshops and seminars for them. A training centre, Upendra Maharathi Handicrafts Institute at Patna, has been set up that offers short-term vocational courses on madhubani painting to encourage younger generations to take up this skill as an employment generating avenue. Government role in Revival & Promotion handicrafts

30. The ODC (Handicrafts) has different types of schemes for revival and promotion of this rich folk art: •      Design and technology upgradation •     Training and extension •     Financial assistance to artisans •     Marketing support and service, Vikash Yojona , etc •      Upgradation of artisans’ skills •     Improvement and diversification of product •     Development of new designs and prototypes •     Supply of improved/modern equipment to the craft persons •      Revival of rare crafts to preserve the traditional heritage by conducting fairs like Surajkund Handicrafts Mela •      Preservation of traditional art and crafts of high aesthetic value in national museums and places like Delhi Haat , which reflect and boast of rich Indian traditional culture of different states. Apart from government efforts, fashion-conscious and heritage-loving Indians can also play a key role in reviving and promoting this, as also the other art forms that make this country so rich and diverse.

31. Export Promotion Council for Handicrafts (EPCH) was established under Companies Act in the year 1986-87 and is a non-profit organisation , with an object to promote, support, protect, maintain and increase the export of handicrafts. It is an apex body of handicrafts exporters for promotion of exports of Handicrafts from country and projecting India's image abroad as a reliable supplier of high quality of handicrafts goods & services and ensured various measures keeping in view of observance of international standards and specification. The Council has created necessary infrastructure as well as marketing and information facilities, which are availed both by the members exporters and importers. Export Promotion Council for Handicrafts (EPCH)

32. Providing commercially useful information and assistance to members in developing and increasing exports. Offering professional advice and services to members in areas of technology upgradation , quality and design improvement, standards and specifications, product development, innovation etc. Organising visits of delegation of its members abroad to explore overseas market opportunities. Participating in specialized International Trade Fairs of handicrafts & gifts. Organizing Indian Handicrafts and Gifts Fair at New Delhi. EPCH Activities

33. Interaction between exporting community and Govt. both at the Central and State level and representation in almost all the committees / panels of Central and State and represents in almost all the committees / panels of Central and State. To create an environment of awareness through Workshops on "Export Marketing, Procedures and Documentation", Packaging, Design Development, Buyer Seller Meet, Open House etc. interaction with Central and State Govt. and various other similar programmes . Dissemination of government notification, orders, information on trade and other relevant information to members.

34. Government Schemes and Policies for Regional Textile Craft Workers At present, the office of Development Commissioner (Handicraft) is implementing the following seven schemes for promotion and development of handicraft sector: Baba Saheb Hastshilp Vikas Yojana Design and Technology Up-gradation Marketing Support and Services Research and development Human and Resource Development Handicrafts Artisans Comprehensive Welfare Scheme Infrastructure and Technology Development Scheme

35. The Office of the Development Commissioner for Handlooms, Government of India has been implementing a number of developmental schemes and programmes to protect the interest and welfare of the weavers. It is proposed to introduce the "Handloom Mark" which will provide a collective identity to the handloom products and can be used not only for popularizing the hand woven products but can also serve as a guarantee for the buyer that the product being purchased is genuinely hand woven. Besides, this would provide a distinctive name in identifying the product or the manufacturer. The Handloom Mark would, therefore, be a hallmark of powerful creative work that defines the product with clarity, distinguishing it from competition and connecting it with customers. Handloom Mark

36. Promote handloom products in Domestic as well as International Market. Provide assurance to the consumers about the genuineness of the product origin. Improve international marketing linkages to the handloom weavers. Strengthen supply chain for Handloom products Improve price realization of the Handloom products in Domestic as well as International Market Improve the earnings of the handloom weaver community Facilitate uninterrupted workflow throughout the year to the handloom weavers. Develop database on the handloom supplies and weavers that will help in supporting the weavers through the existing schemes being implemented by the Govt. of India and framing of the future plans. Scope of Handloom Mark

37. Roles of Fashion Designers in promoting regional crafts and artisans

38. Agnimitra Paul and Rohit-Abhishek presented their collection on Day Four of the Lakme Fashion Week. The penultimate show on the Indian Textile Day at the Lakme Fashion Week saw  Agnimitra Paul  and Rajasthan-based  Rohit-Abhishek  show their collections. Agnimitra's collection sought inspiration from the Madhubani paintings of Bihar. First up they have  Surelee Joseph  sporting a pair of beautiful palazzo pants with motifs from the legendary paintings.

39. Using the Madhubani paintings of Bihar as her inspiration, Agnimitra Paul’s Lakmé Fashion Week Summer/Resort 2013 collection called “Mystic Madhubani” was a dazzling blend of Indo-western creations. The colour story was in tune with the paintings for the solid fabric offering, so that the textiles could blend in perfect harmony. The Madhubani prints were either strategically placed on the garments or splashed all over to create a striking vision of beauty and elegance.

40. Traditional saris, capes, wraps, jackets, lean pants, elegant gowns, swirling flared long skirts, trendy dresses, jumpsuits and kurtas came together in a colourful melangé of garments. The fabrics that set the mood of the range, moved from crêpe, linen, khadi to georgette, matka silk, Tussar, handlooms and net. To highlight the theme, Agnimitra used clever texturing with machine embroidery and Madhubani paintings.

41. Manish Malhotra’s Autumn-winter collection Threads of Emotion was a reinterpretation of Phulkari embroidery and he presented a beautiful lineup of saris, anarkalis , floor length anarkalis and angarakhas in autumn colors like rich mustard yellow, navy blue, deep rust, earthy olive and intense red. A Manish Malhotra showed beautiful bandhgalas and kurtas . Grooms-to-be might want to take notes. Manish Malhotra’s ‘ Phulkari ’ collection at Wills India Fashion Week

42. Fashion Designer, Manish Malhotra , showcased the versatility of  phulkari  to an eclectic gathering at The Philadelphia Museum of Art

43. J&K govt signs MoU with Flipkart to promote handloom, handicraft products Initially this tie-up is supposed to cover dozens of products of lower and middle range segments like paper- machie , walnut craft gift items, shawls and stoles, embroidery made-ups and namda rugs, chain stitch wall hangings, willow wicker, gabba , etc. Many more craft items shall be added subsequently. Flipkart Samarth supports more than 6,50,000 artisans, weavers, and micro-enterprises across India. In a statement, Walmart -owned Flipkart said its agreement with Jammu & Kashmir Handloom and Handicrafts Corporation under the Flipkart Samarth programme to enable local artisans, weavers and craftsmen showcase their products on its platform. In October, 2020

44. E-commerce giant Flipkart has signed an agreement with the Assam government to promote the state's local artefacts and handloom products on its digital marketplace, an official said. " The Assam government and Flipkart both will focus on creating avenues to increase business and trade inclusion opportunities for these underserved segments of the society, thereby adding further thrust to the government's initiative to build a self-reliant Bharat ," the company said in a statement. The homegrown e-commerce firm has been expanding the reach of its Flipkart Samarth programme to provide market access to the artisan and weaver community across India. Read more at: https://economictimes.indiatimes.com/small-biz/sme-sector/flipkart-inks-pact-with-assam-govt-to-promote-handloom-handicraft-sectors/articleshow/77781856.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst Flipkart signed an Agreement with The Assam government

45. Amazon India had launched the Karigar programme in 2016 as part of its efforts to bring all forms of Indian crafts online. Since then, Amazon. has involved more than 3,000 master weavers, co-operatives, artisans and government organisations under various ministries to help artisans sell online. Read more at: https://economictimes.indiatimes.com/small-biz/sme-sector/amazon-india-to-host-handicrafts-mela-to-support-artisans-weavers/articleshow/78332111.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

46. Amazon.in hosted a virtual 'Handicrafts Mela ' from September 26-October 10, 2020 showcased more than 270 art and craft forms from various parts of the country. Over eight lakh artisans and weavers associated with 1,500 Amazon Karigar sellers and 17 government emporiums including Tantuja , Harit Khadi , Tribes India and national-level artisan organisations like Craftmark and Dastkari Haat Samiti got benefit from this mela , Amazon India said in a statement. Amazon's Handicrafts Mela - which helped in showcasing over 55,000 unique products - helped customers discover and purchase products from artisans and weavers from different parts of the country by visiting specific sections like handloom zone, handicrafts home decor, kitchen items, handmade toys, handcrafted festive collection and others, the statement said. Read more at: https://economictimes.indiatimes.com/small-biz/sme-sector/amazon-india-to-host-handicrafts-mela-to-support-artisans-weavers/articleshow/78332111.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

47. Prime Minister Narendra Modi on Friday inaugurated ' Ekta Mall', a special store constructed near the Statue of Unity here where tourists can buy handloom and handicraft products belonging to different states under one roof. The mall, developed on the theme of Unity in Handicraft & Handloom Diversity, is spread across 35,000 square feet near the 182-metre tall Statue of Unity at Kevadiya in Gujarat's Narmada district. Oct 30, 2020 Read more at: https://economictimes.indiatimes.com/news/politics-and-nation/pm-narendra-modi-inaugurates-ekta-mall-visits-jk-north-east-stalls/articleshow/78952730.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

48. The dynamism of handicrafts industry in India is unparalleled - be it the traditional Indian arts and crafts or a customized version of an overseas art form. Unlike in the past when the industry was battling to carve a niche in the market, there is a great demand for Indian handicrafts today that is being nurtured by different government and non-governmental organizations. The sector is economically important from the point of view of low capital investment, high ratio of value addition, and high potential for export and foreign exchange earnings for the country. The market is developing due to the huge demand of its products in terms of utility, cost and aesthetics. To centralize and better organize the sector, the government has also initiated the concept of 'Towns of Excellence' that are providing recognition to production areas where the handicrafts have been traditionally developed. Today, there are 35 urban ' Haats ' all across the country, that allow for the allotment of built-up stalls to artisans on a fortnightly rotation basis at nominal costs. Conclusion

49. The industrial revolution and the increasing productivity had slowed down the growth and the quality of arts and crafts, but for some decades now, the scenario has changed and machine-made products no longer attract the people. Presently handicrafts are being considered as vocational media and it is also opted for style statement and the leisure pursuit. Today, the crafts and craftspeople have a vital role to play in modern India – not just as part of its cultural and tradition, but as part of its economic future.