Forging a new story for India’s craft heritage

This time, there is a new look and feel to the annual crafts bazaar organised by the Dastkari Haat Samiti—a not-for-profit organisation, which acts as a national association for craftspersons from across India. The 39th edition of this ten-day-long exhibition, on view till 25 October, is looking at how traditional crafts can be incorporated within contemporary architectural and design practices. Not just that, the venue for this year’s bazaar is also new, having shifted from Dilli Haat at INA Market to Handloom House, Janpath, New Delhi where 90 stalls from 20 different states of India have been set up. 

As you walk around, you meet craftspersons, whose families have been practising a particular form for decades. It is interesting to see how they are making a bridge between the past and the present. Take, Amit Omkar Dhawan, for instance, whose family—hailing from Hoshiarpur, Punjab—has been creating furniture with bone inlay work for over 300 years. He is the sixth generation to take up this tradition. 

The original craft went into steady decline, particularly after the 1980s, when the government banned the trade of ivory. “After shifting to Delhi from Hoshiarpur, my grandfather and father came up with a solution—of using substitutes such as acrylic and bone for this decorative craft technique,” says Dhawan, majority of whose clients hail from California, US—particularly the non-resident Indians. At this point of time, very few families are practising this craft, and Dhawan wants to make it relevant to younger clients by bringing in new thoughts and ideas. He hopes that his daughter, currently studying at the National Institute of Design, Ahmedabad, will soon join him and take the craft forward. 

In another part of the bazaar, one can see Idris Khan and Mohammad Rafiq—brothers from Kashmir, in their 30s—demonstrate their craft of khatmband. They are the eighth generation specialising in the woodwork technique of creating geometric patterns on ceilings without the use of nails. It is believed to have originated in Iran, before arriving in Kashmir sometime in the 14th century. Just like bone inlay work, khatmband too is practised by very few families in the valley. Both Khan and Rafiq learnt this technique as teenagers. They have already taken a step into the future by working on a project to restore 30 rooms in Ranjit Palace, Amritsar. They have also recently created a khatmband ceiling at an eatery in Hyderabad. They’re increasingly getting enquiries about designing mosques, shrines, homes, hotels, and bed-and-breakfast places pan-India. They are learning about combining tradition with contemporary sensibilities en route. At the bazaar, this idea runs like a leitmotif, as select furniture and decor items are displayed, which could fit into a modern urban home. So there are kavad-inspired cabinets, a set of small tables featuring kalamkari, sculptures embellished with gond art, and more. 

“The potential of craft lies beyond just holding bazaars. While they are for human interaction, education and reflect the spirit of joy, we want to continue to move towards more interesting collaborations with architects and designers, placing the artisan at the centre of it all,” explains Jaya Jaitly, founder of Dastkari Haat Samiti, craft revivalist, and a former politician. The new logo—created by Jaipur-based miniature artist Mohan Prajapati—encapsulates this new approach of the bazaar. It is a minimalist visual, depicting a lady purchasing a handicraft from a craftsperson, framed against a red background. 

The design of the venue by Delhi-based Studio Lotus also showcases the synergy between craft and architectural practices. The association between Dastkari Haat Samiti and the architecture studio started two years ago, when craftspersons from across India worked with the architects to design the legal firm, Trilegal’s office in Gurugram. The space featured walls clad in shibori and ajrakh works, elements in the cafeteria inspired by Mughal miniature painting, and design of the conference rooms influenced by Gond and Madhubani paintings and metal craft from Bastar. Jaitly hopes that more such collaborations take place within the architectural space in the coming years. “While we’ve made a headstart in the interiors and design space, we are already working on even more projects, both public and private. This year’s edition, then, becomes a one-stop solution for stakeholders to talk directly to craftspersons, specialising in various techniques,” says Charu Verma, project head, Dastkari Haat Samiti.

With the spotlight on carpet weaving and mud mirror work from Gujarat for statement wall art pieces, terracotta objects from Kerala for decoration, and more, the focus this year clearly is on the home and beyond. The idea is to nudge both the artisan and the client to look at a weave or a drape in a new light as a design element to dress up your home. 

Abhilasha Ojha is a Delhi-based art and culture writer.