SlideShare a Scribd company logo

Developing Culture as Livelihood-Study Report(1)

•Download as DOCX, PDF•
•
A
avishek ghosh
1 of 56
Study Report on ‘Possibilities of Developing Culture as Livelihood in districts of Rajasthan’ Study Period : Nov 1 to Nov 10, 2012. Implemented by : banglanatak dot com Supported by : Rajasthan Ajeevika Gramin Vikas Parishad
Introduction : Rajasthan has always been one of the major cultural destinations of India. The rich and diverse performing folk art form and craftforms have attracted people from all over India. The rich cultural diversity depict the ancient Indian way of life. Rich and varied folk culture from villages of Rajasthan is a treat to watch. The artists involved with this rich cultural tradition perform in various hotels, palaces, resorts and tourists watch them perform. Some organisations promote the artists like Tourism Department, WZCC provide support for performance. But the issue was that few groups get performance in the cities and the question was whether the artists at the village can sustain their livelihood through the artform. Banglanatak dot com aims to generate livelihood and overall socio-economic improvement of community artists through their traditional art and culture. Flagship initiative of banglanatak dot dom, ‘Art for Life’ working with 3200 traditional artists of West Bengal supported by Eastern Zonal Cultural Centre, has led to improvement of income of the artists from Rs 500/- per month to around Rs 3000/- per month on an average. The initiative also resulted in improvement of overall life of artists thus sending their children to schools or installing sanitary toilets. The initiative has been recognised by Jeevika, Govt of Bihar and banglanatak dot com has been working with 1200 artists in 9 districts of Bihar. Planning Commission has endorsed the model and we have worked with 300 Madhubani painters in Simri, Madhubani. With this in background Rajasthan Ajeevika Grameen Vikas Parishad wanted to explore possibilities of developing culture as livelihood in different districts of Rajasthan and include traditional folk artists, craftsmen under the NRLM framework. A study was thus conducted by a four member team from banglanatak dot com from Nov 1 – 10, 2012 to assess the possibilities of developing culture as a form of livelihood in different districts. Areas Covered and stakeholders consulted under the Study: Districts Dates ofVisit Areas Stakeholders consulted Jodhpur Nov 1-4 Jodhpur city, Phalodi Tehsil, Luni Tehsil, Osian Tehsil, Satni village, Mandor tehsil Officials of AGVP, District level officials, Sangeet Natak Academy, BDO,Gram Panchayat members, Other Government officials, DIC, DRDA,cultural organisations, artists, craftsmen,researchers, NGOs. Jaipur and Sikar Nov 1-4 Jaipur city, Sikar district- Fatehpur Block, Jaisalmir Nov 5-6 Jaisalmir city, Block – Khuri, Sam, Fatehgarh Ajmer Nov 5-6 Ajmer city, Pisangan tehsil, Kishangarh tehsil, Ganaheda village, Karail GP Bhilwara Nov 7-8 Bhilwara town, Mandal Tehsil, Baneda Tehsil Rajsamand Nov 9-10 Bhim., Deogarh,Railmagra Tehsil, Molela village, Haldighat in Khamnor Block Udaipur Nov 7-10 Udaipur city, Gogunda, Jhadol and Kotra Block
Predominant Folk Forms and Craft Forms of the District : District Performing Folk Form / Folk Painting Craft form / Handloom Area of concentration # of artists Possibility of inclusion Remarks Jodhpur Langa musicians Phalodi Tehsil 200 Yes Renowned folk form, Quality musicians, cluster of artists at Phalodi, the artists do not get many performances. Mangniyar musicians Phalodi Tehsil 50 Yes, Renowned folk form, quality musicians, cluster of artists, low socio economic condition. Kalbelia musician and dancers Jodhpur city and surrounding area 300 Yes Renowned folk form. The artists at the city get performances and hire dancers musicians from villages, but the artists at village have low socio economic income, still do not have houses and government schemes. Dholi / Mashak player Phalodi Tehsil 150 Yes Talented artists. Do not have proper market linkage. Huge possibility. Bhopas singing Pabuji ka Phad Luni, Phalodi, Bauri Block 100 Yes The artists are talented and have high market potential. Do not have proper market and exposure. Kacchi Ghori Jodhpur City 20 No Very few artists. Staying at the city. Performs regularly. Carpet weaving Salabas, Sangasani, Khudiyala 100 No Handloom industry. The artists have formed societies and have a market. Potters Kankhani 10 No Very few artists. Jaipur and Sikar Katputli Kathputli bastee in Jaipur town 500 Yes Talented artists. The artists stay at the city. Difficult to include into NRLM. Daff / Chang dance District - Sikar, Tehsil - Fatehpur 150 Yes Talented musicians. Interesting artform. Huge possibility of augmenting their income and market linkage. Lac Manihar, Gali and Pattabasti in Jaipur town 500 No Big industry. The artisans work as labourers in industries. Miniature Sanganer Tehsil 150 No Very few artists presently practice. The ones who
painting practice are having good socio economic condition. Blue pottery Sanganer Tehsil 400 No Run by business houses. Bagru print Sanganer Tehsil 1000 No Run by business houses. Pottery Chomu village, Harota 200 No Low craftsmanship. Can be taken up later on. Leather works Udaypuria village, Chomu Block 400 No Run by businesss houses. Jaisalmir Mangniyar musicians Khuri, Sam, Fatehgarh, Pokran Tehsil 300 Yes Quality musicians. Renowned all over the world. Huge prospects of market linkage. Puppetter Jaisalmir town 25 No Very few artists practice the same. Nirgun / Bhajan singer Khuri, Sam, Fatehgarh, Pokran Tehsil 200 Yes Nirgun Bhajans are appreciated all over India. The artists are quality singers and have hige market potential. Bhopas singing Pabuji ka Phad Jaisalmir town 12 No Very few musicans and also scattered in different places. Pottery Pokran 200 No High quality of craftsmanship. Can be taken up at a later phase. Ajmer Kalbelia musician and dancers Ganaheda, Karail Gram Panchayat 100 Yes Very low socio economic condition. No housing. Prospects of linking to various markets. Bhopas singing Pabuji ka Phad Karail Gram Panchayat 10 Yes Quality artists from one village. Kishangarh school of painting Kishangarh town 100 No Most of the artists work in big art centers. The artists are having good socio economic condition. Kishangarh school of painting Pisangan town 100 Yes Many quality artists are present. Most of them have left the art form but is interested to restart painting once they are assured of proper market.
Puppetry Telipara, Ajmer town 10 No Very few artists. Qawwals Ajmer town 50 No They stay in Ajmer town and have regular performance. Stable socio economic condition. Stone Curving Kishangarh town 50 No Industry based. Bhilwara Fad painting Sahapur 12 No Very few artists and also the artists are economically well off having a stable market. Nirgun / Bhajan singer Mandal Tehsil 100 Yes Quality artists can be taken up. Prospect of market linkage. Gair dance Mandal Tehsil 50 Yes Quality artists . The artists can be linked to national and international level. Nahar dance Mandal Tehsil 20 Yes Lost artform but can be an interesting form of Rajasthan. Rajsamand Gawri dance Bhim, Railmagra and Deogarh Tehsil 200 Yes Quality artists. Cluster of artists present. There is huge possibility of market linkage of the artists. Nirgun / Bhajan singer Railmagra 100 Yes Quality singers. There are possibilities of linkage at national level. Pottery Molela village 50 No Quality craftsmanship. Good socio economic condition. Udaipur Bhawai Nrityo Gogunda Block, Thur village 100 Yes Quality artists. Interesting form of Rajasthan. Very few artists exist. Low socio economic condition of the artists. Teratali Gogunda Block, Dhol village 50 Yes Very few artists practice the form but can be linked to various festivals. Interesting form of Rajasthan. Kathori dance Kathori Bastee, Kotra Block 50 Yes Tribal artists perform the same. Interesting form.
Analysis of Predominant Folk Forms and the artists : The different folk forms in Rajasthan are mainly seen to be practiced by different communities. Each form is performed by a particular community and has been primarily their tradition and culture. The western part of Rajasthan covering districts Jodhpur, Jaisalmir is culturally rich and have diverse performing folk artforms. Influx of tourism has also helped the traditional folk artists sustain their lielihood through the folk form. Langa musicians, Mangniyar musicians are major attractions in this part of Rajasthan. Bhajan / Nirgun singers of Jaisalmir are also traditional musicians and have huge demand but not being exposed at national level much. It has been seen that some of the groups which are popular get more programmes while the artists staying at the village do not get much performances. The tourist season from Nov – Mar is when artists get programmes, other time they sustain through secondary source of livelihood. Though, it is to be pointed out that many of the Langas and Mangniyar musicians do not have other forms of livelihood other than singing. Nomadic tribes are present all around Rajasthan. The culture of these tribes is almost lost. Kalbelia is one of the predominant nomads who still perform the tradition of singing and dancing. Kalbelia dancers and musicians are found in Ajmer, Jaisalmir, Jodhpur. Kalbelia community due to its rich and vibrant form has reached out to many parts of the Globe. It is also included in the List of UNESCOs intangible cultural heritage. Though the renowned artists perform in many places and get a good honorarium, the artists residing at the villages are still poor. Other nomads like Garoliya Lohar are scattered all over Rajasthan but they have lost their cultural identity. Also it would be difficult to bring them into one framework as number of persons staying at one place is very less. Khatodi tribes of Udaipur has their unique dance form and still performs occasionnaly. The districts of Udaipur, Bhilwara and Rajsamand have many painting forms. Many artists now reside at the cities and main towns and sale their market to art galleries and big businessmen. Phad painting an age old tradition practiced in Sahapur, Bhilwara is a marketable product but the number of artists is very less and the ones who are practicing are quite well off. Kishangarh School of painting in Ajmer is also famous but practicing artists are less and mainly work in big business houses / art centres. But Kishangarh School of painting practiced in Pisangan was once a lucrative livelihood. But, slowly with competition the artists have left painting. Bhils are the predominant tribes of the area. Gair, Gawri, Nahar are all dances of the Bhil community. Bhopas practicing Pabuji ka Phad are found all over Rajasthan but main concentration is found in Jodhpur, Ajmer and Jaisalmir. These artists are nomads as they move from one place to other. Jaipur and Udaipur is also known for various crafts. Most of the crafts are being led by leading businessmen and is difficult for the artists to sustain on their own. Blue pottery, miniature painitng, leather works are all run by industries. The main market of the artists presently is hotels, resorts, palaces, government programmes and some private ones. There is a huge market still unexploed for these talented musicians both at national and international level.
Langa Musicians: History : The Langas are a part of the Sindhi community. Some are of the opinion that the origin of the Langas are from Mirpur, Pakistan. But some others are of the opinion that the Langas originally belong to Rajasthan and that with time some of the Langas have migrated to Mirpur, Pakistan. It is known that the Langas are originally from the family of Raja Balwant the king of Jodhpur. Balwant had twelve sons out of which lang was one of them. The langas originated from Lang. The Langs used to keep record in the Rajas kingdom. Theme : The Langas sing Rajasthani folk song, Sufiyana Kalam, Punjabi folk songs. The folk songs mainly revolve around the lives of the Rajas and Maharajas. The theme also revolves around various folk deities worshipped in western part of India. The love story of Heer Ranjha, Shashi bani is often foretold in the songs. This group of artists also sing various Sufiyana Kalams of various noted poets. Music : Sindhi Sarangi, Algosa, Matka, Khartal, Harmonium and Morchang are mainly used by the artists. Sindhi Sarangi is the traditional instrument of the Langas. It is seen that very few instrument makers are left who can make Sindhi Sarangi, Khamaycha (used by Mangniyars). In Phalodi Tehsil there is only one such instrumentalist named Ibrahim Khan who learned it from Ridmal Khan 25 yrs ago. Thus passing of the tradition of making instrument is critical. Also young artists want to learn the art of playing traditional instruments. Cluster / Area of concentration: In Jodhpur the main area of concentration is Phalodi Tehsil. There is another village Bernawa in Bermer bordering Jodhpur which has high concentration of the Langas. The villages such as Kalra, Bangti Kharot, Bangti Kala, Bidasri, Bhoros, Tekra,Ghator, Hindalgol, Bap, Kuslawa are known for the Langas. Sindhi Sarangi Matka Khartal
Gurus of the Folk Art form: The art form is being passed over from generation to generation.  Harmonium and Lok Geet : Shakoor Khan is the present day Guru of harmonium playing and Lok Geet. Shakoor learned the art of playing harmonium from his father Sumar Khan. He has travelled to all parts of India and also in Srilanka with the Langas. He gets around 2-3 programmes at National level and 10 programmes at local level thus earning around Rs 40000 in a year.  Sarangi : Sikandar Khan and Kaseem Khan are the present day Gurus of Sarangi. Both of these artists learned the art of playing from their ancestors.  Khartal : Attab Mohammad is treated as the present day Guru of Khartal.  Algosa: Sakoor Khan is the present day Guru. Present Market of the artists: The Langas are known throughout the world. The artists in Phalodi though are little less known. The artists have performed in Malaysia and Srilanka. The Langas in Phalodi have received programmes from all the Zonal Cultural centers, IGNCA, Center for cultural research and training (CCRT), Rajasthan Tourism, RIFF festival and various other national festivals. There are five ICCR empanelled artist at Phalodi. Since, the number of artists is more each artist gets chance of performing in 2 national programmes and 5-6 local programmes/ state level programmes earning around Rs 50000/- in a year. The Langa group performs in 12 – 15 getting an amount of Rs 2 lacs per show inclusive of all cost. The Langas in Phalodi have formed a society in the year 1985 –Langa Vikas Lok Sangeet Society. They have a community hall which is being built under the MP fund. Strength Weakness Opportunity Threat  High quality of musicians.  Appreciated throughout the world.  Classical musicians also want to work with the Langas.  Already have a network base and have participated in various festivals.  Instrumentalists are of high quality.  There are quite a number of young artists.  Unity among the community.  Since number of artists / groups are more each artist gets less number of performances.  The artists socio economic profile is still low. Many have mud built house with little assets.  Performs only during seasons. Other times they are mostly free.  More instrument players and singers can be trained.  Can be linked to many festivals at national level.  Formation of SHGs, developing a saving habit.  Making the society already formed a operational unit.  There are very few instrument makers of the traditional instruments.  Young generation slowly loosing interest due to low income from the art form. Training Requirement : The Langas are high quality of artists. There is need for segregating the artists into different grades and plan the training in that note.
 For Grade A artists : There are more need of exchange and collaboration with other instrumentalists / musicians from national and international level. There may be workshops with various musicians of Langa community, Mangniyar community, Kalbelia community, Dholi community and other instrumentalists from other states and develop an unique folk orchestration which can also be an unique form of presentation of music of Rajasthan to the national and international level.  For Grade B artists : o Training on instrument playing by experts of various music. o Training by experts on classical music.  For Grade C artists / novice artists: o Training under Guru Shishya Parampara by the local Gurus of instruments and music.  Training on instrument making: Since vary few instrument makers are still alive this is one of the major needs to sustain the art form. Training time : Between April to September. Other Needs :  Computer facility at the resource centre / community hall.  Website of the society with details of group and video.  Brochure .  More market linkage and promotion.  Health Insurance Card  Artist Card. Schemes available : MNREGA / IAY / ARTIST CARD / HEALTH CARD / Other Benefits:  Some of the artists work under MNREGA  None have received houses under IAY.  None have any health insurance card.  None have any artist card.
Mangniyar Musicians : History : Mangniyars are the traditional folk musicians of western Rajasthan. The word Mangniyar literally means Beggar. Their profession was singing and begging for alms from their Jajmans. They traditionally perform in various social occasions like child birth, marriage of both Hindu and Muslim communities. According to the artists and some researchers Mangniyars ware converted to Muslims from the Dholi community during Mughal period. There customs and rituals are similar to the local Hindu communities. Music : Khamaycha, Algosa, Matka, Khartal, Harmonium and Morchang are mainly used by the artists. Khamaycha is the traditional instrument of the Mangniyars. Khamaycha is a chrodophonic instrument played with bows. It is very different from the shape of Sarangi. It has a big belly carved out of wood with parchment pasted over it. The main playing strings are of guts and have seven or more sympathetic strings on it. The bow instrument is also comparatively longer than the other bows used in other musical instruments of the region. Theme : The Mangniyars sing Rajasthani folk song, Marwar Lok geet and Sufiyana Kalam. The folk songs mainly revolve around the lives of the Rajas and Maharajas, daily lifestyle, gods and goddesses and several immortal love stories. Mangniyars also sing traditional songs like Hichki or Gorbandh. Cluster / Area of concentration: Jaisalmir district:  Tehsil – Khuri , Village - Barna.  Tehsil – Pokran, Village – Chandan, Sanwara, Keralia, Kanoi, Bhesdha.  Tehsil – Sam, Village - Habur, Dhandi.  Tehsil – Fatehgarh, Village- Chattagarh, Satto, Bhiya, Jausa, Geraja, Chelak, Kapuria.  In Hamira and Jasinda there are also some artists Jodhpur District  Tehsil – Phalodi , Village - Raneri, Baru, Dholia, Kanasar, Eka, Mohra. There are also many artists who presently stay at Jaisalmir town, Kalakar Colony. The artists perform in various forts, hotels etc. Gurus of the Folk Art form: The art form is being passed over from generation to generation. Gazi Khan, Firoz Khan of Barna village, Bharkat Khana and Bhage Khan from Chattagarh, Sacchu Khan and Nasir Khan from Chandan village, Hakam Khan, Ghungar Khan from Sanwara. Sakar Khan from Himaria village is one of the main singers and has received Padmabhushan. Pepe Khan from Jasindar is also a renowned singer. Sawan Khan from the viilage Dubri Post Lunar has performed in MTV Coke studio. Present Market of the artists: The Mangniyars are known throughout the world. The main time of the performances is from Nov – Feb which is considered as tourist season. Most of the artists have performed in national and international level. Most of the renowned artists are empanelled with WZCC and ICCR. A five member team get around Rs 20000/- in local and Rs.40000/- in national shows. The artists beside the honorarium also get some other incentives from the audience.
Strength Weakness Opportunity Threat  High quality of musicians.  Appreciated throughout the world.  Classical musicians also want to work with the Mangniyars.  Already have a network base and have participated in various festivals.  Instrumentalists are of high quality.  There are quite a number of young artists.  Unity among the community.  Since numbers of artists / groups are more each artist gets less number of performances.  The rural artist’s socio economic profile is still low. Many have mud built house with little assets.  Performs only during seasons. Other times they are mostly free.  More instrument players and singers can be trained.  Can be linked to many festivals at national level.  Formation of SHGs, developing a saving habit.  Making the society already formed an operational unit.  There are very few instrument makers of the traditional instruments. Training Requirement : The Mangniyars are high quality of artists. There is need for segregating the artists into different grades and plan the training in that note. Though the tradition of training is a continuous process for the Mangniyars.  For Grade A artists : There are more need of exchange and collaboration with other instrumentalists / musicians from national and international level. There may be workshops with various musicians of Langa community, Mangniyar community, Kalbelia community, Dholi community and other instrumentalists from other states and develop an unique folk orchestration which can also be an unique form of presentation of music of Rajasthan to the national and international level.  For Grade B artists : o Training on instrument playing by experts of various music. o Training by experts on classical music.  For Grade C artists / novice artists: o Training under Guru Shishya Parampara by the local Gurus of instruments and music.  Training on instrument making: Since very few instrument makers are still alive this is one of the major needs to sustain the art form. Training time : Between April to September. Training of young generation of artists: Music Mirasi School : Dr Sarwar Khan Mirasi, a renowned Mirasi and a doctorate from a university in USA established these school of Mirasi musicians near Pator ki Haveli in Jaisalmir town. The institute was built with funding of a American organisation. Around 50 young boys learn the art of Rajasthani Lok Geet from the Mangniyar singers.
Pehchaan Lok Sangeet Sansthan : The institute cum community centre of the Mangniyars formed at Barna village, Khuri Tehsil is an important institute formed by renowned Mangniyar musician Gazi Khan. Young generation of artists get trained at the institute. Other Needs :  Resource centre of the Mangniyars at Sam Tehsil where musicians are more in number.  Website with details of group and video.  Brochure .  More market linkage and promotion.  Health Insurance Card  Artist Card. Schemes available : MNREGA / IAY / ARTIST CARD / HEALTH CARD / Other Benefits:  Some of the artists work under MNREGA for one / two months  None have any health insurance card.  None have any artist card.
Bhopas singing Pabuji Ka Pad: History: The Bhopas sing the stories of their folk deity Pabuji. The stories are being painted on a scroll called Pabuji ke Pad and the Bhopas and the Bhopanis sings the tale of their folk deity Pabuji. The Bhopas play the instrument called Ravanhatta which is a traditional instrument made by the Bhopas. The Pad is being painted by the Joshi family of Shahapura, Bhilawara. The belief is that Lord Rama came down to the earth as Baba Ramdev (folk deity) and Lakshman came down as Pabuji. The Bhopas worship Pabuji and narrate his tale of war heroics and marriage of Babuji with the niece of Pabuji. The history of Pabuji ke Pad is almost 500 yrs old. The Bhopas are from Bhil community. Area of Concentration: The artists are found in Kakhani in Luni, Phalodi areas, in Bauri Block. Some have also recided in Jodhpur city and surrounding areas like Hardev Dharamkata in Banar road. There are around 100 artists. Artists are also found in Jaisalmir town and in Karail Gram Panchayat of Ajmer. There are around 100 artists in Jaisalmir and Ajmer. Theme : Songs revolve around the story of the folk deity Pabuji. Performance: Each song is of 10-15 mins and the performers generally performs throughout the night to complete the entire Pad and their stories. But presently during performances in festivals they perform for an hour. They perform in a group of 3-4, 2 instrumentalists and 2 singers – one Bhopa and one Bhopani. The Bhopani generally plays the role of a chorus singer. Market : The artists generally performs in hotel during the peak season. Some also perform in the forts. They generally get Rs 1000/- per day for performance. Thus, generally they perform for around 50-60 days in the season and earns around Rs 50000/- in a year which is their fixed income. Other that that they performs in marriages and other occasions which is around 2 -3 in a month. These group of people perform presently only in Rajasthan. Very few have chances of performing at national level.
Mashak / The Bagpiper ofthe West: The Mashak instrument players play the bagpiper. Musical instruments like Dhol accompany the Mashak. There are 3-4 Mashak players and they belong to the Dholi community. They are found in the Satni region of Jodhpur. Madan Lal is a famous Mashak player and has been playing the instrument for the last 40 years. The Mashak players play the instrument mainly during marriages. Madan Lal has visited countries like China. They get around 2-3 programmes in a month and earns about Rs 3000/- (Rs 1000/- per show). In Satni there are Dhol players, Mirasi singers and Mashak players who can be taken up together in the SHGs. There are very few young Mashak players and Madan Lal can teach young persons the art of playing Mashak.
Kalbelia singers and dancers: History : Kalbelias are snake charmers. Kal means snake and belia means friendship. Thus Kalbelias make friendship with snakes. Previously they used to play bin/pungi and used to play with snakes, move from one place to the other. They are basically gypsies. The female members of the Kalbelia community dances to the tune of the bin/pungi. With time many Kalbelias have settled down in various areas. The Kalbelias are nomadic tribes and are found in many numbers but are scattered throughout. The community of Kalbelias belong to the family of the Navnaths. Their Guru is Kanifnath who was given the responsibility of looking after the jungles and wandering from one place to another. Kalbelia danceform is also included in the UNESCO’s list of Intangible Cultural Heritage. Area of Concentration : Shikharpur in Luni. Jodhpur city and surrounding area like Barli, Jawar, Gangona, Shikharpura in Luni, Pal, Bhatinda and Salabas in Luni. There are other areas also where this Nat community of people whose Guru being Kanipaonath is found. Artists are found at Ganaheda in Ajmer. Number of artists : There are around 150 Kalbelia artists in Jodhpur and surrounding but are scattered throughout. Eight to Nine members perform in a group out of which 4 are dancers and other are musicians and singers. Around 50 artists are present in Ajmer. Guru : Kalu Nath is the present Guru of the form. Gulabo who is an internally acclaimed artist from Ajmer is also regarded as Guru of the art form. Music and songs : The main instrument if the group is Bin. Presently the groups also play instruments like Harmonium, Dholok, Sarangi, Dafli, Khanjari, Manjira and Morchang. The artists themselves make instruments like Bin but procures other from market. The elaborate costumes are being stitched by some tailors in Jaipur and Jodhpur and the ornamentation on the costume is being done by the artists themselves. Each costume costs around Rs 10000/-.
Market : Kalbelia dancers are known world over for their exuberant, energetic dance. The costume of the artists are gorgeous and are like the color of the cobras. The Kalbelia dancers perform all over India in Government programs and also for various other organisations. Dancers like Kalu Nath who have settled in Jodhpur city has performed all over the world and have received huge accolades. Kalu Nath is also empanelled under ICCR and WZCC. The artists like Kalu Nath staying at the city works as artists as well as agents. They get orders and are paid heavily. Kalu Nath has done two shows one in Bangalore and one in Hyderabad for an amount of Rs 7 lacs and took with him a group of 75 artists. These artists at the city takes with them artists from the village and pay them Rs 300- Rs 400 per day. The situation of the artists at the villages is thus very poor. Documentation: The Kalbelia artists have featured in many films like Lamhe, Rudali and many documentaries are being made on the artists. Books have been written on Kalbelia dance. Mohan Lal Jod has written a book on Kalbelia named ‘Kalbeliya Geet Aur Nrityo’. Needs ;  Young Kalbelia dancers needs to be trained.  Musicians needs to be trained.  Exposure and collaboration with other musicians and dancers can help the artists to improve their skills.  Linking to various Government schemes.  There is need for settlement of the Kalbelia families and provide them with basic housing and BPL cards.  Providing BPL cards to the poor ones.  Health insurance of the artists.  There are many women members in the community who can be trained to make the costumes of the dancers.  Instrument and costume support. Strength Weakness Opportunity Threat  High quality of musicians and dancers.  Traditional folk form.  Appreciated throughout the world and is a popular form  There is a market of the folk form.  Young artists interested in learning.  Low socio economic profile of most of the artists.  Used mainly as labours by the agents.  There is very few groups and the bigger groups gets show and hire the artists at very low cost.  Apart from the known artists others do not have any assets.  Very few Govt schemes have reached out to the nomadic tribe.  The artists are scattered and are not found in concentration.  There is need for making groups of the artists.  Institution building is a critical need.  Government schemes can benefit the artists a lot.  Since the market of the Kalbelia dancers is huge they can be linked at local, national and international level.  Young artists can be trained and linked.  New groups can be formed and linked to market.  There are very few Gurus of the form and there is need for capacity building of other artists.  There are many Kalbelias who do not get the opportunity of learning the art form and thus gets involved into other forms of livelihood. Thus the number of Kalbelia musicians and dancers are slowly decreasing.
Bhajan / Nirgun singers: History: The Bhajan and Nirgun singers of Jaisalmir mainly sing songs of Saint Kabir, Surdas, Meera Bai, Ramdas, Ramdev and other spiritual saints. The artists performing this traditional music are the Nirguni sects. They reject idolatry and ritual in favour of personal religious practice. Area of concentration : The Bhajan and Nirgun singers are scattered throughout Jaisalmir. The artists live in The artists are scattered throughout Jaisalmir. The main areas are Mulsagar, Amalsagar, Dabla, Rupsi, Sam, Kanoi, Salkha, Sipla, Kumharkotta, Kahala, Khuri, Soda, Jethui and Chattagarh. Some artists are also located in Ramdeora and Pokran side. In Baiya village of Fatehgarh Tehsil. Music : The artists perform with traditional musical instrument like Tandura, Harmonium, Dholak, Manjira and Khartal. Artists are also found in Mandal Tehsil of Bhilwara district and Railmagra Tehsil of Rajsamand district. Communities performing the tradition : The communities who practice Nirgun form of singing are the Bhils, Salvi and Meghwals. Theme: The main theme of the songs revolves around formlessness of God. The songs spread messages against all form of castes and invoke equality and peace among all sections of society. Gurus : Late Padmaram Meghwal was one of the major exponents of Bhajan and Nirgun form of music. Bhaisaram Meghwal is one of the exponents who stay at Fatehgarh Tehsil. Baburam Bhil and Baba Balgiri Maharaj are also regarded as Gurus of the form. Present market of the artists: The artists mainly perform at the village ceremonies, festivals, during last rites after death and religious functions. Most of the artists who perform at villages do not get any honorarium. They sing out of passion. Strength Weakness Opportunity Threat  Nirgun Bhajans are widely appreciated throughout the country and world.  There are many traditional musicians.  Each group gets less number of performances.  The rural artist’s socio economic profile is still low. Many have mud built house with little assets.  Performs only during seasons. Other times they are mostly free.  Lack of market  More instrument players and singers can be trained.  Can be linked to many festivals, religious ceremonies.  The artists are scattered in many places and it is difficult to bring them into one scheme.
linkage of the artists.  Number of professional artist is very less.  The artists falls under lower section of the society for which they are still ortracised. Training Requirement :  Mobilisation of groups and Basic Orientation and Training of SHGs.  Training through Guru Shishya Parampara to improve their knowledge, collection of songs and musical skills.  Training of instrument players.  Training of artists to perform in larger groups. Performance of 2-3 groups together may bring in much more vibrance in performance. Training Time: April to September, 2012 Other Needs :  Need of training younger generation to learn the art form.  Need of market linkage of the artists.  Inward tourism in the villages of the artists.  Musical instruments of the artists.  Brochure of the artform having details of the artists.  Health Insurance Card.  Artist Card.
Art Form: Bhawai Nritya History : Bhavai is a genre of folk dance popular in Rajasthan state in western India. It is majorly a tribal dance originated from Gujrat and presently it is practiced in Rajasthan. Form : The male or female performers balance a number of earthen pots or brass pitchers as they dance nimbly, spinning the body and then swaying with the soles of their feet perched on the top of a glass, on the edge of the sword or on the rim of a brass Thali (plate) during the performance. A group consists of five artists perform for 20-30 miniuts. Sometimes they perform in a programme along with Gorbandh, Kalbelia ,Dewari. Area of concentration : Gogunda Block , Thur village. Around 100 artists are present. Music and song: The accompaniment to the dance is provided by the male performers singing melodious songs and playing a number of musical instruments, which include , Dholak,Khanjari, and Harmonium. Guru / Exponent of the art form: Gopal Gomiti of Thur village, Bargaon Tehsil of Udaipur is one of the major artists of Bhawai dance. He is the disciple of Late Dayaramji who was an exponent of this form. They perform in various cultural events and social occasions like marriage, birthday and religious functions. Market: One or two groups get chances of performance during the tourist season. Some also migrate during the tourist season and stay in Udaipur. Gopal Gomiti has performed in Goa, Shimla, Mussouri, Delhi and all over Rajasthan. He is an empanelled artist of WZCC. They get Rs1500-Rs 2000 for local performance and Rs4000- Rs5000 for out station in a 20-30 minutes performance excluding food and traveling allowance. The main season is from November to March. Many female dancers from Ahmedabad come to perform in major places of Rajasthan.
Tera tali dance History: Tera Taal is generally performed by Kamod community and it is a ancestrallearning from their society. They are worshippers of Ramdevji. On the eve of navratri they perform bhajans for a stretch of long nine hours. Style : Tera Taal dance is an exquisite dance performed by women while sitting. The women have manjiras tied with long strings to thir wrists, elbows, waists and a pair in hands also. They create a strong rhythm with manjiras. For an added effect they hold a sword between their teeth and balance two lighted metal pots on their heads. This performance is 30 minuits to one hour duration when it is a single tera taali program. Music and composition:Their male accompanies sing and play Tandoora, Dhol ane Harmonioum. The team generally has five to six members for a performance. Guru / Exponents: Bhamri Bai of Dhol village of Gogunda Tehsil in Udaipur district is one of the exponents and age old artist of Tera taal. Her family members are also eminent performers of this art form like Nirmala Devi, Jashoda Devi. There are ten to fifteen artist scattered in this village. In Bali tehsil of Pali district there are some performers of Tera Taal. Bhamri Devi performed in many parts of India like Shilong, Nagpur, Bhopal, Indor and Delhi. She also performed in USA wich was organized by Mr. Kamal Kothari. Market : One or two renowned artists get performances but that too not regular. Artists like Bhamri Devi has performed at Shilpa Gram, Jawahar Kala Kandra and for organizations like WZCC. Major season is November to March. They receive Rs 500 as honorarium in Govt. Programs for each performer. In private programmes they get around Rs 10000/- to Rs 15000/- as a group.
Dhaf / Chang: History : It is a form of Shekhawati folk dance. Nearly 400 years back this dance form started in the Shekhawati region. The dance form is called Daff or Chang based on the musical instrument Daff that is being played. Artists from Mali community practice this form. Area of Concentration: District Sikar, Tehsil : Fatehgarh Theme / Style : Danced by men only, the group forms a single circular file, each man carrying a Dhap or chang (a single-sided large tambourine-like drum), excepting those who dress in female attire, and one who plays the flute. The dancers sing and rhythmically crouch, walk and strike various poses with their instrument. The singing stops for a while, the flute player plays his instrument, and the Chang provide rhythm. Then the round of singing and movement is resumed. The three forms of Dhamaal are ‘Shringar Ras’ (depicting love and devotion), ‘Deb Vandana’ ( about gods and goddesses), ‘Raj Vandana’ ( about kings and their kinship). Guru : Ghisaram Joshi. Music ; The traditional instrument used is Chang / Daff. But instruments like Dhol, Shahnai are also used. Market: The artists presently perform in various festivals and fairs. Artists like Ghisaram Joshi is empanelled with WZCC, ICCR and have performed all over India. The group under Ghisaram Joshi gets programme but other artists do not get regular programmes. The artists who do not get regular programmes sustain through other forms of livelihood. Documentation: There are not much documentations done on the art form. WZCC has some documentations done on the form. Needs :  Training under Guru Shishya Parampara.  Training of the artists to develop various dance movements.  New production development.  Workshops with other dance forms.  Artist Card.  Health Insurance / Health card for the artists.  Instrument and costume support.  Development of new music compositions.  Linking to various Government schemes.
SWOT Analysis : Strength Weakness Opportunity Threat  The dance form is a colourful and entertaining dance form.  The artists perform in larger groups and have strong coordination.  One or two groups more performance. Other groups don’t get enough shows.  Younger generation slowly loosing interest.  Music compositions are sometimes repetitive.  Training of young generation.  New markets to be created.  Workshops with other dance forms and developing new productions.  Developing new music compositions.  Lack of market is leading to slowly interest loss among the artists.  Very few artists practice the form.  Lack of documentation of the art form. Gawri Dance : History : Gawri dance is a month long festival of the Bhils who abstain during this month in August and September and perform a group dance which comprises of many tails and incidences woven into a ritual. The music comprises of drums and the singing is fascinating. The main characters are Rai Buriya, the Shiva, his two Rais and Katkuria, the comic handman. Between the enactments of various episodes, the entire troupe dances around a central spot consecrated to a deity in Rajasthan. Area of concentration and number of artists : Gawri dancers are located at Bhim and Deogarh Tehsil. In Deogarh Tehsil the villages having concentration of artists are Bacheerdia, Madaria, Mandawara, Pardi, Kundwa, Shelaguda, Bassi, Ajna, Puniyana and others. Artists are found in Diwar village of Bhim Tehsil. Artists are also found in Railmagra Block. There are around 200 artists involved with the folk dance form. Theme : The main theme of the folk dance revolves around the folk deities that the Bhils worship. The main characters are Rai Buriya, Lord Shiva, his two Rais and Katkuria. Market of the artists : The artists at Deogarh generally gets 4-5 performance a month during the peak season. Some groups get more programmes. Generally the groups perform in hotels and resorts. One of the groups led by Gordhan Bhil have performed in other parts of Rajasthan but generally they perform in Deogarh. The artists get Rs 1000/- per performance thus earning about Rs 10000/- to Rs 20000/- from the art form. The artists depend work as labourers in mines during off time. There are event managers or middle men who take the artists to the hotel. Sujan Singh a local leader takes order from the hotel and arranges the groups as and when required. The artform has market and local and national level and need more marketing initiatives to make the artists sustain through the art form.
Puppetry: Puppeteers at Jaipur: Puppetry is one of the most exclusive entertainment all over Rajasthan. In Jaipur there are around 500 puppeteers lives in Kachhi basti near Udyog Bhavan. There are other places like jagatpura, panipeg where they live. They settle here for last 35-40 years their ancestors came from Nagor. Presently they arrenge various programme on puppetry in different hotels and tourist spots. They also sale their puppets locally and mostly aimed for tourists both foreigners and Indian buyers. The puppetiers arrange their programme along with various entertainments like Kalbelias,kachhi ghodi,anothers. They procure their business visiting different hotels. Most of the artisans have BPL card and artisans card also. Generally they earned 4000-5000 rupees in a combined programme sometime they charge 10000 rupees per programme as per the desire of the inviters. Some puppetiers shown grievances on non-patronage of Govt. previously they get various IEC programmes from various department. Puppeteers at Ajmer: There are very few puppeteers staying in the area. Though the quality of artists is high they get very few programs. Presently, Sohan Lal Bhatt also takes order of other folk performances and act as a agent to conduct programmes in hotels. The main concentration of the puppeteers is in Nagaur. The artists also make high quality of puppets of different sizes and depicting different characters which also has a market. The puppeteer narrates stories of Sahijan Badshah, Amar Singh Rathore Since, number of artists is less and the artists also stay at the town it may be difficult to include them under NRLM.
Kishangarh School ofArt : Area of concentration : Kishangarh town, Pisangan town. History : Kishangarh school of painting is known world over for its unique style of painting. The main story revolves around Radha and Krishna. The main community involved is the Prajapat community. The characteristic feature of the painting form is painting of Banithani one of the most beautiful women on the earth. It is known that Sawai Man Singh had eternal love with Banithani. Situation at Kishangarh : The artists are earning quite a bit. There are organisations at Kishangarh who sales this art. Situation at Pisangan : It is known that Narsingh Dasji one of the famous painters of Kishangarh school migrated from Kishangarh to Pisangan around 500 years back. Thus, developed a unique style of painting at Pisangan on cloth. They mainly depit stories of Radha and Krishna. Around 500 artists used to practice this form of painting at Pisangan. Many Government officials in 1970’s even left their lucrative job and started painting. Slowly with competition the demand of the art form decreased. Women also practiced the form in numbers. Presently, there are very few artists practicing the artform. The agents take the paintings to Beawar and sale them off at very cheap rates. A 6 x 4 sq ft painting is being sold at a nominal rate of Rs 250/- while a 6 x 8 sq ft painting is being sold at Rs 400. The artists often sale this paintings at Delhi. The paintings are then sold at much higher price. Since, the artists don’t get the adequate market, they presently do not innovate much and make the same paintings day in and day out getting around Rs 200 for each painting exclusive of material cost. Each painting takes 2 -3 days for completion. Thus the artists hardly earn Rs 1500/- to Rs 2000/- per month. The artists use poster colours and it is known that they have never used natural colours. Some have also commented that Pisangan school of art could not compete with the market due to lack of innovation in painting, lack of use of natural colours and also too many artists developed at one time. Some of the artists like Satya Narayan Prajapat have got some chances of exhibiting their painting at Ajmer and at Khadi Gramodyog Bhawan. The artists are not under BPL nor have any artist card. They are also not empanelled under ICCR or WZCC. There are high possibility of bringing back the lost tradition. Need of the artists :
 Mobilising the artists.  Giving back the lost confidence of the artists.  Institution building.  Training of the artists. o Training on use of colours. o Training to paint on new themes. o Developing diversified products. o Training of novice artists.  Getting new painting materials.  Developing new market of the artists. Handicrafts and Handlooms: Blue Pottery: History : Jaipur blue pottery is well known art form of Jaipur though it is Turko Persian in origin. The use of blue glaze on pottery is an imported technique, first developed by Mongol artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled south to India with early Muslim potentates in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Kashmiri potters. From there, the technique traveled to the plains of Delhi and in the 17th century went to Jaipur. Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler Sawai Ram Singh II (1835 – 1880). The Jaipur king had sent local artisans to Delhi to be trained in the craft. Some specimens of older ceramic work can be seen in the Rambagh Palace, where the fountains are lined with blue tiles. However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re- introduced through the efforts of the muralist and painter Kripal Singh Shekhawat, with the support of patrons such as Kamladevi Chattopadhyay and Rajmata Gayatri Devi. Technique : The potters commented that they use quartz stone (80%), green glass powder (5%), multani mitti (5%), borox powder, gond (gum for bonding 5%) and Saaji (soda bicarbonate 5%). hand operated potters wheels are used.rainy season is not favourable for this production. Main motifs and products: The motifs developed by the Blue potters are mainly images of God and Goddess, Rajput kingly valours, some miniature forms of Rajputana style and some animal forms. Presently diversified products are developed like pen stand, plates, Market linkage : The market of Blue Pottery is being controlled by some businessman. They hire local labours locally and make the artefacts. New generation of craftsmen are not interested because of insufficient earning from the craftform. They exports in countries like Australia, Israel, Spain, Japan, USA. Anil Doraya (Jaipur blue pottery centre) is one of the leading and age old businessman in this industry. Generally it is produce surrounding Jaipur and nearby Sangner. Blue pottery was started at Jaipur from early 19th century under the ruler Swai Man Singh.
Miniature Painting: History : Miniature paintings are the famous art form of Rajasthan influenced by the Mughal miniature painting. Rajasthani miniature paintings have many styles like Bundi, Kota, Kisangarh, Mewar and Marwar school of paintings. Patronage of the painters were being done by the kings. Jaipur miniature paintings are highly influenced by the Mughal miniature painting. Art of painting: These paintings are done with utmost care and in minute details, with strong lines and bold colours set in harmonious patterns. The miniature artists use paper, ivory panels, wooden tablets, leather, marble, cloth and walls for their paintings. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The colours are made from minerals and vegetables, precious stones, as well as pure silver and gold. The preparing and mixing of colour is an elaborate process. It takes weeks, sometimes months, to get the desired results. The brushes are required to be very fine, and to get high-quality results, brushes even to this very day are made from hair of squirrels. Traditionally, the paintings are aristocratic, individualistic and strong in portraiture, where the plush court scenes and hunting expedition of royalty are depicted. Flowers and animals are also the recurrent images in the paintings. Area of concentration : The artists stay at Joypur town presently. Some artists are also found at Sanganer Tehsil, Sanganer village. Themes: The main themes depicted in the paintings are stories of Lord Radha and Krishna, Rasleela, stories of kings and queens and palaces. Market : Presently very few artists practice at Sanganer village. Most of the artists have migrated at the city due to market and influx of tourists. The artists sale their paintings at painting shops / art gallery and also sale on their own to tourists. Some artists also visit festival and fairs organised by DIC, DRDC and others. The artists earn about Rs 10000/- per month. Lac work: This is also a famous art craft of Jaipur. Bangles, ornaments and many other show piece products are shown in the market. Traditionally manihaar community is engaged from past few generations. Presently others are also in this business like Sindhis. Mostly they are cluster around Pattabasti, Jotbara, Nagar road and Manihaar ki rasta in Jaipur city. They sale in whole sale and retail also. Raw materials are locally available which is coming from Chhattisgarh, West Bengal, Jharkhand, Odisha.
Terracotta: Terracota in Joypur: Terracotta is also sold in Jaipur comprising various qualities and design. It is mostly found in Chomu area village Harota. They make traditional earthen pots big earthen pot Vass. Some creates various designed terracotta items like dolls(Rajasthani mukhota) animal figures. In this village 15-20 families known as kumarh are engaged in this traditional terracotta works. Presently only one SHG exists named Harota pottery. Kailash Chandra Prajapati is one of the finest artisan who was also a SHG member leader of another SHG which is not existing. As he said a peoples who wants to create their own they don’t like to be in SHG. They attend the local fairs . kailash provide training for local artisans which is organised by Rural Non-firm Development agencies. Many of them have health insurance card and availed loans, many goes to pragati maidan Delhi and state fairs and festivals. Terracota in Molela village, Rajsamanad : History : The history of the art of pottery dates back to Indus Valley Civilization and lot of states have contributed to make it richer. The pottery art of Rajasthan boasts its distinctive art style. The potters have the innate touch in their hands to turn clay into objects of worships-mainly folk deities, conveying an intimacy with religion and belief woven into daily life, a practice, which has been the main sustainable income for these artists. The art of making attractive motive, plaques or idols of god with terracotta has made Molela village a name in the art of pottery. While previously the artists used to make Vishnu forms but today these figures are often mounted on tiles or plaques and are hung from the walls of temples and homes. Presently they also make scenes that depict the daily life of the villages of Rajasthan. Artists concentration : There are around 50 artists involved with the craft form. Guru / Leaders of the craft form: The quality of craftsmanship of these talented potters is worth mentioning. Some of the potters like Jamnalal Kumhar is a state awardee while artists like Mohonlal, Lakshmilal are national awardees. Mohan Lal is also a Padmashree awardee. Market: The main market of the artists is at local level. During the month of Jan and Feb villagers come and purchase their folk deity from the craftsman. Huge number of villagers come and purchase the folk deity. Some of the artists have high market linkage while some of the artists have low market linkage. The artists earn
about Rs 1.5 lacs in a year, some may earn a little more. Some of the artists like Mohon Lal has visited international countries. Artists like Jamnalal Kumhar have visited countries like Israel. Some of the artists also visit fairs and festivals organised by the DIC, DC, Handicrafts, National Institute of Design and others. Many work on collaborative projects with international craftsman. Documentation: Many researchers have worked with the artists. Some articles have been published. SWOT Analysis: Strength Weakness Opportunity Threat  High quality of craftsmanship.  Artists are concentrated in one place.  Molali village is a known place.  Some foreigners also visit the place.  Young generation also work with their parents.  Its more family based business and some artists are not interested to work together with artists from other families.  Lack of community trust and bonding.  Mobilissation of artists to form a society and create market linkage for the society.  The high quality of craftsmanship has demand in international market as well  Since, the artists do not want to exchange ideas among others there is low transfer of knowledge among the community. Leather Work (mojri):- Mojri is traditional shoe of Rajasthan made of local leather.The shoe makers belong to regari community. There are 400-450 families are engaged in making at Udaipuria village of Chomu block. They are the traditional shoe makers presently they making designer sandals, diary covers, purse. There are two SHG in the village Ganga SHG and Nagar SHG. Mr. Banoary lal Barodia is a key person and trainer of ganga SHG whose wife Shanti devi is a president of the group. This group will participate pragati maidan Delhi for the first time. They have the artisan card and they collect raw material from Chomu, Jaipur. They received loan of rupees 2 lakhs. They saved hundread rupees for month. Mr. BanowarilalBarodia is a local trainer received certificates from RUDA (rural non-firm development agencies) in 2005 he also being trained himself from Central Research Institute. All male members of both the SHG’s are engaged in production, marketing and business. They sale there product to the whole saler locally. Carpet Weaving: In Salabas, Sangasani, Khudiyala there are weavers who make traditional carpets. Mostly weavers work as labourers. They have their own loom and the design, raw materials and order is being given by some agency. The labours get around Rs 100 – Rs 125 per day. If they work on their own and sale it to the market they may get a little extra amount but procurement of raw materials, getting new designs is a major concern. Again the artists feel that if they work on their own they can work more in a single day as they can work on their own designs which is less complicated. The order works have intricate designs and takes much longer time.
The market of these carpets is all over India and abroad. Organisations like MM India presently procures carpet from the artists. Nabard has formed some SHGs in the area with these weavers but the economic condition of the artists is still poor. In areas such as Khudiyala, Salabas there are many societies formed like Budhraj Dury Udyog, Sirry Sakti Dury Udyog, Salabas Durry U dyog. There are around 100 weavers involved with the tradition. The Kumar community who previously used to do pottery have now turned into making carpet weaving. Possibilities of Rural Tourism : Tourism Department has already snapped in all tourism centers. But there may be cultural destinations which are still missed out and may be linked up for making the trails much more interesting. For instance, the route from Jodhpur to Phalodi can be like this : Note : Since many tourism trails are operational, there may be scopes of linking the cultural destinations to the trails. In Jaisalmir too there are oppurtunities of linking places like Barna where many Mangniyar artists live or Chattargarh in Fatehpur Tehsil where many Mangniyar and Bhajan artists stay. Udaipur district with its hilly terrain attracts thousands of tourists. Interesting places in Jhadol, Khatodi Bastee , villages of the Khatodi, see the dance form of the Khatodi tribes can be linked with the tourism trail. Oshian Jain temple Khinchan – Migratory Birds Community Hall of the Langas Oshian Wind Mill Oshian Desert Safari Fatiyal Mata ke Mandir
AGVP and inclusion ofart forms and the artists : AGVP is yet to start in the district of Jodhpur, Jaisalmir, Ajmer, Udaipur and most of the districts. The SGSY Schemes have been run by the DRDA and since its completion, NRLM is trying to set up its operation in the districts. The SHGs under the foray of the SGSY scheme will be included in the NRLM scheme if the SHGs confirm to all indicators under then NRLM mission. Some issues / considerations to be taken up while working with the performing artists under NRLM scheme :  Most of the artists are not included in any of the SHGs. If the SHGs were formed they are presently defunct.  While working with the community SHGs have to be formed of village women out of which some will be artists or their beneficiaries. In one area / village / GP it is difficult to find 12 artists to constitute a SHG. SHG members of same community will have larger unity.  Men constitute maximum number of artists, thus women beneficiaries have to be taken under SHGs. Out of total number of artists 80% are male.  Ten SHGs can form a VO where all SHG members are members of VO. The artists will be also members of VO. Some of the artists / beneficiaries should be in the governing body of the VO.  Seperate societies / livelihood collectives should be formed with the artsits at Block level with respect to each art form.  The NRLM mission has a feature called Satdarpan in RGAVP website which would have details of each SHG, name of members, their socio economic profile, photos of each members and other necessary details. The details of SHGs which are functional and are slowly taken up in the NRLM mission is being uploaded in Satdarpan. There are about 6000 SHGs in Ajmer presently around 2000 formed under SGSY scheme and around 6000 formed under ICDS scheme.
District Wise Analysis
Jodhpur : History : Jodhpur is known for Mehrangarh Fort, Umedh Singh palace, Bal Shramand lake, Mandor garden migratory birds and rich cultural heritage. The city of Jodhpur is the historic center of the Marwar region. Jodhpur was founded in the 15th century by Rao Jodha and served as the capital of the kingdom of Marwar under the Rathore Rajput dynasty till independence. The district is located in the Western part of Rajasthan. The district is bounded on the north by Bikaner, on the northeast by Nagaur, on the south east and south by Ajmer, southwest by Pali and west and northwest by Jaisalmir. Demographic Profile: There are 7 tehsils in the area, Phalodi, Osian, Bhopalgarh, Jodhpur, Shargarh, Luni, Bilara. There are 10 Blocks / Panchayat Samity. They are Osian, Shargarh, Balasar, Bap, Phalodi, Mandor, Luni, Bhopalgarh, Bilara and Jodhpur City. There are 339 Gram Panchayats in the district. The total population of Jodhpur is 36.85 lacs out of which male population is 19.24 lacs. Density of population is 161. Total literacy rate of the district is 67%. Different Folk Forms and Handicraft Forms ofthe region: Folk Form / Community Block / Area # of artists Potentiality Langa Community (Rajasthani Folk Geet) Phalodi Tehsil (Kalra, Bangti Khorot, Bangti Kala, Bidasri, Bhoros, Tekra, Ghator, Hindalgol, Bap, Kuslawa) Sherghat Tehsil (Chanchalwa, Samesar) Osian Tehsil (Jakhar). Jodhpur city and surrounding. (Kalakar Colony, Pratap Nagar) The largest concentration of the 150 + (100 young artists who want to learn the artform). 30 artists Langa community with their rich Rajasthani lok geet – Marwari Lok geet, sufiyana qalam has reached out to all parts of the world. The rich music tradition of the Langas are appreciated all over. Instruments like Sindhi Sarangi, Khartal, Morchang, Dholak, Harmonium and Matka are typical instruments played by the artists. Group performance, chorus and high quality of instrumentalists make this music a treat to hear.
Langas is in Bernawa near Balotra but it falls under Bermer bordering Jodhpur. Mangniyar Phalodi Tehsil (Raneri, Baru, Dholia, Kanasar, Eka, Mohra) 45 + (40 young artists who want to learn the artform) Mangniyar community like the Langas also sing Rajasthani Lok Geet and Sufi numbers. Mangniyars have also reached to all parts of the world. The Mangniyars play traditional musical instruments like Kamaycha, Khartal, Dholok, Harmonium. The singers and instrumentalists are of high quality. The Mangniyars perform in small groups. Kalbelia Jodhpur city and surrounding area like Barli, Jawar, Gangona, Shikharpura in Luni, Pal, Bhatinda and Salabas in Luni. There are other areas also where this Nath community of people whose Guru being Kanifnath is found. There are around 300 artists of Kalbelia but there are no concentration zones of the artists. They are nomadic tribes / gypsies thus they move about from one place to other. With the growing popularity of Kalbelia some artists have become leaders like Kalu Nath and take other dancers / musicians with them. Kalbelia the snake charmers,are the nomadic tribes the gypsies. Their main music is the pungi or the bin. They also play morchang. The dancers dance to the tune of the bin like a snake. Kalmeans snake and belia means friendship – thus Kalbelia. The costume of the dancers,the music, the presentation have made Kalbelia a name all over the world. Dholi Dholis are found all over Jodhpur. Khichan in Phalodi Tehsil is known for Dholis Around 150 artists present around Jodhpur. In Khichan there are around 25 artists. Dholis are traditional dhol players. Their ancestors used to play dhols in the darbars of the Rajas. This group of people still play dhol and sings Rajasthani Lok Geet in marriages and other ceremonies. The Dholis have a market in Rajasthan and surrounding area. Bhil practicing Pabuji Ke Phad. And the performers are called Bhopa. The artists are found in Kakhani in Luni, Phalodi areas, in Bauri Block. Some have also recided in Jodhpur city and surrounding areas like Hardev Dharamkata in Banar road. But the Bhopas area also found in other areas More than 100 artists are present. Bhopas sing the songs of Pabuji their folk deity. A scroll depicting the story is hanged at the background. Three to Four artists perform together. A male member-Bhopa and a female member-Bhopi (mainly chorus) sings the song of Pabuji’s war heroics and marriage of Gogaji with Pabuji’s niece. One of the traditional instrument played by the performers is Ravanhatta. The
Joshi family of Shahapura- Bhilwara paints this pad / scroll on a piece of cloth. The form Pabuji ke pad is mainly performed in Rajasthan. Hotels, tourism areas are the major clients. The tourism season 4 months is when they get programmes. The art form has potential of showcasing to all over India. Mashak player , the bagpipers of Rajasthan Satni village, Madan Lal There are very few Mashak players left in Rajasthan. In Satni there are 2 players. Very few instrumentalists left. There may be scope of including these instrumentalists with the Dholis and form groups. Mirasi Tilasri village, Satin, Bhopalgad village, Tilasri and other adjoining villages There are around 20-30 singers and instrumentalists They sing Rajasthani folk songs and plays dhols, drums. They are economically backward and have huge potential at local and national level. Performs mainly during marriages. KacchiGhori Jodhpur and adjoining areas like Masuri, Kokunda village. 3-4 groups. Around 20 people. The artists are not much found presently in the villages. Kacchi Ghori is where a male members dresses up as a horse and dance. Musicians play instrument. There are few groups who generally performs in the hotels, marriages and other occasions. It has local and national market. Other performing folk art forms like katputli, ghair nrityo are found but in less numbers, around one or two groups and in the cities. These artists mainly perform in the hotels and tourism places.
Persons Met: Name ofPerson Organisation Contact Number Kailash Gehlot PFT Manager,NRLM 9929263042 Ganpatlal Ji Sukha DPM,NRLM 9460306683 Ramraj Purohit Micro Finance, Mngr, NRLM 9414722139 Mahendra Ji Sabal Sanstha 9414703652 Madan Lal Artist , Mashak, Satni 9784351753 Dinesh Dhol Player, Mashak, Satni 9610858556 Jhumar Lal Dhol player, Satni 9610858556 Fazal Khan Mand Gayaki, Satni 9636223783 Suja Ram Bhajan, Bennan 7568440544 S L Paliwal Sachib, Sangeet Natak Academy 9414156029 Ajit Bacchu Khan Hindalgol, Phalodi 9982729322 Vijay Dan Ditha / son Mahendra Ji Rupayan Kala Sansthan now known as Sabal Sanstha 9414703652 Bhamnaram, Bhopa Bhopa sings Pabuji ke pad 9602720950 Prem Nath, Kalbelia Kalbelia dancer, Jodhpur City 9929053403 / 7568862058 Hanumanji Carnett player 8239902687 Umrao Khan Langa Langa 9829692972
Jaisalmir : History: Jaisalimir better known for the Golden Palace and the sanddunes has a rich historical legacy behind it. The ruling family of Jaisalmer were Yadava – Bhatti Rajputs descended from Yadu or Jadava whose progenitor was Buddha, the founder of the Chandravansh or Lunar race and whose power was paramount in India at a very remote period of World History. Shri Krishna the leader of the Yadus was the forty sixth in descent from Yadu and ruled at the famous Dwarka and on whose death the tribe broke up. The grandson of Saliwahan was Bhatti. The nineteenth descendant from Shri Krishna was great warrior and conquered many of the neighbouring princess. From him the patron was changed and the tribe was called by his name ‘Bhatti- Rajput’. The Bhatner (Hanumangarh) near Ganganagar was founded by Bhatti. Shortly after this, Mahmud of Ghazni made his expedition into India against the Ghaznis and thus they were moved southward. Crossing the Sutlej they found refugee in the great Indian desert adjacent to Jaisalmir which for the last 1000 years has been their home. The capital of their desert kingdom was successively Deorawal, Lodarva and Jaisalmir. The district of Jaisalmir is situated in the western part of Rajasthan. It is bounded on the west, north and north west by Pakistan. On the south and east are the districts of Bikaner and Jodhpur, and on the north east is Bikaner district of Rajasthan. Jaisalmir district is almost entirely a dry – sandy wasteland, forming a part of the Great Indian Desert of Thar. The Fort and Golden City of Jaisalmir founded by Maharawal Chandarvanshi (Lunar Race) Yadav Bhatti Rajput Jaisal in 1156 AD. In 1635 Jaisalmir became part of the largest dominion held by Bhatti Chiefs, themselves vessels of the Delhi empire. Demographic Profile: Jaisalimir is one of the biggest districts in Rajasthan. The total area covered is 38392 sq km. There are 3 subdivisions, 3 Tehsils and 3 Panchayat Samity. The total number of inhabitated villages is 750 and there are 37 uninhabitated villages. Thus total number of villages is 787 and there are 128 Gram Panchayats, 2 Municipal Councils and 3 Community Development Blocks. Jaisalmir is also known for its 471 km long international border. The total population of Jaisalmir is 508247, having male population of 279101 and female population of 229146. The total density of population is 13 per sq km. The total literacy rate of the district is 51.4%. Schedule Caste and Schedule tribes constitute 20% of the population. Tourism Influx in Jaisalmir:
Jaisalmir due to its gracious fort and sand dunes attract thousands of tourists from all over India and abroad. Total tourist influx in Jaisalmir is 2.76 lacs out of which 64% is Indian tourist and 36% is international tourist. Thus a major revenue comes from tourism. To cater to this huge influx of visitors there are about 127 hotels. Though the number of hotels is more the rates in the hotel are high and there are very few quality budget hotels. It has been observed that the tourists visit places of natural resources and tangible heritage but the tourists do not have scope to visit the cultural destinations. It is the artists who come during the tourist season to the palaces, resorts, hotels and perform. It would be ideal if the cultural destinations like the villages where the Mangniyars live can be linked to the tourism trails. One example is the trail from Jaisalmir to Khuri where the tourists can also visit villages like Barna where many Mangniyars live. The tourist can visit ‘Pehchaan Lok Sangeet Sansthan’ the community centre of the Mangniyars which they use for training future generation of artists and is led by renowned Mangniyar musician Gazi Khan. Festivals held at Jaisalmir: Desert Festival at Sam dunes, 42 km from Jaisalmir: Desert Festival of Jaisalmer is a colorful festival held in February every year. Golden sands of the Thar Desert, musical performance by folk singers under the moonlit sky at the dunes in Sam makes the festival unique in nature. The rich culture of the region is on display during this three daylong extravaganza. Different Folk Forms and Handicraft Forms ofthe region: Folk Form / Community Block / Area # of artists Potentiality Mangniyar community sings MarwariLok Geet Village - Verna Tehsil – Khuri. Village – Chandan, Sanwara, Keralia, Kanoi, Bhesdha Tehsil – Pokran. Village - Habur, Dhandi, Tehsil – Sam. Village- Chattagarh, Satto, Bhiya, Jausa, Geraja, Chelak, In village Verna there are 30 artists and around 40 more artists can join in training. Around 100 Magniyar artists stay in Pokran Tehsil. Around 40-50 artists stay in Sam Tehsil. In Fatehgarh arlso there are around 100 artists. Mangniyars community with their rich Rajasthani lok geet – Marwari Lok geet has reached out to all parts of the world. The rich music tradition of the mangniyars are appreciated all over. Instruments like Khamaycha, Khartal, Morchang, Dholak, Harmonium and Matka are typical instruments played by the artists. Group performance, chorus and high quality of instrumentalists make this music a treat to hear.
Kapuria Tehsil – Fatehgarh. In Hamira and Jasinda there are also some artists. There are also artists at Ramdewra the Jaisalmir town also. Altogether there are more than 300 artists. Puppeteer Kalakar Colony, Jaisalmir town. There are around 20 – 25 family staying in the area. The artists are of high quality. Presently they generally perform in the hotels, resorts and desert folklore museum. The group of 4-5 artists et around Rs 2500/- per show. Some artists like Mukesh Bhatt have gone to Spain recently and received 7000 Euro. Nirgun / Sargun / Bhajan The artists are scattered throughout Jaisalmir. The main areas are Mulsagar, Amalsagar, Dabla, Rupsi, Sam, Kanoi, Salkha, Sipla, Kumharkotta, Kahala, Khuri, Soda, Jethui and Chattagarh. Some artists are also located in Ramdeora and Pokran side. In Baiya village of Fatehgarh Tehsil, Padmaram Meghwal and Bhaisaram Meghwal are exponents There are more than 200 artists practicing this form The Nirgun / Sargun and Bhajan artists sing traditional Bhajans of Meera Bai, Kabir, Ramdas, Surdas , Ramdev and other saints. The traditional instrument used by the artists is Tandoora. Most of the artists perform in different villages but do not get any remuneration other than the travelling charges. Some artists who are acclaimed get some honorarium during performance. These artists have a market at local and national level. Bhopas singing Pabuji ka Fad Gafurbhatta, near Kamla Nehru School Jaisalmir town. There are around 12 artists. The artists perform in various hotels, museums and other palaces in Jaisalmir. Handicrafts Pottery Village: Pokran, Pokran There are around 200 families involved with the craft form. They are quality craftsman and have huge potential.
Other Places Visited:  Desert Cultural Centre: Desert Cultural Centre, run by Nand Kishore Sharma is an author-teacher and historian. He set up this amazingly well-resourced centre near Gadisar Lake in 1997, years after he founded the Jaisalmer Folklore Museum in 1984. At 77, Sharma is pursuing quite passionately the love of his life – documenting and celebrating the history of Jaisalmer. Desert Cultural Centre has Old photographs, maps, manuscripts, paintings, musical instruments, puppets, local costumes, coins, camel ornaments — and much more. A catalogue of these materials is available for purchase. The entire collection has been put together largely through Sharma’s own efforts. He has written several books on Jaisalmer, many of which have been translated into other languages with the help of scholars and researchers who have visited him.  Tourist areas at Khuri and Sam  Pehchaan Lok Sangeet Sansthan at Barna, Khuri.  Music Mirasi School, Near Patwon Ki Haveli, Jaisalmir town. Persons Contacted: Name ofPerson Organisation Contact Number Mr K R Mehta Rajasthan Finance Corporation 9414097638 Nandkishore Sharma Desert Cultural Centre 9413865665 Gaji Khan Mangniyar artist 9414150061 Kutle Khan Mangniyar artist 7742548501 Bhage Khan Mangniyar artist 9680720784 Sawan Khan Mangniyar artist 9460347685 Mukesh Bhatt Puppeteer 9950138719 Tagaram Bhil Algosa Player 9461770153 Baba Balgiri Maharaj Nirgun singer 8952038567 Babu Ram Bhil Nirgun Singer 9636514987 Hariram Bhopa Sings Pabuji ka Fad 8387808111 Kasiram Bhopa Sings Pabuji ka Fad 9799195346
Ajmer : History : Ajmer today is mostly known for Pushkar and Ajmer Sharif, the shrine of Sufi sanit Khwaja Monuddin Chisti. Pushkar fair has attracted thousands of tourists around the world. Ajmer founded by Ajay Pal Chauhan in 7th century. It got its name from Ajay Meru or the invincible hill. Here he built India’s first hill fort Taragarh. It remained a Chauhan’s strong hold till 1192 AD when Prithviraj Chauhan the last Hindu king of Delhi lost it to Mohammad Ghori. In 1556 AD it became an integral part of the Mughal Empire. Pushkar Lake is another important pilgrimage site. According to the Padma Puran the Pushkar Lake is a divine location as it is here where a lotus fell from the hands of Lord Brahma when he was on his search for a tranquil spot to perform Yagna. Thus it became known as ‘Tirtharaj’ as no pilgrimage is considered complete without taking a dip in the holy waters of Pushkar Lake. Demographic Profile: Ajmer district has an area of 8481 sq km and a population of 25.84 lakhs. The main community of people staying in Ajmer are Hindus, Muslims and Jains. The district is situated in the center of Rajasthan, and is bounded by Nagaur district to the north, Jaipur and Tonk districts to the east, Bhilwara district to the south and Pali district to the West. The district has a population density of 305 inhabitants per square kilometre. Ajmer has a sex ratio 950 and a literacy rate of 70.46%. Ajmer is divided into 4 subdivisions – Ajmer, Beawar, Kekri and Kishangarha and further subdivided into 6 tehsils. Festivals held at Ajmer: Pushkar Fair is being held on October and November around Pushkar Lake on the occasion of Kartick Poornima. The 12 day affair has a religious significance too. Hundreds of horse, camels and buffaloes are brought here and sold. Camel races, parades and other musical events are full of fun and gaiety. Nagaur Fair is being organised at Nagaur between the months of Jan and Feb. Hundreds of cattles are brought here for selling. Recreation is provided by delightful entertainment like tug of war, camel races and soulful music. Tejaji cattle fair held between Aug – Sept is also another important fair. District Administration, DIC of Ajmer organises Dipotsav Craft Fair every year. The District Industries Centre has built a permanent structure where a handicraft person can put up his / her stall.
Different Folk Forms and Handicraft Forms ofthe region: Folk Form / Community Block / Area # of artists Potentiality Kalbelia Ganaheda village near Pushkar beside Railway station. Kalbelia artists are also present in Karail Gram Panchayat. There are around 60 artists in Ganaheda village. But there are possibilities of training more artists in the village. Around 20-30 more young artists can be included. In Karail there are about 15-20 artists. The Kalbelia dancers are known all over India. The dancers in the village of Ganaheda generally performs during the tourist season from Nov – Feb. Raki, Kalbelia dancer is a renowned dancer and have even visited international countries like Spain and France. But, other artists generally get Rs 200/- to Rs 300/- per show. The artists have performed in Delhi, Haridwar, Bombay, Goa. There is huge potential of augmenting income of the artists and providing market linkage of the artists. There is also huge potential of linking these nomads to various Government schemes. Bhopas singing Pabuji ke Pad There are some Bhopas in Karail Gram Panchayat. 5 families. 10 artists. Devi Lal is one of the Bhopas residing in Revat Gram Panchayat. The Bhopas presently work in shops and also play instrument and sings once they get orders. The artists play their traditional instrument Ravanhatta and also make these instrument. The Bhopas sale this instruments at musical shops and to foreigners. Kishangarh School of Art Kishangarh town There are around 100 artists. There are high quality of painters but mostly this artists are much well off. The main characteristic feature of Kishangarh art of painting is the painting of Banithani, the female lady who is perhaps the most beautiful women after Monalisa. It is said that Raja Swai Ram Singh had an eternal love with this beautiful lady. There are some big art organisations like Shree Krishna Art Centre, Nangalia Art Handicrafts which sales paintings to national and international clients. Kishangarh School of Art Pisangan town, Pisangan Tehsil There are more than 100 artists. The Kishangarh school of Art practiced in Pisangan is a age old tradition. The artists paint on cloth. It is known that some artists came from Kishagarh and settled in Pisangan. During 70s there were around 500 artists but slowly the
number of artists decreased. As competition increased with other painting forms of Udaipur, Jaipur the demand of the artists slowly decreased. Presently there are very few practicing artists around 5-6. But there are possibilities of bringing back these traditional painters into mainstream and bring back the lost heritage of Pisangan art. Puppetry Bhatt community in Telipara, Vaishali Nagar There are around 10 artists staying in this area. Sohan Lal Bhatt is a renowned puppetter. There are very few puppeteers staying in the area. Though the quality of artists is high they get very few programs. Presently, Sohan Lal Bhatt also takes order of other folk performances and act as a agent to conduct programmes in hotels. The main concentration of the puppeteers is in Nagaur. The artists also make high quality of puppets of different sizes and depicting different characters which also has a market. The puppeteer narrates stories of Sahijan Badshah, Amar Singh Rathore Since, number of artists is less and the artists also stay at the town it may be difficult to include them under NRLM. Qawwals of Ajmer Ajmer town, behind Ajmer Sharif, Chiwki Awwal, Peer Road. There are around 50 artists, 7 groups. The artists staying at the town beside Qawwali also have secondary livelihood option. Each group performs around 30 -40 programmes in a year and earns about Rs 20000 from each programme. The Qawwals perform all over India but generally performs only in private programmes and do not get chances in Government programmes. Tourism Department do not give programmes to the
artists nor they are linked with ICCR. Handicrafts : Stone Curving Kishangarh Town There are around 40 – 50 artists Kishangarh is known for marbles and stones. Stone curving and making various stone based products like lamp shades, statues, pen stands etc. This is a big industry and the artists work as mere labourers. Though the potentiality of the artists is huge, it is difficult for the artists to make stone materials of their own as their is huge cost involvement of the raw materials. Stone curved materials is also now falls under the District Industries. Some other products are kalin / carpet weaving and block printing. Carpet weaving is being done at Baghera, Kekri Tehsil and Masuda Tehsil is known for Block Printing. Other Places visited : Social Work and Research Centre / Barefoot College :- The organisation formed at Tilonia is the brain child of Sanjit Ray. The organisation works on health, education, water and sanitation and other development parameters. Barefoot college also provides consultancy / hands on training to generate social power. They also develop many handicraft products and teaches puppetry to villagers. The organisation uses puppetry to generate social awareness in villages around Tilonia. Urban Haat Mela, Ajmer : The Urban haat mela was organised by DIC,Ajmer. Many craftsmen from different districts give stalls in the fair. The place is a permanent one and one can give stalls in this place.
People Met: Name ofPerson Organisation Contact Number Rahul Chowdhary NRLM 9829771104 Raki Kalbelia dancer 9982834398 Shadu Kalbelia dancer 8875227565 Haji Qurban Farid Chishtiyai Qawwal 9928083055 / 9983073125 Purushottam Chauhan Sachib, Karail GP 9530300325 Ashok Soni Sarpanch 9829325311 Satya Narayan Prajapat Painter, Pisangan school of Art 9829425248 Sampat Singh Godara BDO,Pisangan 7597120147 Farid Hussain Qawwal,Ajmer 7665387292 Santosh Bhopa 9982319832 Sohan Lal Bhatt Puppeteer 9828430927 Babulal Ujira Puppeteer 9772391030 Debilal Potter , Jaisalmir 9928439461
Jaipur and surrounding area: History : Jaipur city was the first planned city in northern India conceived by the Raja Swai Jay Singh in 1727. Located 262 kilometers from Delhi, jaipur was the first planned city in northern India. Jaipur's history dates back to the 12th century when the Kachchwaha clan of Rajputs arrived at the old fort palace of Amber in the Aravalli Hills. The Kachchwaha belonged to the Kshatriya, or the warrior caste of Hindus, but they traced their origins back to the sun, via Kusa who the twin son of the god Rama. Demographic Profile: The district of Jaipur has an area of 11152 sq km. It is bounded by Sikar district on the north, Haryana state on the extreme northeast, Alwar and Dausa districts on the east, Sawai Madhopur District on the south east, Tonk district on the south, Ajmer district on the west and Nagaur district on the south west. There are 13 Subdivisions, 13 Tehsils, 2369 villages, 13 Panchayat Samitis, 489 Gram Panchayats, 10 Nagar Palikas and 1 Nagar Nigam. The total population of Jaipur district is 66.63 lacs. The district has a population density of 598 inhabitants per square kilometre. The sex ratio is 909 and the literacy rate is 76.44%. Different Folk Forms and Handicrafts of the Region: Folk Form / Community Block / Area # of artists Potentiality Kathputli Panipej, Kathputli basti near Udyog Bhavan in Jaipur town. There are around 500 artists involved with the craft. The artists originally came from Nagaur district and settled in Jaipur town. The entire group of artists hails from the Bhatt community. These group of traditional artists perform in various festivals and fairs. Some also perform in hotels, resorts and other places. Some artists like Mukhesh Bhatt and Binod Bhatt performed in Pragati Maidan, festivals at Shillong, Kolkata and other places. Apart from performance the artists make puppets on their own and sale them in the market and hotels. Generally, after each show they sale the puppets that they carry. Artists like Mukesh Bhatt have their workshops where slum dwellers learn to make puppets and sale them. The artists generally earn about Rs 3000/- to Rs 4500/- per month and during season the earning is about Rs
5000/-. There are huge possibilities of linking the artists at international and national level but the issue is that the concentration of the artists is mainly at the Jaipur town and artists are not found at the villages. Daff / Chang dance District: Sikar . Tehsil - Fatehpur. There are around 150 artists involved with the art. Daff or Chang dance is a dance form practiced by the Malis during the Holi festival. Slowly, other villagers also got involved with the dance form. Daff or Chang dance is a group dance depicting three forms of Dhamaal accompanied by the musical instrument dafli, shahnai and dhol. The three forms of Dhamaal are ‘Shringar Ras’ (depicting love and devotion), ‘Deb Vandana’ ( about gods and goddesses), ‘Raj Vandana’ ( about kings and their kinship). The artists presently perform in various festivals and fairs. Artists like Ghisaram Joshi is empanelled with WZCC, ICCR and have performed all over India. The group under Ghisaram Joshi gets programme but other artists do not get regular programmes. The artists who do not get regular programmes sustain through other forms of livelihood. Handicrafts : Lac Jaipur – Manihar, Gali and Pattabasti in Jaipur town. Near about 500 people. Lac bangles, sindoor box, pen stand, pen are the major items made by the lac articles. Wearing lac bangles is a ritual and is wore by all married women. Lac has a huge market in Rajasthan. The raw lac is being brought from West Bengal. Lac based products is an industry and the artists work as labours. Miniature Painting Joypur town around city palace. Some artists also stay at Sanganer Tehsil, Sanganer village There are around 150 artists. Miniature paintings are the famous art form of Rajasthan influenced by the Mughal miniature painting. Rajasthani miniature paintings has so many gharana like Bundi, kota, Kisangarh, Mewar and Marwar school of paintings. Painters were patroned by the kings of
Rajasthan. Jaipur miniature paintings are highly influenced by the Mughal miniature painting. Presently very few artists practice this art form. They perform as individual artists and also work under businessmen. Blue Pottery Sangner at Jaipur There are around 400 artists Blue Pottery is known for its Turko Persian origin. The potters work under businessman and big industrialist who export their product in international market also. Artists like Anil Daraya has international fame but the artists are seldom recognised as they cannot make their own product due to high raw material cost and do not have market to sale them. Leather Works Block: Chomu, Village : Udaypuria 400-450 families are involved with the craft. Leather works are mainly done Regari community. They make decorative ‘Mojri’ which they sale at the wholesale market. The craftsmen earn around Rs 4000/- per month. SHGs are also formed in the village and the craftsmen are also enrolled under the SHG. There are possibilities of giving them a bigger market. Bagru Print Bagru village and Sangner There are more than 1000 craftsmen. The craftsmen from the Chipa community is involved with the craft form. After the bagru print is done the cloth comes to industries in Sanganer from where it is being sold. Terracota Block: Chomu village: Harota There are around 200 artists involved with the craft. The potters work in families. The artists lack unity among themselves. The artists make dolls (mukhota), utensils and other decorative items. The artists earn about Rs 1 lac per year. They sale them in the market and also perform in various festivals and fairs. Artists like Kailash Chand Prajapat have participated in festival at Shilpa Gram, Pragati Madan at Delhi and Joypur Saras Rashtriya Craft Mela. The artists also participate though DRDC.
Persons Met : Name Organisation Phone Number R C Agarwal DPM,Jaipur, NRLM 9413239055 Dilshad Khan Manihar, Jaipur town 9929069086 Devilal Barma Miniature Painting 9928402395 Anil Daraya Blue Pottery, Sangner 9412618800, 9460709372 Banoyarilal Boradia Leather Work 9829288257 / 9509431892 Rajesh Cheepa Bagru Print Kailash Chand Prajapat Terracota artist, Harota 9828095465 Om Prakash Bhatt Kathputli artist 9579727111, 9667438229, 9636722554 Sitaram Pujari Sikar, Shekhawati painting 7742246652 Ghisaram Joshi Daff / Chang dance 9571801809, 01571231921
Udaipur : History :Udaipur is also known as the City of Lake. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Guhils (Sisodia) clan ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after founding city of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent Udaipur was founded in 1559 by Maharana Udai Singh II as the final capital of the erstwhile Mewar kingdom, located to the southwest of Nagda, on the Banas River, the first capital of the Mewar kingdom. Legend has it that Maharana Udai Singh II came upon a hermit while hunting in the foothills of the Aravalli Range. The hermit blessed the king and asked him to build a palace on the spot, assuring him it would be well protected. Udai Singh II consequently established a residence on the site. In 1568, the Mughal emperor Akbar captured the fort of Chittor, and Udai Singh moved the capital to the site of his residence, which became the city of Udaipur. As the Mughal empire weakened, the Sisodia ranas, and later maharanas (also called the Guhilots or Suryavansh), who had always tried to oppose Mughal dominance, reasserted their independence and recaptured most of Mewar except for Chittor. Udaipur remained the capital of the state, which became a princely state of British India in 1818. Being a mountainous region and unsuitable for heavily armoured Mughal horses, Udaipur remained safe from Mughal influence in spite of much pressure. The rajvansh of Udaipur was one of the oldest dynasties of the world. Even the Nepal kingdom and Jammu kingdom are believed to have been originated from Mewar. Demographic Profile : Udaipur is one of the major tourist destinations of Rajasthan. Udaipur district has a total population of 3067549 of which around 50% are female. Thus it has a higher sex ratio 958. The literacy rate of Udaipur is 62.74%. Folk Form / Community Block / Area # of artists Potentiality BhawaiNrityo Gogunda Block , Thur village There are around 100 artists. But many artists stay in Udaipur presently living their village homes. The dance form originally was practiced by the Bhawai community who migrated from Gujarat. But presently many communities practice this form. Bhawai dance is a colourful dance form Teratali Gogunda Block, Dhol village There are around 50 artists. Ramdevra pujari...kamad community Kathori dance Kathori Bastee, Sanija Gram Panchayat, Kotra Block There are around 50 artists. The Kathori community migrated from Gujarat. This dance is generally performed during Navratri when they worship Amba Mataji. The artists do not
get much performance and depend on other forms of livelihood. The artists also work under MNREGA and engage into agricultural works. Though they have performed in some festivals but they were not paid any honorarium and were only paid conveyance fare . Organisations visited: WZCC: West Zone Culture Centre in Udaipur in Rajasthan state is one of many regional cultural centres established by Ministry of Culture, Indian Government to preserve and promote traditional cultural heritage of India. The West Cultural Zone is one of seven Cultural Zones of India defined and provided with administrative infrastructure by the Government of India. This organization not only has retained the cultural talent but also has worked for its development. The organization provided information of the empanelled folk artists. Bharatiya Lok Kala Mandal: Bharatiya Lok Kala Mandal is a cultural institution based in Udaipur in Rajasthan state in India engaged in studying folk art, culture, songs and festivals of Rajasthan, Gujarat and Madhya Pradesh and to popularise and propagate folk arts, folk dances and folk literature. It was set up in 1952 by Devilal Samar. The institution has a museum that exhibits collection of folk articles from Rajasthan like rural-dresses, ornaments, puppets, masks, dolls, folk musical instruments, folk deities and paintings. There is puppet theater (Kathputli) too where puppet shows are held at regular interval. Tribal Research Institute: The institute led by M L Venna works for the development of the tribals in the district of Udaipur and also adjoining districts.
Persons met: Name Organisation Phone Number R.Agarwal AGVP 09414104718 Mr.Prakashji AGVP 09461387946 Vilas Janve WZCC 09414158686 Rakesh Mehta WZCC 09785390774 Dinesh Upadhyay Tribal Research Institute 09414385562 Bhamri Devi Teratali artist 09950127934 Nirmala Devi Teratali artist 09950127934/09624139505 Jashoda Devi Teratali artist 09549664377 Ramli bai(Kashiram Lakhma) Kathodi Bastee villager 09636074023 Bhurilal Garasia Garasia community member 09784182710 Mirza Akbar Begh Tura kalengee 09928327380 Ratan lal Dholi Tura kalengee 09929514816 Osman Shah Tura kalengee 09928515371 Madan Chittari Tura kalengee 09694831024 Gopal Gamiti Bhawai(dhol) - Benilal bhat Katputli 09352526355 Vijoy Bhat Kath putli 09928736236 Gobardhan Samar Bharatiya lok kala mondal 09352516622
Bhilwara: History : The Textile City of India has very fine history. When Arjuna was going to Dwarika with all Gopis during Mahabharata period he was passing through the present Bhilwara region. There was a war between Arjuna & Bhils. Local tradition reveals that it came to be known as Bhilwara because it was mostly inhabited by Bhil tribes in old days. These Bhils were eventually driven away towards the hilly tracts and interior places of less importance by the ancestors of the peasant settlers. Another version recounts that the present Bhilwara city had a mint where coins known as 'BHILADI' were minted and from this denomination was derived the name of the district. A town nearby the city named "Mandal" is assumed to be the base of the Mughals when they attacked Chittor Garh, the mughal forces camped near the "talab" of the town of Mandal, ruins of the camp can still be seen there. Bhilwara is also known as "the city of Cloth". The city also has religious importance. The NIRGUNA Ramsnehi Samrday was founded here by saint Ram Charanji Maharaj in 1779 AD. There is a famous Ramdwara in the city, which is also housing Ram Snehi Hospital in its campus. The other important place (Ram Niwas Dham) of the samrday is located 50 km away in the town of Shahpura, where every year on the eve of Holi a 5 days celebration takes place. Demographic Profile: The district has an area of 10,455 km², and a population of 2,009,516 (2001 census), which increased 26.14% from 1991 to 2001. It is bounded on the north by Ajmer District, on the east by Bundi District, on the south by Chittorgarh District, and on the west by Rajsamand District. State Highway (Jaipur- Udaipur) passes through the district, as does a broad gauge railway line measuring 84 km and connecting Ajmer with Khandwa in Madhya Pradesh. The nearest airport is at Udaipur (171 km). There are 7 sub-divisions in the district Bhilwara, Shahpura, Gangapur, Gulabpura, Aasind, Mandalgarh and Jahajpur. There are 15 tehsils named Bhilwara, Banera, Mandal, Mandalgarh, Beejoliya, Kotri, Shahpura, Jahazpur, Sahada, Raipur, Asind and Hurda. Similarly there are 1783 villages as per census of 2001. According to the 2011 census Bhilwara district has a population of 2,410,459 . The district has a population density of 230 inhabitants per square kilometre (600 /sq mi) . Its population growth rate over the decade 2001-2011 was 19.7%. Bhilwara has a sex ratio of 969 females for every 1000 males,[1] and a literacy rate of 62.71%.
Developing Culture as Livelihood-Study Report(1)
Developing Culture as Livelihood-Study Report(1)
Developing Culture as Livelihood-Study Report(1)
Developing Culture as Livelihood-Study Report(1)

Recommended

Rajasthan folk arts
Rajasthan folk artsRajasthan folk arts
Rajasthan folk artsManasi Bhatkande
 
Folk art
Folk artFolk art
Folk artSteve Bayer
 
Rajasthan culture
Rajasthan culture Rajasthan culture
Rajasthan culture shritabhi
 
Vibrant Colors Of I N D I A
Vibrant Colors Of I N D I AVibrant Colors Of I N D I A
Vibrant Colors Of I N D I APrashant Mehta
 
Indian art
Indian artIndian art
Indian artStacey Burgos
 
Indian Tribal & Folk Art Forms that Every Art Lover Should Own
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Tribal & Folk Art Forms that Every Art Lover Should Own
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Art Ideas
 
Indian Folk painting
Indian Folk paintingIndian Folk painting
Indian Folk paintingVedbrat Tiwari
 
Udaipur edited
Udaipur editedUdaipur edited
Udaipur editedIndian Artisans Online
 

Recommended

Rajasthan folk arts
Rajasthan folk artsRajasthan folk arts
Rajasthan folk artsManasi Bhatkande
 
Folk art
Folk artFolk art
Folk artSteve Bayer
 
Rajasthan culture
Rajasthan culture Rajasthan culture
Rajasthan culture shritabhi
 
Vibrant Colors Of I N D I A
Vibrant Colors Of I N D I AVibrant Colors Of I N D I A
Vibrant Colors Of I N D I APrashant Mehta
 
Indian art
Indian artIndian art
Indian artStacey Burgos
 
Indian Tribal & Folk Art Forms that Every Art Lover Should Own
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Tribal & Folk Art Forms that Every Art Lover Should Own
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Art Ideas
 
Indian Folk painting
Indian Folk paintingIndian Folk painting
Indian Folk paintingVedbrat Tiwari
 
Udaipur edited
Udaipur editedUdaipur edited
Udaipur editedIndian Artisans Online
 
TribalArt
TribalArtTribalArt
TribalArtMegha Jetley
 
Bengal school
Bengal schoolBengal school
Bengal schoolSrikanta Goswami
 
Crafts of Bihar- An overview by Indian Artisans Online
Crafts of Bihar- An overview by Indian Artisans OnlineCrafts of Bihar- An overview by Indian Artisans Online
Crafts of Bihar- An overview by Indian Artisans OnlineIndian Artisans Online
 
Know About Various Indian Tribal & Folk Art Forms
Know About Various Indian Tribal & Folk Art FormsKnow About Various Indian Tribal & Folk Art Forms
Know About Various Indian Tribal & Folk Art FormsPartha Giri
 
Regional textile craft
Regional textile craftRegional textile craft
Regional textile craftmona verma
 
Madhubani painting
Madhubani paintingMadhubani painting
Madhubani paintingjaikumar ranganathan
 
Madubani painting pdf
Madubani painting pdfMadubani painting pdf
Madubani painting pdfsareeworlds
 
Indian painting
Indian paintingIndian painting
Indian paintingindianeducation
 
Madhubani painting(new)
Madhubani painting(new)Madhubani painting(new)
Madhubani painting(new)Abhinav anand
 
North indian dances and articrafts
North indian dances and articraftsNorth indian dances and articrafts
North indian dances and articraftsakhiltyagi307
 
deccani paintings
deccani paintingsdeccani paintings
deccani paintingsVineesha Vikram
 
indian traditional painting styles
indian traditional painting stylesindian traditional painting styles
indian traditional painting stylesSai Mounika
 
Rajasthani painting . class 12
Rajasthani painting . class 12 Rajasthani painting . class 12
Rajasthani painting . class 12 Srikanta Goswami
 
INDIAN Dance forms
INDIAN Dance formsINDIAN Dance forms
INDIAN Dance formsChelJo
 
Art Forms of india
Art Forms of indiaArt Forms of india
Art Forms of indiaPankaj Badoni
 
Famous indian painters
Famous indian paintersFamous indian painters
Famous indian paintersIndian Art Ideas
 
Pahari miniature painting
Pahari miniature paintingPahari miniature painting
Pahari miniature paintingSrikanta Goswami
 
Rajasthan miniature painting.. (1)
Rajasthan miniature painting.. (1)Rajasthan miniature painting.. (1)
Rajasthan miniature painting.. (1)Srikanta Goswami
 
Pichwai painting of rajasthan
Pichwai painting of rajasthanPichwai painting of rajasthan
Pichwai painting of rajasthanVisual Design Solution
 
Madhubani Paintings
Madhubani PaintingsMadhubani Paintings
Madhubani PaintingsPurnaabh Shandilya
 
Role of bangladeshi folk culture in the development and promotion of tourism ...
Role of bangladeshi folk culture in the development and promotion of tourism ...Role of bangladeshi folk culture in the development and promotion of tourism ...
Role of bangladeshi folk culture in the development and promotion of tourism ...Md. Mamun Hasan Biddut
 
, corporate Event Management Agency and Artist Management Company
, corporate Event Management Agency and Artist Management Company, corporate Event Management Agency and Artist Management Company
, corporate Event Management Agency and Artist Management CompanyAdvertising Host
 

More Related Content

What's hot

Crafts of Bihar- An overview by Indian Artisans Online
Crafts of Bihar- An overview by Indian Artisans OnlineCrafts of Bihar- An overview by Indian Artisans Online
Crafts of Bihar- An overview by Indian Artisans OnlineIndian Artisans Online
 
Know About Various Indian Tribal & Folk Art Forms
Know About Various Indian Tribal & Folk Art FormsKnow About Various Indian Tribal & Folk Art Forms
Know About Various Indian Tribal & Folk Art FormsPartha Giri
 
Regional textile craft
Regional textile craftRegional textile craft
Regional textile craftmona verma
 
Madubani painting pdf
Madubani painting pdfMadubani painting pdf
Madubani painting pdfsareeworlds
 
Madhubani painting(new)
Madhubani painting(new)Madhubani painting(new)
Madhubani painting(new)Abhinav anand
 
North indian dances and articrafts
North indian dances and articraftsNorth indian dances and articrafts
North indian dances and articraftsakhiltyagi307
 
indian traditional painting styles
indian traditional painting stylesindian traditional painting styles
indian traditional painting stylesSai Mounika
 
Rajasthani painting . class 12
Rajasthani painting . class 12 Rajasthani painting . class 12
Rajasthani painting . class 12 Srikanta Goswami
 
INDIAN Dance forms
INDIAN Dance formsINDIAN Dance forms
INDIAN Dance formsChelJo
 
Rajasthan miniature painting.. (1)
Rajasthan miniature painting.. (1)Rajasthan miniature painting.. (1)
Rajasthan miniature painting.. (1)Srikanta Goswami
 

What's hot (20)

TribalArt
TribalArtTribalArt
TribalArt
 
Bengal school
Bengal schoolBengal school
Bengal school
 
Crafts of Bihar- An overview by Indian Artisans Online
Crafts of Bihar- An overview by Indian Artisans OnlineCrafts of Bihar- An overview by Indian Artisans Online
Crafts of Bihar- An overview by Indian Artisans Online
 
Know About Various Indian Tribal & Folk Art Forms
Know About Various Indian Tribal & Folk Art FormsKnow About Various Indian Tribal & Folk Art Forms
Know About Various Indian Tribal & Folk Art Forms
 
Regional textile craft
Regional textile craftRegional textile craft
Regional textile craft
 
Madhubani painting
Madhubani paintingMadhubani painting
Madhubani painting
 
Madubani painting pdf
Madubani painting pdfMadubani painting pdf
Madubani painting pdf
 
Indian painting
Indian paintingIndian painting
Indian painting
 
Madhubani painting(new)
Madhubani painting(new)Madhubani painting(new)
Madhubani painting(new)
 
North indian dances and articrafts
North indian dances and articraftsNorth indian dances and articrafts
North indian dances and articrafts
 
deccani paintings
deccani paintingsdeccani paintings
deccani paintings
 
indian traditional painting styles
indian traditional painting stylesindian traditional painting styles
indian traditional painting styles
 
Rajasthani painting . class 12
Rajasthani painting . class 12 Rajasthani painting . class 12
Rajasthani painting . class 12
 
INDIAN Dance forms
INDIAN Dance formsINDIAN Dance forms
INDIAN Dance forms
 
Art Forms of india
Art Forms of indiaArt Forms of india
Art Forms of india
 
Famous indian painters
Famous indian paintersFamous indian painters
Famous indian painters
 
Pahari miniature painting
Pahari miniature paintingPahari miniature painting
Pahari miniature painting
 
Rajasthan miniature painting.. (1)
Rajasthan miniature painting.. (1)Rajasthan miniature painting.. (1)
Rajasthan miniature painting.. (1)
 
Pichwai painting of rajasthan
Pichwai painting of rajasthanPichwai painting of rajasthan
Pichwai painting of rajasthan
 
Madhubani Paintings
Madhubani PaintingsMadhubani Paintings
Madhubani Paintings
 

Similar to Developing Culture as Livelihood-Study Report(1)

Role of bangladeshi folk culture in the development and promotion of tourism ...
Role of bangladeshi folk culture in the development and promotion of tourism ...Role of bangladeshi folk culture in the development and promotion of tourism ...
Role of bangladeshi folk culture in the development and promotion of tourism ...Md. Mamun Hasan Biddut
 
, corporate Event Management Agency and Artist Management Company
, corporate Event Management Agency and Artist Management Company, corporate Event Management Agency and Artist Management Company
, corporate Event Management Agency and Artist Management CompanyAdvertising Host
 
Folk culture of Uttar Dinajpur
Folk culture of Uttar DinajpurFolk culture of Uttar Dinajpur
Folk culture of Uttar DinajpurDipak Mondal
 
Changing forms of folk media in kashmir
Changing forms of folk media in kashmirChanging forms of folk media in kashmir
Changing forms of folk media in kashmirarch1978
 
Dance-Forms.pptx
Dance-Forms.pptxDance-Forms.pptx
Dance-Forms.pptxArun Gupta
 
Folk songs, an evolution
Folk songs, an evolutionFolk songs, an evolution
Folk songs, an evolutionFarjana Ela
 
Performing arts music,dance and drama
Performing arts music,dance and dramaPerforming arts music,dance and drama
Performing arts music,dance and dramaindianeducation
 
Welcome to Jaipur
Welcome to JaipurWelcome to Jaipur
Welcome to Jaipurjaipuriis
 
The Dynamic Realm of Asian Pop Music this 2024.pdf
The Dynamic Realm of Asian Pop Music this 2024.pdfThe Dynamic Realm of Asian Pop Music this 2024.pdf
The Dynamic Realm of Asian Pop Music this 2024.pdfoutreachthedigitalma
 
Folklore of rajasthan
Folklore of rajasthanFolklore of rajasthan
Folklore of rajasthanAyushi Rajput
 
Sanskiritik chhattisgarh
Sanskiritik chhattisgarhSanskiritik chhattisgarh
Sanskiritik chhattisgarhRuchirVakil
 
Sanskiritik chhattisgarh
Sanskiritik chhattisgarhSanskiritik chhattisgarh
Sanskiritik chhattisgarhRuchirVakil
 
Indian culture
Indian cultureIndian culture
Indian cultureAbi Venkat
 
Exploring the Vibrant Realm of Pop Music in Asia.pdf
Exploring the Vibrant Realm of Pop Music in Asia.pdfExploring the Vibrant Realm of Pop Music in Asia.pdf
Exploring the Vibrant Realm of Pop Music in Asia.pdfoutreachthedigitalma
 

Similar to Developing Culture as Livelihood-Study Report(1) (20)

Role of bangladeshi folk culture in the development and promotion of tourism ...
Role of bangladeshi folk culture in the development and promotion of tourism ...Role of bangladeshi folk culture in the development and promotion of tourism ...
Role of bangladeshi folk culture in the development and promotion of tourism ...
 
, corporate Event Management Agency and Artist Management Company
, corporate Event Management Agency and Artist Management Company, corporate Event Management Agency and Artist Management Company
, corporate Event Management Agency and Artist Management Company
 
Folk culture of Uttar Dinajpur
Folk culture of Uttar DinajpurFolk culture of Uttar Dinajpur
Folk culture of Uttar Dinajpur
 
Changing forms of folk media in kashmir
Changing forms of folk media in kashmirChanging forms of folk media in kashmir
Changing forms of folk media in kashmir
 
Dance-Forms.pptx
Dance-Forms.pptxDance-Forms.pptx
Dance-Forms.pptx
 
Folk songs, an evolution
Folk songs, an evolutionFolk songs, an evolution
Folk songs, an evolution
 
Performing arts music,dance and drama
Performing arts music,dance and dramaPerforming arts music,dance and drama
Performing arts music,dance and drama
 
Welcome to Jaipur
Welcome to JaipurWelcome to Jaipur
Welcome to Jaipur
 
Rajasthan 1
Rajasthan 1Rajasthan 1
Rajasthan 1
 
The Dynamic Realm of Asian Pop Music this 2024.pdf
The Dynamic Realm of Asian Pop Music this 2024.pdfThe Dynamic Realm of Asian Pop Music this 2024.pdf
The Dynamic Realm of Asian Pop Music this 2024.pdf
 
Folklore of rajasthan
Folklore of rajasthanFolklore of rajasthan
Folklore of rajasthan
 
Sanskiritik chhattisgarh
Sanskiritik chhattisgarhSanskiritik chhattisgarh
Sanskiritik chhattisgarh
 
Sanskiritik chhattisgarh
Sanskiritik chhattisgarhSanskiritik chhattisgarh
Sanskiritik chhattisgarh
 
G213439.pdf
G213439.pdfG213439.pdf
G213439.pdf
 
Yash.pptx
Yash.pptxYash.pptx
Yash.pptx
 
Indian culture
Indian cultureIndian culture
Indian culture
 
Exploring the Vibrant Realm of Pop Music in Asia.pdf
Exploring the Vibrant Realm of Pop Music in Asia.pdfExploring the Vibrant Realm of Pop Music in Asia.pdf
Exploring the Vibrant Realm of Pop Music in Asia.pdf
 
Indian dance form
Indian dance formIndian dance form
Indian dance form
 
Art is a part of life
Art is a part of lifeArt is a part of life
Art is a part of life
 
Indian Festivals Essay
Indian Festivals EssayIndian Festivals Essay
Indian Festivals Essay
 

Developing Culture as Livelihood-Study Report(1)

  • 1. Study Report on ‘Possibilities of Developing Culture as Livelihood in districts of Rajasthan’ Study Period : Nov 1 to Nov 10, 2012. Implemented by : banglanatak dot com Supported by : Rajasthan Ajeevika Gramin Vikas Parishad
  • 2. Introduction : Rajasthan has always been one of the major cultural destinations of India. The rich and diverse performing folk art form and craftforms have attracted people from all over India. The rich cultural diversity depict the ancient Indian way of life. Rich and varied folk culture from villages of Rajasthan is a treat to watch. The artists involved with this rich cultural tradition perform in various hotels, palaces, resorts and tourists watch them perform. Some organisations promote the artists like Tourism Department, WZCC provide support for performance. But the issue was that few groups get performance in the cities and the question was whether the artists at the village can sustain their livelihood through the artform. Banglanatak dot com aims to generate livelihood and overall socio-economic improvement of community artists through their traditional art and culture. Flagship initiative of banglanatak dot dom, ‘Art for Life’ working with 3200 traditional artists of West Bengal supported by Eastern Zonal Cultural Centre, has led to improvement of income of the artists from Rs 500/- per month to around Rs 3000/- per month on an average. The initiative also resulted in improvement of overall life of artists thus sending their children to schools or installing sanitary toilets. The initiative has been recognised by Jeevika, Govt of Bihar and banglanatak dot com has been working with 1200 artists in 9 districts of Bihar. Planning Commission has endorsed the model and we have worked with 300 Madhubani painters in Simri, Madhubani. With this in background Rajasthan Ajeevika Grameen Vikas Parishad wanted to explore possibilities of developing culture as livelihood in different districts of Rajasthan and include traditional folk artists, craftsmen under the NRLM framework. A study was thus conducted by a four member team from banglanatak dot com from Nov 1 – 10, 2012 to assess the possibilities of developing culture as a form of livelihood in different districts. Areas Covered and stakeholders consulted under the Study: Districts Dates ofVisit Areas Stakeholders consulted Jodhpur Nov 1-4 Jodhpur city, Phalodi Tehsil, Luni Tehsil, Osian Tehsil, Satni village, Mandor tehsil Officials of AGVP, District level officials, Sangeet Natak Academy, BDO,Gram Panchayat members, Other Government officials, DIC, DRDA,cultural organisations, artists, craftsmen,researchers, NGOs. Jaipur and Sikar Nov 1-4 Jaipur city, Sikar district- Fatehpur Block, Jaisalmir Nov 5-6 Jaisalmir city, Block – Khuri, Sam, Fatehgarh Ajmer Nov 5-6 Ajmer city, Pisangan tehsil, Kishangarh tehsil, Ganaheda village, Karail GP Bhilwara Nov 7-8 Bhilwara town, Mandal Tehsil, Baneda Tehsil Rajsamand Nov 9-10 Bhim., Deogarh,Railmagra Tehsil, Molela village, Haldighat in Khamnor Block Udaipur Nov 7-10 Udaipur city, Gogunda, Jhadol and Kotra Block
  • 3. Predominant Folk Forms and Craft Forms of the District : District Performing Folk Form / Folk Painting Craft form / Handloom Area of concentration # of artists Possibility of inclusion Remarks Jodhpur Langa musicians Phalodi Tehsil 200 Yes Renowned folk form, Quality musicians, cluster of artists at Phalodi, the artists do not get many performances. Mangniyar musicians Phalodi Tehsil 50 Yes, Renowned folk form, quality musicians, cluster of artists, low socio economic condition. Kalbelia musician and dancers Jodhpur city and surrounding area 300 Yes Renowned folk form. The artists at the city get performances and hire dancers musicians from villages, but the artists at village have low socio economic income, still do not have houses and government schemes. Dholi / Mashak player Phalodi Tehsil 150 Yes Talented artists. Do not have proper market linkage. Huge possibility. Bhopas singing Pabuji ka Phad Luni, Phalodi, Bauri Block 100 Yes The artists are talented and have high market potential. Do not have proper market and exposure. Kacchi Ghori Jodhpur City 20 No Very few artists. Staying at the city. Performs regularly. Carpet weaving Salabas, Sangasani, Khudiyala 100 No Handloom industry. The artists have formed societies and have a market. Potters Kankhani 10 No Very few artists. Jaipur and Sikar Katputli Kathputli bastee in Jaipur town 500 Yes Talented artists. The artists stay at the city. Difficult to include into NRLM. Daff / Chang dance District - Sikar, Tehsil - Fatehpur 150 Yes Talented musicians. Interesting artform. Huge possibility of augmenting their income and market linkage. Lac Manihar, Gali and Pattabasti in Jaipur town 500 No Big industry. The artisans work as labourers in industries. Miniature Sanganer Tehsil 150 No Very few artists presently practice. The ones who
  • 4. painting practice are having good socio economic condition. Blue pottery Sanganer Tehsil 400 No Run by business houses. Bagru print Sanganer Tehsil 1000 No Run by business houses. Pottery Chomu village, Harota 200 No Low craftsmanship. Can be taken up later on. Leather works Udaypuria village, Chomu Block 400 No Run by businesss houses. Jaisalmir Mangniyar musicians Khuri, Sam, Fatehgarh, Pokran Tehsil 300 Yes Quality musicians. Renowned all over the world. Huge prospects of market linkage. Puppetter Jaisalmir town 25 No Very few artists practice the same. Nirgun / Bhajan singer Khuri, Sam, Fatehgarh, Pokran Tehsil 200 Yes Nirgun Bhajans are appreciated all over India. The artists are quality singers and have hige market potential. Bhopas singing Pabuji ka Phad Jaisalmir town 12 No Very few musicans and also scattered in different places. Pottery Pokran 200 No High quality of craftsmanship. Can be taken up at a later phase. Ajmer Kalbelia musician and dancers Ganaheda, Karail Gram Panchayat 100 Yes Very low socio economic condition. No housing. Prospects of linking to various markets. Bhopas singing Pabuji ka Phad Karail Gram Panchayat 10 Yes Quality artists from one village. Kishangarh school of painting Kishangarh town 100 No Most of the artists work in big art centers. The artists are having good socio economic condition. Kishangarh school of painting Pisangan town 100 Yes Many quality artists are present. Most of them have left the art form but is interested to restart painting once they are assured of proper market.
  • 5. Puppetry Telipara, Ajmer town 10 No Very few artists. Qawwals Ajmer town 50 No They stay in Ajmer town and have regular performance. Stable socio economic condition. Stone Curving Kishangarh town 50 No Industry based. Bhilwara Fad painting Sahapur 12 No Very few artists and also the artists are economically well off having a stable market. Nirgun / Bhajan singer Mandal Tehsil 100 Yes Quality artists can be taken up. Prospect of market linkage. Gair dance Mandal Tehsil 50 Yes Quality artists . The artists can be linked to national and international level. Nahar dance Mandal Tehsil 20 Yes Lost artform but can be an interesting form of Rajasthan. Rajsamand Gawri dance Bhim, Railmagra and Deogarh Tehsil 200 Yes Quality artists. Cluster of artists present. There is huge possibility of market linkage of the artists. Nirgun / Bhajan singer Railmagra 100 Yes Quality singers. There are possibilities of linkage at national level. Pottery Molela village 50 No Quality craftsmanship. Good socio economic condition. Udaipur Bhawai Nrityo Gogunda Block, Thur village 100 Yes Quality artists. Interesting form of Rajasthan. Very few artists exist. Low socio economic condition of the artists. Teratali Gogunda Block, Dhol village 50 Yes Very few artists practice the form but can be linked to various festivals. Interesting form of Rajasthan. Kathori dance Kathori Bastee, Kotra Block 50 Yes Tribal artists perform the same. Interesting form.
  • 6. Analysis of Predominant Folk Forms and the artists : The different folk forms in Rajasthan are mainly seen to be practiced by different communities. Each form is performed by a particular community and has been primarily their tradition and culture. The western part of Rajasthan covering districts Jodhpur, Jaisalmir is culturally rich and have diverse performing folk artforms. Influx of tourism has also helped the traditional folk artists sustain their lielihood through the folk form. Langa musicians, Mangniyar musicians are major attractions in this part of Rajasthan. Bhajan / Nirgun singers of Jaisalmir are also traditional musicians and have huge demand but not being exposed at national level much. It has been seen that some of the groups which are popular get more programmes while the artists staying at the village do not get much performances. The tourist season from Nov – Mar is when artists get programmes, other time they sustain through secondary source of livelihood. Though, it is to be pointed out that many of the Langas and Mangniyar musicians do not have other forms of livelihood other than singing. Nomadic tribes are present all around Rajasthan. The culture of these tribes is almost lost. Kalbelia is one of the predominant nomads who still perform the tradition of singing and dancing. Kalbelia dancers and musicians are found in Ajmer, Jaisalmir, Jodhpur. Kalbelia community due to its rich and vibrant form has reached out to many parts of the Globe. It is also included in the List of UNESCOs intangible cultural heritage. Though the renowned artists perform in many places and get a good honorarium, the artists residing at the villages are still poor. Other nomads like Garoliya Lohar are scattered all over Rajasthan but they have lost their cultural identity. Also it would be difficult to bring them into one framework as number of persons staying at one place is very less. Khatodi tribes of Udaipur has their unique dance form and still performs occasionnaly. The districts of Udaipur, Bhilwara and Rajsamand have many painting forms. Many artists now reside at the cities and main towns and sale their market to art galleries and big businessmen. Phad painting an age old tradition practiced in Sahapur, Bhilwara is a marketable product but the number of artists is very less and the ones who are practicing are quite well off. Kishangarh School of painting in Ajmer is also famous but practicing artists are less and mainly work in big business houses / art centres. But Kishangarh School of painting practiced in Pisangan was once a lucrative livelihood. But, slowly with competition the artists have left painting. Bhils are the predominant tribes of the area. Gair, Gawri, Nahar are all dances of the Bhil community. Bhopas practicing Pabuji ka Phad are found all over Rajasthan but main concentration is found in Jodhpur, Ajmer and Jaisalmir. These artists are nomads as they move from one place to other. Jaipur and Udaipur is also known for various crafts. Most of the crafts are being led by leading businessmen and is difficult for the artists to sustain on their own. Blue pottery, miniature painitng, leather works are all run by industries. The main market of the artists presently is hotels, resorts, palaces, government programmes and some private ones. There is a huge market still unexploed for these talented musicians both at national and international level.
  • 7. Langa Musicians: History : The Langas are a part of the Sindhi community. Some are of the opinion that the origin of the Langas are from Mirpur, Pakistan. But some others are of the opinion that the Langas originally belong to Rajasthan and that with time some of the Langas have migrated to Mirpur, Pakistan. It is known that the Langas are originally from the family of Raja Balwant the king of Jodhpur. Balwant had twelve sons out of which lang was one of them. The langas originated from Lang. The Langs used to keep record in the Rajas kingdom. Theme : The Langas sing Rajasthani folk song, Sufiyana Kalam, Punjabi folk songs. The folk songs mainly revolve around the lives of the Rajas and Maharajas. The theme also revolves around various folk deities worshipped in western part of India. The love story of Heer Ranjha, Shashi bani is often foretold in the songs. This group of artists also sing various Sufiyana Kalams of various noted poets. Music : Sindhi Sarangi, Algosa, Matka, Khartal, Harmonium and Morchang are mainly used by the artists. Sindhi Sarangi is the traditional instrument of the Langas. It is seen that very few instrument makers are left who can make Sindhi Sarangi, Khamaycha (used by Mangniyars). In Phalodi Tehsil there is only one such instrumentalist named Ibrahim Khan who learned it from Ridmal Khan 25 yrs ago. Thus passing of the tradition of making instrument is critical. Also young artists want to learn the art of playing traditional instruments. Cluster / Area of concentration: In Jodhpur the main area of concentration is Phalodi Tehsil. There is another village Bernawa in Bermer bordering Jodhpur which has high concentration of the Langas. The villages such as Kalra, Bangti Kharot, Bangti Kala, Bidasri, Bhoros, Tekra,Ghator, Hindalgol, Bap, Kuslawa are known for the Langas. Sindhi Sarangi Matka Khartal
  • 8. Gurus of the Folk Art form: The art form is being passed over from generation to generation.  Harmonium and Lok Geet : Shakoor Khan is the present day Guru of harmonium playing and Lok Geet. Shakoor learned the art of playing harmonium from his father Sumar Khan. He has travelled to all parts of India and also in Srilanka with the Langas. He gets around 2-3 programmes at National level and 10 programmes at local level thus earning around Rs 40000 in a year.  Sarangi : Sikandar Khan and Kaseem Khan are the present day Gurus of Sarangi. Both of these artists learned the art of playing from their ancestors.  Khartal : Attab Mohammad is treated as the present day Guru of Khartal.  Algosa: Sakoor Khan is the present day Guru. Present Market of the artists: The Langas are known throughout the world. The artists in Phalodi though are little less known. The artists have performed in Malaysia and Srilanka. The Langas in Phalodi have received programmes from all the Zonal Cultural centers, IGNCA, Center for cultural research and training (CCRT), Rajasthan Tourism, RIFF festival and various other national festivals. There are five ICCR empanelled artist at Phalodi. Since, the number of artists is more each artist gets chance of performing in 2 national programmes and 5-6 local programmes/ state level programmes earning around Rs 50000/- in a year. The Langa group performs in 12 – 15 getting an amount of Rs 2 lacs per show inclusive of all cost. The Langas in Phalodi have formed a society in the year 1985 –Langa Vikas Lok Sangeet Society. They have a community hall which is being built under the MP fund. Strength Weakness Opportunity Threat  High quality of musicians.  Appreciated throughout the world.  Classical musicians also want to work with the Langas.  Already have a network base and have participated in various festivals.  Instrumentalists are of high quality.  There are quite a number of young artists.  Unity among the community.  Since number of artists / groups are more each artist gets less number of performances.  The artists socio economic profile is still low. Many have mud built house with little assets.  Performs only during seasons. Other times they are mostly free.  More instrument players and singers can be trained.  Can be linked to many festivals at national level.  Formation of SHGs, developing a saving habit.  Making the society already formed a operational unit.  There are very few instrument makers of the traditional instruments.  Young generation slowly loosing interest due to low income from the art form. Training Requirement : The Langas are high quality of artists. There is need for segregating the artists into different grades and plan the training in that note.
  • 9.  For Grade A artists : There are more need of exchange and collaboration with other instrumentalists / musicians from national and international level. There may be workshops with various musicians of Langa community, Mangniyar community, Kalbelia community, Dholi community and other instrumentalists from other states and develop an unique folk orchestration which can also be an unique form of presentation of music of Rajasthan to the national and international level.  For Grade B artists : o Training on instrument playing by experts of various music. o Training by experts on classical music.  For Grade C artists / novice artists: o Training under Guru Shishya Parampara by the local Gurus of instruments and music.  Training on instrument making: Since vary few instrument makers are still alive this is one of the major needs to sustain the art form. Training time : Between April to September. Other Needs :  Computer facility at the resource centre / community hall.  Website of the society with details of group and video.  Brochure .  More market linkage and promotion.  Health Insurance Card  Artist Card. Schemes available : MNREGA / IAY / ARTIST CARD / HEALTH CARD / Other Benefits:  Some of the artists work under MNREGA  None have received houses under IAY.  None have any health insurance card.  None have any artist card.
  • 10. Mangniyar Musicians : History : Mangniyars are the traditional folk musicians of western Rajasthan. The word Mangniyar literally means Beggar. Their profession was singing and begging for alms from their Jajmans. They traditionally perform in various social occasions like child birth, marriage of both Hindu and Muslim communities. According to the artists and some researchers Mangniyars ware converted to Muslims from the Dholi community during Mughal period. There customs and rituals are similar to the local Hindu communities. Music : Khamaycha, Algosa, Matka, Khartal, Harmonium and Morchang are mainly used by the artists. Khamaycha is the traditional instrument of the Mangniyars. Khamaycha is a chrodophonic instrument played with bows. It is very different from the shape of Sarangi. It has a big belly carved out of wood with parchment pasted over it. The main playing strings are of guts and have seven or more sympathetic strings on it. The bow instrument is also comparatively longer than the other bows used in other musical instruments of the region. Theme : The Mangniyars sing Rajasthani folk song, Marwar Lok geet and Sufiyana Kalam. The folk songs mainly revolve around the lives of the Rajas and Maharajas, daily lifestyle, gods and goddesses and several immortal love stories. Mangniyars also sing traditional songs like Hichki or Gorbandh. Cluster / Area of concentration: Jaisalmir district:  Tehsil – Khuri , Village - Barna.  Tehsil – Pokran, Village – Chandan, Sanwara, Keralia, Kanoi, Bhesdha.  Tehsil – Sam, Village - Habur, Dhandi.  Tehsil – Fatehgarh, Village- Chattagarh, Satto, Bhiya, Jausa, Geraja, Chelak, Kapuria.  In Hamira and Jasinda there are also some artists Jodhpur District  Tehsil – Phalodi , Village - Raneri, Baru, Dholia, Kanasar, Eka, Mohra. There are also many artists who presently stay at Jaisalmir town, Kalakar Colony. The artists perform in various forts, hotels etc. Gurus of the Folk Art form: The art form is being passed over from generation to generation. Gazi Khan, Firoz Khan of Barna village, Bharkat Khana and Bhage Khan from Chattagarh, Sacchu Khan and Nasir Khan from Chandan village, Hakam Khan, Ghungar Khan from Sanwara. Sakar Khan from Himaria village is one of the main singers and has received Padmabhushan. Pepe Khan from Jasindar is also a renowned singer. Sawan Khan from the viilage Dubri Post Lunar has performed in MTV Coke studio. Present Market of the artists: The Mangniyars are known throughout the world. The main time of the performances is from Nov – Feb which is considered as tourist season. Most of the artists have performed in national and international level. Most of the renowned artists are empanelled with WZCC and ICCR. A five member team get around Rs 20000/- in local and Rs.40000/- in national shows. The artists beside the honorarium also get some other incentives from the audience.
  • 11. Strength Weakness Opportunity Threat  High quality of musicians.  Appreciated throughout the world.  Classical musicians also want to work with the Mangniyars.  Already have a network base and have participated in various festivals.  Instrumentalists are of high quality.  There are quite a number of young artists.  Unity among the community.  Since numbers of artists / groups are more each artist gets less number of performances.  The rural artist’s socio economic profile is still low. Many have mud built house with little assets.  Performs only during seasons. Other times they are mostly free.  More instrument players and singers can be trained.  Can be linked to many festivals at national level.  Formation of SHGs, developing a saving habit.  Making the society already formed an operational unit.  There are very few instrument makers of the traditional instruments. Training Requirement : The Mangniyars are high quality of artists. There is need for segregating the artists into different grades and plan the training in that note. Though the tradition of training is a continuous process for the Mangniyars.  For Grade A artists : There are more need of exchange and collaboration with other instrumentalists / musicians from national and international level. There may be workshops with various musicians of Langa community, Mangniyar community, Kalbelia community, Dholi community and other instrumentalists from other states and develop an unique folk orchestration which can also be an unique form of presentation of music of Rajasthan to the national and international level.  For Grade B artists : o Training on instrument playing by experts of various music. o Training by experts on classical music.  For Grade C artists / novice artists: o Training under Guru Shishya Parampara by the local Gurus of instruments and music.  Training on instrument making: Since very few instrument makers are still alive this is one of the major needs to sustain the art form. Training time : Between April to September. Training of young generation of artists: Music Mirasi School : Dr Sarwar Khan Mirasi, a renowned Mirasi and a doctorate from a university in USA established these school of Mirasi musicians near Pator ki Haveli in Jaisalmir town. The institute was built with funding of a American organisation. Around 50 young boys learn the art of Rajasthani Lok Geet from the Mangniyar singers.
  • 12. Pehchaan Lok Sangeet Sansthan : The institute cum community centre of the Mangniyars formed at Barna village, Khuri Tehsil is an important institute formed by renowned Mangniyar musician Gazi Khan. Young generation of artists get trained at the institute. Other Needs :  Resource centre of the Mangniyars at Sam Tehsil where musicians are more in number.  Website with details of group and video.  Brochure .  More market linkage and promotion.  Health Insurance Card  Artist Card. Schemes available : MNREGA / IAY / ARTIST CARD / HEALTH CARD / Other Benefits:  Some of the artists work under MNREGA for one / two months  None have any health insurance card.  None have any artist card.
  • 13. Bhopas singing Pabuji Ka Pad: History: The Bhopas sing the stories of their folk deity Pabuji. The stories are being painted on a scroll called Pabuji ke Pad and the Bhopas and the Bhopanis sings the tale of their folk deity Pabuji. The Bhopas play the instrument called Ravanhatta which is a traditional instrument made by the Bhopas. The Pad is being painted by the Joshi family of Shahapura, Bhilawara. The belief is that Lord Rama came down to the earth as Baba Ramdev (folk deity) and Lakshman came down as Pabuji. The Bhopas worship Pabuji and narrate his tale of war heroics and marriage of Babuji with the niece of Pabuji. The history of Pabuji ke Pad is almost 500 yrs old. The Bhopas are from Bhil community. Area of Concentration: The artists are found in Kakhani in Luni, Phalodi areas, in Bauri Block. Some have also recided in Jodhpur city and surrounding areas like Hardev Dharamkata in Banar road. There are around 100 artists. Artists are also found in Jaisalmir town and in Karail Gram Panchayat of Ajmer. There are around 100 artists in Jaisalmir and Ajmer. Theme : Songs revolve around the story of the folk deity Pabuji. Performance: Each song is of 10-15 mins and the performers generally performs throughout the night to complete the entire Pad and their stories. But presently during performances in festivals they perform for an hour. They perform in a group of 3-4, 2 instrumentalists and 2 singers – one Bhopa and one Bhopani. The Bhopani generally plays the role of a chorus singer. Market : The artists generally performs in hotel during the peak season. Some also perform in the forts. They generally get Rs 1000/- per day for performance. Thus, generally they perform for around 50-60 days in the season and earns around Rs 50000/- in a year which is their fixed income. Other that that they performs in marriages and other occasions which is around 2 -3 in a month. These group of people perform presently only in Rajasthan. Very few have chances of performing at national level.
  • 14. Mashak / The Bagpiper ofthe West: The Mashak instrument players play the bagpiper. Musical instruments like Dhol accompany the Mashak. There are 3-4 Mashak players and they belong to the Dholi community. They are found in the Satni region of Jodhpur. Madan Lal is a famous Mashak player and has been playing the instrument for the last 40 years. The Mashak players play the instrument mainly during marriages. Madan Lal has visited countries like China. They get around 2-3 programmes in a month and earns about Rs 3000/- (Rs 1000/- per show). In Satni there are Dhol players, Mirasi singers and Mashak players who can be taken up together in the SHGs. There are very few young Mashak players and Madan Lal can teach young persons the art of playing Mashak.
  • 15. Kalbelia singers and dancers: History : Kalbelias are snake charmers. Kal means snake and belia means friendship. Thus Kalbelias make friendship with snakes. Previously they used to play bin/pungi and used to play with snakes, move from one place to the other. They are basically gypsies. The female members of the Kalbelia community dances to the tune of the bin/pungi. With time many Kalbelias have settled down in various areas. The Kalbelias are nomadic tribes and are found in many numbers but are scattered throughout. The community of Kalbelias belong to the family of the Navnaths. Their Guru is Kanifnath who was given the responsibility of looking after the jungles and wandering from one place to another. Kalbelia danceform is also included in the UNESCO’s list of Intangible Cultural Heritage. Area of Concentration : Shikharpur in Luni. Jodhpur city and surrounding area like Barli, Jawar, Gangona, Shikharpura in Luni, Pal, Bhatinda and Salabas in Luni. There are other areas also where this Nat community of people whose Guru being Kanipaonath is found. Artists are found at Ganaheda in Ajmer. Number of artists : There are around 150 Kalbelia artists in Jodhpur and surrounding but are scattered throughout. Eight to Nine members perform in a group out of which 4 are dancers and other are musicians and singers. Around 50 artists are present in Ajmer. Guru : Kalu Nath is the present Guru of the form. Gulabo who is an internally acclaimed artist from Ajmer is also regarded as Guru of the art form. Music and songs : The main instrument if the group is Bin. Presently the groups also play instruments like Harmonium, Dholok, Sarangi, Dafli, Khanjari, Manjira and Morchang. The artists themselves make instruments like Bin but procures other from market. The elaborate costumes are being stitched by some tailors in Jaipur and Jodhpur and the ornamentation on the costume is being done by the artists themselves. Each costume costs around Rs 10000/-.
  • 16. Market : Kalbelia dancers are known world over for their exuberant, energetic dance. The costume of the artists are gorgeous and are like the color of the cobras. The Kalbelia dancers perform all over India in Government programs and also for various other organisations. Dancers like Kalu Nath who have settled in Jodhpur city has performed all over the world and have received huge accolades. Kalu Nath is also empanelled under ICCR and WZCC. The artists like Kalu Nath staying at the city works as artists as well as agents. They get orders and are paid heavily. Kalu Nath has done two shows one in Bangalore and one in Hyderabad for an amount of Rs 7 lacs and took with him a group of 75 artists. These artists at the city takes with them artists from the village and pay them Rs 300- Rs 400 per day. The situation of the artists at the villages is thus very poor. Documentation: The Kalbelia artists have featured in many films like Lamhe, Rudali and many documentaries are being made on the artists. Books have been written on Kalbelia dance. Mohan Lal Jod has written a book on Kalbelia named ‘Kalbeliya Geet Aur Nrityo’. Needs ;  Young Kalbelia dancers needs to be trained.  Musicians needs to be trained.  Exposure and collaboration with other musicians and dancers can help the artists to improve their skills.  Linking to various Government schemes.  There is need for settlement of the Kalbelia families and provide them with basic housing and BPL cards.  Providing BPL cards to the poor ones.  Health insurance of the artists.  There are many women members in the community who can be trained to make the costumes of the dancers.  Instrument and costume support. Strength Weakness Opportunity Threat  High quality of musicians and dancers.  Traditional folk form.  Appreciated throughout the world and is a popular form  There is a market of the folk form.  Young artists interested in learning.  Low socio economic profile of most of the artists.  Used mainly as labours by the agents.  There is very few groups and the bigger groups gets show and hire the artists at very low cost.  Apart from the known artists others do not have any assets.  Very few Govt schemes have reached out to the nomadic tribe.  The artists are scattered and are not found in concentration.  There is need for making groups of the artists.  Institution building is a critical need.  Government schemes can benefit the artists a lot.  Since the market of the Kalbelia dancers is huge they can be linked at local, national and international level.  Young artists can be trained and linked.  New groups can be formed and linked to market.  There are very few Gurus of the form and there is need for capacity building of other artists.  There are many Kalbelias who do not get the opportunity of learning the art form and thus gets involved into other forms of livelihood. Thus the number of Kalbelia musicians and dancers are slowly decreasing.
  • 17. Bhajan / Nirgun singers: History: The Bhajan and Nirgun singers of Jaisalmir mainly sing songs of Saint Kabir, Surdas, Meera Bai, Ramdas, Ramdev and other spiritual saints. The artists performing this traditional music are the Nirguni sects. They reject idolatry and ritual in favour of personal religious practice. Area of concentration : The Bhajan and Nirgun singers are scattered throughout Jaisalmir. The artists live in The artists are scattered throughout Jaisalmir. The main areas are Mulsagar, Amalsagar, Dabla, Rupsi, Sam, Kanoi, Salkha, Sipla, Kumharkotta, Kahala, Khuri, Soda, Jethui and Chattagarh. Some artists are also located in Ramdeora and Pokran side. In Baiya village of Fatehgarh Tehsil. Music : The artists perform with traditional musical instrument like Tandura, Harmonium, Dholak, Manjira and Khartal. Artists are also found in Mandal Tehsil of Bhilwara district and Railmagra Tehsil of Rajsamand district. Communities performing the tradition : The communities who practice Nirgun form of singing are the Bhils, Salvi and Meghwals. Theme: The main theme of the songs revolves around formlessness of God. The songs spread messages against all form of castes and invoke equality and peace among all sections of society. Gurus : Late Padmaram Meghwal was one of the major exponents of Bhajan and Nirgun form of music. Bhaisaram Meghwal is one of the exponents who stay at Fatehgarh Tehsil. Baburam Bhil and Baba Balgiri Maharaj are also regarded as Gurus of the form. Present market of the artists: The artists mainly perform at the village ceremonies, festivals, during last rites after death and religious functions. Most of the artists who perform at villages do not get any honorarium. They sing out of passion. Strength Weakness Opportunity Threat  Nirgun Bhajans are widely appreciated throughout the country and world.  There are many traditional musicians.  Each group gets less number of performances.  The rural artist’s socio economic profile is still low. Many have mud built house with little assets.  Performs only during seasons. Other times they are mostly free.  Lack of market  More instrument players and singers can be trained.  Can be linked to many festivals, religious ceremonies.  The artists are scattered in many places and it is difficult to bring them into one scheme.
  • 18. linkage of the artists.  Number of professional artist is very less.  The artists falls under lower section of the society for which they are still ortracised. Training Requirement :  Mobilisation of groups and Basic Orientation and Training of SHGs.  Training through Guru Shishya Parampara to improve their knowledge, collection of songs and musical skills.  Training of instrument players.  Training of artists to perform in larger groups. Performance of 2-3 groups together may bring in much more vibrance in performance. Training Time: April to September, 2012 Other Needs :  Need of training younger generation to learn the art form.  Need of market linkage of the artists.  Inward tourism in the villages of the artists.  Musical instruments of the artists.  Brochure of the artform having details of the artists.  Health Insurance Card.  Artist Card.
  • 19. Art Form: Bhawai Nritya History : Bhavai is a genre of folk dance popular in Rajasthan state in western India. It is majorly a tribal dance originated from Gujrat and presently it is practiced in Rajasthan. Form : The male or female performers balance a number of earthen pots or brass pitchers as they dance nimbly, spinning the body and then swaying with the soles of their feet perched on the top of a glass, on the edge of the sword or on the rim of a brass Thali (plate) during the performance. A group consists of five artists perform for 20-30 miniuts. Sometimes they perform in a programme along with Gorbandh, Kalbelia ,Dewari. Area of concentration : Gogunda Block , Thur village. Around 100 artists are present. Music and song: The accompaniment to the dance is provided by the male performers singing melodious songs and playing a number of musical instruments, which include , Dholak,Khanjari, and Harmonium. Guru / Exponent of the art form: Gopal Gomiti of Thur village, Bargaon Tehsil of Udaipur is one of the major artists of Bhawai dance. He is the disciple of Late Dayaramji who was an exponent of this form. They perform in various cultural events and social occasions like marriage, birthday and religious functions. Market: One or two groups get chances of performance during the tourist season. Some also migrate during the tourist season and stay in Udaipur. Gopal Gomiti has performed in Goa, Shimla, Mussouri, Delhi and all over Rajasthan. He is an empanelled artist of WZCC. They get Rs1500-Rs 2000 for local performance and Rs4000- Rs5000 for out station in a 20-30 minutes performance excluding food and traveling allowance. The main season is from November to March. Many female dancers from Ahmedabad come to perform in major places of Rajasthan.
  • 20. Tera tali dance History: Tera Taal is generally performed by Kamod community and it is a ancestrallearning from their society. They are worshippers of Ramdevji. On the eve of navratri they perform bhajans for a stretch of long nine hours. Style : Tera Taal dance is an exquisite dance performed by women while sitting. The women have manjiras tied with long strings to thir wrists, elbows, waists and a pair in hands also. They create a strong rhythm with manjiras. For an added effect they hold a sword between their teeth and balance two lighted metal pots on their heads. This performance is 30 minuits to one hour duration when it is a single tera taali program. Music and composition:Their male accompanies sing and play Tandoora, Dhol ane Harmonioum. The team generally has five to six members for a performance. Guru / Exponents: Bhamri Bai of Dhol village of Gogunda Tehsil in Udaipur district is one of the exponents and age old artist of Tera taal. Her family members are also eminent performers of this art form like Nirmala Devi, Jashoda Devi. There are ten to fifteen artist scattered in this village. In Bali tehsil of Pali district there are some performers of Tera Taal. Bhamri Devi performed in many parts of India like Shilong, Nagpur, Bhopal, Indor and Delhi. She also performed in USA wich was organized by Mr. Kamal Kothari. Market : One or two renowned artists get performances but that too not regular. Artists like Bhamri Devi has performed at Shilpa Gram, Jawahar Kala Kandra and for organizations like WZCC. Major season is November to March. They receive Rs 500 as honorarium in Govt. Programs for each performer. In private programmes they get around Rs 10000/- to Rs 15000/- as a group.
  • 21. Dhaf / Chang: History : It is a form of Shekhawati folk dance. Nearly 400 years back this dance form started in the Shekhawati region. The dance form is called Daff or Chang based on the musical instrument Daff that is being played. Artists from Mali community practice this form. Area of Concentration: District Sikar, Tehsil : Fatehgarh Theme / Style : Danced by men only, the group forms a single circular file, each man carrying a Dhap or chang (a single-sided large tambourine-like drum), excepting those who dress in female attire, and one who plays the flute. The dancers sing and rhythmically crouch, walk and strike various poses with their instrument. The singing stops for a while, the flute player plays his instrument, and the Chang provide rhythm. Then the round of singing and movement is resumed. The three forms of Dhamaal are ‘Shringar Ras’ (depicting love and devotion), ‘Deb Vandana’ ( about gods and goddesses), ‘Raj Vandana’ ( about kings and their kinship). Guru : Ghisaram Joshi. Music ; The traditional instrument used is Chang / Daff. But instruments like Dhol, Shahnai are also used. Market: The artists presently perform in various festivals and fairs. Artists like Ghisaram Joshi is empanelled with WZCC, ICCR and have performed all over India. The group under Ghisaram Joshi gets programme but other artists do not get regular programmes. The artists who do not get regular programmes sustain through other forms of livelihood. Documentation: There are not much documentations done on the art form. WZCC has some documentations done on the form. Needs :  Training under Guru Shishya Parampara.  Training of the artists to develop various dance movements.  New production development.  Workshops with other dance forms.  Artist Card.  Health Insurance / Health card for the artists.  Instrument and costume support.  Development of new music compositions.  Linking to various Government schemes.
  • 22. SWOT Analysis : Strength Weakness Opportunity Threat  The dance form is a colourful and entertaining dance form.  The artists perform in larger groups and have strong coordination.  One or two groups more performance. Other groups don’t get enough shows.  Younger generation slowly loosing interest.  Music compositions are sometimes repetitive.  Training of young generation.  New markets to be created.  Workshops with other dance forms and developing new productions.  Developing new music compositions.  Lack of market is leading to slowly interest loss among the artists.  Very few artists practice the form.  Lack of documentation of the art form. Gawri Dance : History : Gawri dance is a month long festival of the Bhils who abstain during this month in August and September and perform a group dance which comprises of many tails and incidences woven into a ritual. The music comprises of drums and the singing is fascinating. The main characters are Rai Buriya, the Shiva, his two Rais and Katkuria, the comic handman. Between the enactments of various episodes, the entire troupe dances around a central spot consecrated to a deity in Rajasthan. Area of concentration and number of artists : Gawri dancers are located at Bhim and Deogarh Tehsil. In Deogarh Tehsil the villages having concentration of artists are Bacheerdia, Madaria, Mandawara, Pardi, Kundwa, Shelaguda, Bassi, Ajna, Puniyana and others. Artists are found in Diwar village of Bhim Tehsil. Artists are also found in Railmagra Block. There are around 200 artists involved with the folk dance form. Theme : The main theme of the folk dance revolves around the folk deities that the Bhils worship. The main characters are Rai Buriya, Lord Shiva, his two Rais and Katkuria. Market of the artists : The artists at Deogarh generally gets 4-5 performance a month during the peak season. Some groups get more programmes. Generally the groups perform in hotels and resorts. One of the groups led by Gordhan Bhil have performed in other parts of Rajasthan but generally they perform in Deogarh. The artists get Rs 1000/- per performance thus earning about Rs 10000/- to Rs 20000/- from the art form. The artists depend work as labourers in mines during off time. There are event managers or middle men who take the artists to the hotel. Sujan Singh a local leader takes order from the hotel and arranges the groups as and when required. The artform has market and local and national level and need more marketing initiatives to make the artists sustain through the art form.
  • 23. Puppetry: Puppeteers at Jaipur: Puppetry is one of the most exclusive entertainment all over Rajasthan. In Jaipur there are around 500 puppeteers lives in Kachhi basti near Udyog Bhavan. There are other places like jagatpura, panipeg where they live. They settle here for last 35-40 years their ancestors came from Nagor. Presently they arrenge various programme on puppetry in different hotels and tourist spots. They also sale their puppets locally and mostly aimed for tourists both foreigners and Indian buyers. The puppetiers arrange their programme along with various entertainments like Kalbelias,kachhi ghodi,anothers. They procure their business visiting different hotels. Most of the artisans have BPL card and artisans card also. Generally they earned 4000-5000 rupees in a combined programme sometime they charge 10000 rupees per programme as per the desire of the inviters. Some puppetiers shown grievances on non-patronage of Govt. previously they get various IEC programmes from various department. Puppeteers at Ajmer: There are very few puppeteers staying in the area. Though the quality of artists is high they get very few programs. Presently, Sohan Lal Bhatt also takes order of other folk performances and act as a agent to conduct programmes in hotels. The main concentration of the puppeteers is in Nagaur. The artists also make high quality of puppets of different sizes and depicting different characters which also has a market. The puppeteer narrates stories of Sahijan Badshah, Amar Singh Rathore Since, number of artists is less and the artists also stay at the town it may be difficult to include them under NRLM.
  • 24. Kishangarh School ofArt : Area of concentration : Kishangarh town, Pisangan town. History : Kishangarh school of painting is known world over for its unique style of painting. The main story revolves around Radha and Krishna. The main community involved is the Prajapat community. The characteristic feature of the painting form is painting of Banithani one of the most beautiful women on the earth. It is known that Sawai Man Singh had eternal love with Banithani. Situation at Kishangarh : The artists are earning quite a bit. There are organisations at Kishangarh who sales this art. Situation at Pisangan : It is known that Narsingh Dasji one of the famous painters of Kishangarh school migrated from Kishangarh to Pisangan around 500 years back. Thus, developed a unique style of painting at Pisangan on cloth. They mainly depit stories of Radha and Krishna. Around 500 artists used to practice this form of painting at Pisangan. Many Government officials in 1970’s even left their lucrative job and started painting. Slowly with competition the demand of the art form decreased. Women also practiced the form in numbers. Presently, there are very few artists practicing the artform. The agents take the paintings to Beawar and sale them off at very cheap rates. A 6 x 4 sq ft painting is being sold at a nominal rate of Rs 250/- while a 6 x 8 sq ft painting is being sold at Rs 400. The artists often sale this paintings at Delhi. The paintings are then sold at much higher price. Since, the artists don’t get the adequate market, they presently do not innovate much and make the same paintings day in and day out getting around Rs 200 for each painting exclusive of material cost. Each painting takes 2 -3 days for completion. Thus the artists hardly earn Rs 1500/- to Rs 2000/- per month. The artists use poster colours and it is known that they have never used natural colours. Some have also commented that Pisangan school of art could not compete with the market due to lack of innovation in painting, lack of use of natural colours and also too many artists developed at one time. Some of the artists like Satya Narayan Prajapat have got some chances of exhibiting their painting at Ajmer and at Khadi Gramodyog Bhawan. The artists are not under BPL nor have any artist card. They are also not empanelled under ICCR or WZCC. There are high possibility of bringing back the lost tradition. Need of the artists :
  • 25.  Mobilising the artists.  Giving back the lost confidence of the artists.  Institution building.  Training of the artists. o Training on use of colours. o Training to paint on new themes. o Developing diversified products. o Training of novice artists.  Getting new painting materials.  Developing new market of the artists. Handicrafts and Handlooms: Blue Pottery: History : Jaipur blue pottery is well known art form of Jaipur though it is Turko Persian in origin. The use of blue glaze on pottery is an imported technique, first developed by Mongol artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled south to India with early Muslim potentates in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Kashmiri potters. From there, the technique traveled to the plains of Delhi and in the 17th century went to Jaipur. Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler Sawai Ram Singh II (1835 – 1880). The Jaipur king had sent local artisans to Delhi to be trained in the craft. Some specimens of older ceramic work can be seen in the Rambagh Palace, where the fountains are lined with blue tiles. However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re- introduced through the efforts of the muralist and painter Kripal Singh Shekhawat, with the support of patrons such as Kamladevi Chattopadhyay and Rajmata Gayatri Devi. Technique : The potters commented that they use quartz stone (80%), green glass powder (5%), multani mitti (5%), borox powder, gond (gum for bonding 5%) and Saaji (soda bicarbonate 5%). hand operated potters wheels are used.rainy season is not favourable for this production. Main motifs and products: The motifs developed by the Blue potters are mainly images of God and Goddess, Rajput kingly valours, some miniature forms of Rajputana style and some animal forms. Presently diversified products are developed like pen stand, plates, Market linkage : The market of Blue Pottery is being controlled by some businessman. They hire local labours locally and make the artefacts. New generation of craftsmen are not interested because of insufficient earning from the craftform. They exports in countries like Australia, Israel, Spain, Japan, USA. Anil Doraya (Jaipur blue pottery centre) is one of the leading and age old businessman in this industry. Generally it is produce surrounding Jaipur and nearby Sangner. Blue pottery was started at Jaipur from early 19th century under the ruler Swai Man Singh.
  • 26. Miniature Painting: History : Miniature paintings are the famous art form of Rajasthan influenced by the Mughal miniature painting. Rajasthani miniature paintings have many styles like Bundi, Kota, Kisangarh, Mewar and Marwar school of paintings. Patronage of the painters were being done by the kings. Jaipur miniature paintings are highly influenced by the Mughal miniature painting. Art of painting: These paintings are done with utmost care and in minute details, with strong lines and bold colours set in harmonious patterns. The miniature artists use paper, ivory panels, wooden tablets, leather, marble, cloth and walls for their paintings. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The colours are made from minerals and vegetables, precious stones, as well as pure silver and gold. The preparing and mixing of colour is an elaborate process. It takes weeks, sometimes months, to get the desired results. The brushes are required to be very fine, and to get high-quality results, brushes even to this very day are made from hair of squirrels. Traditionally, the paintings are aristocratic, individualistic and strong in portraiture, where the plush court scenes and hunting expedition of royalty are depicted. Flowers and animals are also the recurrent images in the paintings. Area of concentration : The artists stay at Joypur town presently. Some artists are also found at Sanganer Tehsil, Sanganer village. Themes: The main themes depicted in the paintings are stories of Lord Radha and Krishna, Rasleela, stories of kings and queens and palaces. Market : Presently very few artists practice at Sanganer village. Most of the artists have migrated at the city due to market and influx of tourists. The artists sale their paintings at painting shops / art gallery and also sale on their own to tourists. Some artists also visit festival and fairs organised by DIC, DRDC and others. The artists earn about Rs 10000/- per month. Lac work: This is also a famous art craft of Jaipur. Bangles, ornaments and many other show piece products are shown in the market. Traditionally manihaar community is engaged from past few generations. Presently others are also in this business like Sindhis. Mostly they are cluster around Pattabasti, Jotbara, Nagar road and Manihaar ki rasta in Jaipur city. They sale in whole sale and retail also. Raw materials are locally available which is coming from Chhattisgarh, West Bengal, Jharkhand, Odisha.
  • 27. Terracotta: Terracota in Joypur: Terracotta is also sold in Jaipur comprising various qualities and design. It is mostly found in Chomu area village Harota. They make traditional earthen pots big earthen pot Vass. Some creates various designed terracotta items like dolls(Rajasthani mukhota) animal figures. In this village 15-20 families known as kumarh are engaged in this traditional terracotta works. Presently only one SHG exists named Harota pottery. Kailash Chandra Prajapati is one of the finest artisan who was also a SHG member leader of another SHG which is not existing. As he said a peoples who wants to create their own they don’t like to be in SHG. They attend the local fairs . kailash provide training for local artisans which is organised by Rural Non-firm Development agencies. Many of them have health insurance card and availed loans, many goes to pragati maidan Delhi and state fairs and festivals. Terracota in Molela village, Rajsamanad : History : The history of the art of pottery dates back to Indus Valley Civilization and lot of states have contributed to make it richer. The pottery art of Rajasthan boasts its distinctive art style. The potters have the innate touch in their hands to turn clay into objects of worships-mainly folk deities, conveying an intimacy with religion and belief woven into daily life, a practice, which has been the main sustainable income for these artists. The art of making attractive motive, plaques or idols of god with terracotta has made Molela village a name in the art of pottery. While previously the artists used to make Vishnu forms but today these figures are often mounted on tiles or plaques and are hung from the walls of temples and homes. Presently they also make scenes that depict the daily life of the villages of Rajasthan. Artists concentration : There are around 50 artists involved with the craft form. Guru / Leaders of the craft form: The quality of craftsmanship of these talented potters is worth mentioning. Some of the potters like Jamnalal Kumhar is a state awardee while artists like Mohonlal, Lakshmilal are national awardees. Mohan Lal is also a Padmashree awardee. Market: The main market of the artists is at local level. During the month of Jan and Feb villagers come and purchase their folk deity from the craftsman. Huge number of villagers come and purchase the folk deity. Some of the artists have high market linkage while some of the artists have low market linkage. The artists earn
  • 28. about Rs 1.5 lacs in a year, some may earn a little more. Some of the artists like Mohon Lal has visited international countries. Artists like Jamnalal Kumhar have visited countries like Israel. Some of the artists also visit fairs and festivals organised by the DIC, DC, Handicrafts, National Institute of Design and others. Many work on collaborative projects with international craftsman. Documentation: Many researchers have worked with the artists. Some articles have been published. SWOT Analysis: Strength Weakness Opportunity Threat  High quality of craftsmanship.  Artists are concentrated in one place.  Molali village is a known place.  Some foreigners also visit the place.  Young generation also work with their parents.  Its more family based business and some artists are not interested to work together with artists from other families.  Lack of community trust and bonding.  Mobilissation of artists to form a society and create market linkage for the society.  The high quality of craftsmanship has demand in international market as well  Since, the artists do not want to exchange ideas among others there is low transfer of knowledge among the community. Leather Work (mojri):- Mojri is traditional shoe of Rajasthan made of local leather.The shoe makers belong to regari community. There are 400-450 families are engaged in making at Udaipuria village of Chomu block. They are the traditional shoe makers presently they making designer sandals, diary covers, purse. There are two SHG in the village Ganga SHG and Nagar SHG. Mr. Banoary lal Barodia is a key person and trainer of ganga SHG whose wife Shanti devi is a president of the group. This group will participate pragati maidan Delhi for the first time. They have the artisan card and they collect raw material from Chomu, Jaipur. They received loan of rupees 2 lakhs. They saved hundread rupees for month. Mr. BanowarilalBarodia is a local trainer received certificates from RUDA (rural non-firm development agencies) in 2005 he also being trained himself from Central Research Institute. All male members of both the SHG’s are engaged in production, marketing and business. They sale there product to the whole saler locally. Carpet Weaving: In Salabas, Sangasani, Khudiyala there are weavers who make traditional carpets. Mostly weavers work as labourers. They have their own loom and the design, raw materials and order is being given by some agency. The labours get around Rs 100 – Rs 125 per day. If they work on their own and sale it to the market they may get a little extra amount but procurement of raw materials, getting new designs is a major concern. Again the artists feel that if they work on their own they can work more in a single day as they can work on their own designs which is less complicated. The order works have intricate designs and takes much longer time.
  • 29. The market of these carpets is all over India and abroad. Organisations like MM India presently procures carpet from the artists. Nabard has formed some SHGs in the area with these weavers but the economic condition of the artists is still poor. In areas such as Khudiyala, Salabas there are many societies formed like Budhraj Dury Udyog, Sirry Sakti Dury Udyog, Salabas Durry U dyog. There are around 100 weavers involved with the tradition. The Kumar community who previously used to do pottery have now turned into making carpet weaving. Possibilities of Rural Tourism : Tourism Department has already snapped in all tourism centers. But there may be cultural destinations which are still missed out and may be linked up for making the trails much more interesting. For instance, the route from Jodhpur to Phalodi can be like this : Note : Since many tourism trails are operational, there may be scopes of linking the cultural destinations to the trails. In Jaisalmir too there are oppurtunities of linking places like Barna where many Mangniyar artists live or Chattargarh in Fatehpur Tehsil where many Mangniyar and Bhajan artists stay. Udaipur district with its hilly terrain attracts thousands of tourists. Interesting places in Jhadol, Khatodi Bastee , villages of the Khatodi, see the dance form of the Khatodi tribes can be linked with the tourism trail. Oshian Jain temple Khinchan – Migratory Birds Community Hall of the Langas Oshian Wind Mill Oshian Desert Safari Fatiyal Mata ke Mandir
  • 30. AGVP and inclusion ofart forms and the artists : AGVP is yet to start in the district of Jodhpur, Jaisalmir, Ajmer, Udaipur and most of the districts. The SGSY Schemes have been run by the DRDA and since its completion, NRLM is trying to set up its operation in the districts. The SHGs under the foray of the SGSY scheme will be included in the NRLM scheme if the SHGs confirm to all indicators under then NRLM mission. Some issues / considerations to be taken up while working with the performing artists under NRLM scheme :  Most of the artists are not included in any of the SHGs. If the SHGs were formed they are presently defunct.  While working with the community SHGs have to be formed of village women out of which some will be artists or their beneficiaries. In one area / village / GP it is difficult to find 12 artists to constitute a SHG. SHG members of same community will have larger unity.  Men constitute maximum number of artists, thus women beneficiaries have to be taken under SHGs. Out of total number of artists 80% are male.  Ten SHGs can form a VO where all SHG members are members of VO. The artists will be also members of VO. Some of the artists / beneficiaries should be in the governing body of the VO.  Seperate societies / livelihood collectives should be formed with the artsits at Block level with respect to each art form.  The NRLM mission has a feature called Satdarpan in RGAVP website which would have details of each SHG, name of members, their socio economic profile, photos of each members and other necessary details. The details of SHGs which are functional and are slowly taken up in the NRLM mission is being uploaded in Satdarpan. There are about 6000 SHGs in Ajmer presently around 2000 formed under SGSY scheme and around 6000 formed under ICDS scheme.
  • 32. Jodhpur : History : Jodhpur is known for Mehrangarh Fort, Umedh Singh palace, Bal Shramand lake, Mandor garden migratory birds and rich cultural heritage. The city of Jodhpur is the historic center of the Marwar region. Jodhpur was founded in the 15th century by Rao Jodha and served as the capital of the kingdom of Marwar under the Rathore Rajput dynasty till independence. The district is located in the Western part of Rajasthan. The district is bounded on the north by Bikaner, on the northeast by Nagaur, on the south east and south by Ajmer, southwest by Pali and west and northwest by Jaisalmir. Demographic Profile: There are 7 tehsils in the area, Phalodi, Osian, Bhopalgarh, Jodhpur, Shargarh, Luni, Bilara. There are 10 Blocks / Panchayat Samity. They are Osian, Shargarh, Balasar, Bap, Phalodi, Mandor, Luni, Bhopalgarh, Bilara and Jodhpur City. There are 339 Gram Panchayats in the district. The total population of Jodhpur is 36.85 lacs out of which male population is 19.24 lacs. Density of population is 161. Total literacy rate of the district is 67%. Different Folk Forms and Handicraft Forms ofthe region: Folk Form / Community Block / Area # of artists Potentiality Langa Community (Rajasthani Folk Geet) Phalodi Tehsil (Kalra, Bangti Khorot, Bangti Kala, Bidasri, Bhoros, Tekra, Ghator, Hindalgol, Bap, Kuslawa) Sherghat Tehsil (Chanchalwa, Samesar) Osian Tehsil (Jakhar). Jodhpur city and surrounding. (Kalakar Colony, Pratap Nagar) The largest concentration of the 150 + (100 young artists who want to learn the artform). 30 artists Langa community with their rich Rajasthani lok geet – Marwari Lok geet, sufiyana qalam has reached out to all parts of the world. The rich music tradition of the Langas are appreciated all over. Instruments like Sindhi Sarangi, Khartal, Morchang, Dholak, Harmonium and Matka are typical instruments played by the artists. Group performance, chorus and high quality of instrumentalists make this music a treat to hear.
  • 33. Langas is in Bernawa near Balotra but it falls under Bermer bordering Jodhpur. Mangniyar Phalodi Tehsil (Raneri, Baru, Dholia, Kanasar, Eka, Mohra) 45 + (40 young artists who want to learn the artform) Mangniyar community like the Langas also sing Rajasthani Lok Geet and Sufi numbers. Mangniyars have also reached to all parts of the world. The Mangniyars play traditional musical instruments like Kamaycha, Khartal, Dholok, Harmonium. The singers and instrumentalists are of high quality. The Mangniyars perform in small groups. Kalbelia Jodhpur city and surrounding area like Barli, Jawar, Gangona, Shikharpura in Luni, Pal, Bhatinda and Salabas in Luni. There are other areas also where this Nath community of people whose Guru being Kanifnath is found. There are around 300 artists of Kalbelia but there are no concentration zones of the artists. They are nomadic tribes / gypsies thus they move about from one place to other. With the growing popularity of Kalbelia some artists have become leaders like Kalu Nath and take other dancers / musicians with them. Kalbelia the snake charmers,are the nomadic tribes the gypsies. Their main music is the pungi or the bin. They also play morchang. The dancers dance to the tune of the bin like a snake. Kalmeans snake and belia means friendship – thus Kalbelia. The costume of the dancers,the music, the presentation have made Kalbelia a name all over the world. Dholi Dholis are found all over Jodhpur. Khichan in Phalodi Tehsil is known for Dholis Around 150 artists present around Jodhpur. In Khichan there are around 25 artists. Dholis are traditional dhol players. Their ancestors used to play dhols in the darbars of the Rajas. This group of people still play dhol and sings Rajasthani Lok Geet in marriages and other ceremonies. The Dholis have a market in Rajasthan and surrounding area. Bhil practicing Pabuji Ke Phad. And the performers are called Bhopa. The artists are found in Kakhani in Luni, Phalodi areas, in Bauri Block. Some have also recided in Jodhpur city and surrounding areas like Hardev Dharamkata in Banar road. But the Bhopas area also found in other areas More than 100 artists are present. Bhopas sing the songs of Pabuji their folk deity. A scroll depicting the story is hanged at the background. Three to Four artists perform together. A male member-Bhopa and a female member-Bhopi (mainly chorus) sings the song of Pabuji’s war heroics and marriage of Gogaji with Pabuji’s niece. One of the traditional instrument played by the performers is Ravanhatta. The
  • 34. Joshi family of Shahapura- Bhilwara paints this pad / scroll on a piece of cloth. The form Pabuji ke pad is mainly performed in Rajasthan. Hotels, tourism areas are the major clients. The tourism season 4 months is when they get programmes. The art form has potential of showcasing to all over India. Mashak player , the bagpipers of Rajasthan Satni village, Madan Lal There are very few Mashak players left in Rajasthan. In Satni there are 2 players. Very few instrumentalists left. There may be scope of including these instrumentalists with the Dholis and form groups. Mirasi Tilasri village, Satin, Bhopalgad village, Tilasri and other adjoining villages There are around 20-30 singers and instrumentalists They sing Rajasthani folk songs and plays dhols, drums. They are economically backward and have huge potential at local and national level. Performs mainly during marriages. KacchiGhori Jodhpur and adjoining areas like Masuri, Kokunda village. 3-4 groups. Around 20 people. The artists are not much found presently in the villages. Kacchi Ghori is where a male members dresses up as a horse and dance. Musicians play instrument. There are few groups who generally performs in the hotels, marriages and other occasions. It has local and national market. Other performing folk art forms like katputli, ghair nrityo are found but in less numbers, around one or two groups and in the cities. These artists mainly perform in the hotels and tourism places.
  • 35. Persons Met: Name ofPerson Organisation Contact Number Kailash Gehlot PFT Manager,NRLM 9929263042 Ganpatlal Ji Sukha DPM,NRLM 9460306683 Ramraj Purohit Micro Finance, Mngr, NRLM 9414722139 Mahendra Ji Sabal Sanstha 9414703652 Madan Lal Artist , Mashak, Satni 9784351753 Dinesh Dhol Player, Mashak, Satni 9610858556 Jhumar Lal Dhol player, Satni 9610858556 Fazal Khan Mand Gayaki, Satni 9636223783 Suja Ram Bhajan, Bennan 7568440544 S L Paliwal Sachib, Sangeet Natak Academy 9414156029 Ajit Bacchu Khan Hindalgol, Phalodi 9982729322 Vijay Dan Ditha / son Mahendra Ji Rupayan Kala Sansthan now known as Sabal Sanstha 9414703652 Bhamnaram, Bhopa Bhopa sings Pabuji ke pad 9602720950 Prem Nath, Kalbelia Kalbelia dancer, Jodhpur City 9929053403 / 7568862058 Hanumanji Carnett player 8239902687 Umrao Khan Langa Langa 9829692972
  • 36. Jaisalmir : History: Jaisalimir better known for the Golden Palace and the sanddunes has a rich historical legacy behind it. The ruling family of Jaisalmer were Yadava – Bhatti Rajputs descended from Yadu or Jadava whose progenitor was Buddha, the founder of the Chandravansh or Lunar race and whose power was paramount in India at a very remote period of World History. Shri Krishna the leader of the Yadus was the forty sixth in descent from Yadu and ruled at the famous Dwarka and on whose death the tribe broke up. The grandson of Saliwahan was Bhatti. The nineteenth descendant from Shri Krishna was great warrior and conquered many of the neighbouring princess. From him the patron was changed and the tribe was called by his name ‘Bhatti- Rajput’. The Bhatner (Hanumangarh) near Ganganagar was founded by Bhatti. Shortly after this, Mahmud of Ghazni made his expedition into India against the Ghaznis and thus they were moved southward. Crossing the Sutlej they found refugee in the great Indian desert adjacent to Jaisalmir which for the last 1000 years has been their home. The capital of their desert kingdom was successively Deorawal, Lodarva and Jaisalmir. The district of Jaisalmir is situated in the western part of Rajasthan. It is bounded on the west, north and north west by Pakistan. On the south and east are the districts of Bikaner and Jodhpur, and on the north east is Bikaner district of Rajasthan. Jaisalmir district is almost entirely a dry – sandy wasteland, forming a part of the Great Indian Desert of Thar. The Fort and Golden City of Jaisalmir founded by Maharawal Chandarvanshi (Lunar Race) Yadav Bhatti Rajput Jaisal in 1156 AD. In 1635 Jaisalmir became part of the largest dominion held by Bhatti Chiefs, themselves vessels of the Delhi empire. Demographic Profile: Jaisalimir is one of the biggest districts in Rajasthan. The total area covered is 38392 sq km. There are 3 subdivisions, 3 Tehsils and 3 Panchayat Samity. The total number of inhabitated villages is 750 and there are 37 uninhabitated villages. Thus total number of villages is 787 and there are 128 Gram Panchayats, 2 Municipal Councils and 3 Community Development Blocks. Jaisalmir is also known for its 471 km long international border. The total population of Jaisalmir is 508247, having male population of 279101 and female population of 229146. The total density of population is 13 per sq km. The total literacy rate of the district is 51.4%. Schedule Caste and Schedule tribes constitute 20% of the population. Tourism Influx in Jaisalmir:
  • 37. Jaisalmir due to its gracious fort and sand dunes attract thousands of tourists from all over India and abroad. Total tourist influx in Jaisalmir is 2.76 lacs out of which 64% is Indian tourist and 36% is international tourist. Thus a major revenue comes from tourism. To cater to this huge influx of visitors there are about 127 hotels. Though the number of hotels is more the rates in the hotel are high and there are very few quality budget hotels. It has been observed that the tourists visit places of natural resources and tangible heritage but the tourists do not have scope to visit the cultural destinations. It is the artists who come during the tourist season to the palaces, resorts, hotels and perform. It would be ideal if the cultural destinations like the villages where the Mangniyars live can be linked to the tourism trails. One example is the trail from Jaisalmir to Khuri where the tourists can also visit villages like Barna where many Mangniyars live. The tourist can visit ‘Pehchaan Lok Sangeet Sansthan’ the community centre of the Mangniyars which they use for training future generation of artists and is led by renowned Mangniyar musician Gazi Khan. Festivals held at Jaisalmir: Desert Festival at Sam dunes, 42 km from Jaisalmir: Desert Festival of Jaisalmer is a colorful festival held in February every year. Golden sands of the Thar Desert, musical performance by folk singers under the moonlit sky at the dunes in Sam makes the festival unique in nature. The rich culture of the region is on display during this three daylong extravaganza. Different Folk Forms and Handicraft Forms ofthe region: Folk Form / Community Block / Area # of artists Potentiality Mangniyar community sings MarwariLok Geet Village - Verna Tehsil – Khuri. Village – Chandan, Sanwara, Keralia, Kanoi, Bhesdha Tehsil – Pokran. Village - Habur, Dhandi, Tehsil – Sam. Village- Chattagarh, Satto, Bhiya, Jausa, Geraja, Chelak, In village Verna there are 30 artists and around 40 more artists can join in training. Around 100 Magniyar artists stay in Pokran Tehsil. Around 40-50 artists stay in Sam Tehsil. In Fatehgarh arlso there are around 100 artists. Mangniyars community with their rich Rajasthani lok geet – Marwari Lok geet has reached out to all parts of the world. The rich music tradition of the mangniyars are appreciated all over. Instruments like Khamaycha, Khartal, Morchang, Dholak, Harmonium and Matka are typical instruments played by the artists. Group performance, chorus and high quality of instrumentalists make this music a treat to hear.
  • 38. Kapuria Tehsil – Fatehgarh. In Hamira and Jasinda there are also some artists. There are also artists at Ramdewra the Jaisalmir town also. Altogether there are more than 300 artists. Puppeteer Kalakar Colony, Jaisalmir town. There are around 20 – 25 family staying in the area. The artists are of high quality. Presently they generally perform in the hotels, resorts and desert folklore museum. The group of 4-5 artists et around Rs 2500/- per show. Some artists like Mukesh Bhatt have gone to Spain recently and received 7000 Euro. Nirgun / Sargun / Bhajan The artists are scattered throughout Jaisalmir. The main areas are Mulsagar, Amalsagar, Dabla, Rupsi, Sam, Kanoi, Salkha, Sipla, Kumharkotta, Kahala, Khuri, Soda, Jethui and Chattagarh. Some artists are also located in Ramdeora and Pokran side. In Baiya village of Fatehgarh Tehsil, Padmaram Meghwal and Bhaisaram Meghwal are exponents There are more than 200 artists practicing this form The Nirgun / Sargun and Bhajan artists sing traditional Bhajans of Meera Bai, Kabir, Ramdas, Surdas , Ramdev and other saints. The traditional instrument used by the artists is Tandoora. Most of the artists perform in different villages but do not get any remuneration other than the travelling charges. Some artists who are acclaimed get some honorarium during performance. These artists have a market at local and national level. Bhopas singing Pabuji ka Fad Gafurbhatta, near Kamla Nehru School Jaisalmir town. There are around 12 artists. The artists perform in various hotels, museums and other palaces in Jaisalmir. Handicrafts Pottery Village: Pokran, Pokran There are around 200 families involved with the craft form. They are quality craftsman and have huge potential.
  • 39. Other Places Visited:  Desert Cultural Centre: Desert Cultural Centre, run by Nand Kishore Sharma is an author-teacher and historian. He set up this amazingly well-resourced centre near Gadisar Lake in 1997, years after he founded the Jaisalmer Folklore Museum in 1984. At 77, Sharma is pursuing quite passionately the love of his life – documenting and celebrating the history of Jaisalmer. Desert Cultural Centre has Old photographs, maps, manuscripts, paintings, musical instruments, puppets, local costumes, coins, camel ornaments — and much more. A catalogue of these materials is available for purchase. The entire collection has been put together largely through Sharma’s own efforts. He has written several books on Jaisalmer, many of which have been translated into other languages with the help of scholars and researchers who have visited him.  Tourist areas at Khuri and Sam  Pehchaan Lok Sangeet Sansthan at Barna, Khuri.  Music Mirasi School, Near Patwon Ki Haveli, Jaisalmir town. Persons Contacted: Name ofPerson Organisation Contact Number Mr K R Mehta Rajasthan Finance Corporation 9414097638 Nandkishore Sharma Desert Cultural Centre 9413865665 Gaji Khan Mangniyar artist 9414150061 Kutle Khan Mangniyar artist 7742548501 Bhage Khan Mangniyar artist 9680720784 Sawan Khan Mangniyar artist 9460347685 Mukesh Bhatt Puppeteer 9950138719 Tagaram Bhil Algosa Player 9461770153 Baba Balgiri Maharaj Nirgun singer 8952038567 Babu Ram Bhil Nirgun Singer 9636514987 Hariram Bhopa Sings Pabuji ka Fad 8387808111 Kasiram Bhopa Sings Pabuji ka Fad 9799195346
  • 40. Ajmer : History : Ajmer today is mostly known for Pushkar and Ajmer Sharif, the shrine of Sufi sanit Khwaja Monuddin Chisti. Pushkar fair has attracted thousands of tourists around the world. Ajmer founded by Ajay Pal Chauhan in 7th century. It got its name from Ajay Meru or the invincible hill. Here he built India’s first hill fort Taragarh. It remained a Chauhan’s strong hold till 1192 AD when Prithviraj Chauhan the last Hindu king of Delhi lost it to Mohammad Ghori. In 1556 AD it became an integral part of the Mughal Empire. Pushkar Lake is another important pilgrimage site. According to the Padma Puran the Pushkar Lake is a divine location as it is here where a lotus fell from the hands of Lord Brahma when he was on his search for a tranquil spot to perform Yagna. Thus it became known as ‘Tirtharaj’ as no pilgrimage is considered complete without taking a dip in the holy waters of Pushkar Lake. Demographic Profile: Ajmer district has an area of 8481 sq km and a population of 25.84 lakhs. The main community of people staying in Ajmer are Hindus, Muslims and Jains. The district is situated in the center of Rajasthan, and is bounded by Nagaur district to the north, Jaipur and Tonk districts to the east, Bhilwara district to the south and Pali district to the West. The district has a population density of 305 inhabitants per square kilometre. Ajmer has a sex ratio 950 and a literacy rate of 70.46%. Ajmer is divided into 4 subdivisions – Ajmer, Beawar, Kekri and Kishangarha and further subdivided into 6 tehsils. Festivals held at Ajmer: Pushkar Fair is being held on October and November around Pushkar Lake on the occasion of Kartick Poornima. The 12 day affair has a religious significance too. Hundreds of horse, camels and buffaloes are brought here and sold. Camel races, parades and other musical events are full of fun and gaiety. Nagaur Fair is being organised at Nagaur between the months of Jan and Feb. Hundreds of cattles are brought here for selling. Recreation is provided by delightful entertainment like tug of war, camel races and soulful music. Tejaji cattle fair held between Aug – Sept is also another important fair. District Administration, DIC of Ajmer organises Dipotsav Craft Fair every year. The District Industries Centre has built a permanent structure where a handicraft person can put up his / her stall.
  • 41. Different Folk Forms and Handicraft Forms ofthe region: Folk Form / Community Block / Area # of artists Potentiality Kalbelia Ganaheda village near Pushkar beside Railway station. Kalbelia artists are also present in Karail Gram Panchayat. There are around 60 artists in Ganaheda village. But there are possibilities of training more artists in the village. Around 20-30 more young artists can be included. In Karail there are about 15-20 artists. The Kalbelia dancers are known all over India. The dancers in the village of Ganaheda generally performs during the tourist season from Nov – Feb. Raki, Kalbelia dancer is a renowned dancer and have even visited international countries like Spain and France. But, other artists generally get Rs 200/- to Rs 300/- per show. The artists have performed in Delhi, Haridwar, Bombay, Goa. There is huge potential of augmenting income of the artists and providing market linkage of the artists. There is also huge potential of linking these nomads to various Government schemes. Bhopas singing Pabuji ke Pad There are some Bhopas in Karail Gram Panchayat. 5 families. 10 artists. Devi Lal is one of the Bhopas residing in Revat Gram Panchayat. The Bhopas presently work in shops and also play instrument and sings once they get orders. The artists play their traditional instrument Ravanhatta and also make these instrument. The Bhopas sale this instruments at musical shops and to foreigners. Kishangarh School of Art Kishangarh town There are around 100 artists. There are high quality of painters but mostly this artists are much well off. The main characteristic feature of Kishangarh art of painting is the painting of Banithani, the female lady who is perhaps the most beautiful women after Monalisa. It is said that Raja Swai Ram Singh had an eternal love with this beautiful lady. There are some big art organisations like Shree Krishna Art Centre, Nangalia Art Handicrafts which sales paintings to national and international clients. Kishangarh School of Art Pisangan town, Pisangan Tehsil There are more than 100 artists. The Kishangarh school of Art practiced in Pisangan is a age old tradition. The artists paint on cloth. It is known that some artists came from Kishagarh and settled in Pisangan. During 70s there were around 500 artists but slowly the
  • 42. number of artists decreased. As competition increased with other painting forms of Udaipur, Jaipur the demand of the artists slowly decreased. Presently there are very few practicing artists around 5-6. But there are possibilities of bringing back these traditional painters into mainstream and bring back the lost heritage of Pisangan art. Puppetry Bhatt community in Telipara, Vaishali Nagar There are around 10 artists staying in this area. Sohan Lal Bhatt is a renowned puppetter. There are very few puppeteers staying in the area. Though the quality of artists is high they get very few programs. Presently, Sohan Lal Bhatt also takes order of other folk performances and act as a agent to conduct programmes in hotels. The main concentration of the puppeteers is in Nagaur. The artists also make high quality of puppets of different sizes and depicting different characters which also has a market. The puppeteer narrates stories of Sahijan Badshah, Amar Singh Rathore Since, number of artists is less and the artists also stay at the town it may be difficult to include them under NRLM. Qawwals of Ajmer Ajmer town, behind Ajmer Sharif, Chiwki Awwal, Peer Road. There are around 50 artists, 7 groups. The artists staying at the town beside Qawwali also have secondary livelihood option. Each group performs around 30 -40 programmes in a year and earns about Rs 20000 from each programme. The Qawwals perform all over India but generally performs only in private programmes and do not get chances in Government programmes. Tourism Department do not give programmes to the
  • 43. artists nor they are linked with ICCR. Handicrafts : Stone Curving Kishangarh Town There are around 40 – 50 artists Kishangarh is known for marbles and stones. Stone curving and making various stone based products like lamp shades, statues, pen stands etc. This is a big industry and the artists work as mere labourers. Though the potentiality of the artists is huge, it is difficult for the artists to make stone materials of their own as their is huge cost involvement of the raw materials. Stone curved materials is also now falls under the District Industries. Some other products are kalin / carpet weaving and block printing. Carpet weaving is being done at Baghera, Kekri Tehsil and Masuda Tehsil is known for Block Printing. Other Places visited : Social Work and Research Centre / Barefoot College :- The organisation formed at Tilonia is the brain child of Sanjit Ray. The organisation works on health, education, water and sanitation and other development parameters. Barefoot college also provides consultancy / hands on training to generate social power. They also develop many handicraft products and teaches puppetry to villagers. The organisation uses puppetry to generate social awareness in villages around Tilonia. Urban Haat Mela, Ajmer : The Urban haat mela was organised by DIC,Ajmer. Many craftsmen from different districts give stalls in the fair. The place is a permanent one and one can give stalls in this place.
  • 44. People Met: Name ofPerson Organisation Contact Number Rahul Chowdhary NRLM 9829771104 Raki Kalbelia dancer 9982834398 Shadu Kalbelia dancer 8875227565 Haji Qurban Farid Chishtiyai Qawwal 9928083055 / 9983073125 Purushottam Chauhan Sachib, Karail GP 9530300325 Ashok Soni Sarpanch 9829325311 Satya Narayan Prajapat Painter, Pisangan school of Art 9829425248 Sampat Singh Godara BDO,Pisangan 7597120147 Farid Hussain Qawwal,Ajmer 7665387292 Santosh Bhopa 9982319832 Sohan Lal Bhatt Puppeteer 9828430927 Babulal Ujira Puppeteer 9772391030 Debilal Potter , Jaisalmir 9928439461
  • 45. Jaipur and surrounding area: History : Jaipur city was the first planned city in northern India conceived by the Raja Swai Jay Singh in 1727. Located 262 kilometers from Delhi, jaipur was the first planned city in northern India. Jaipur's history dates back to the 12th century when the Kachchwaha clan of Rajputs arrived at the old fort palace of Amber in the Aravalli Hills. The Kachchwaha belonged to the Kshatriya, or the warrior caste of Hindus, but they traced their origins back to the sun, via Kusa who the twin son of the god Rama. Demographic Profile: The district of Jaipur has an area of 11152 sq km. It is bounded by Sikar district on the north, Haryana state on the extreme northeast, Alwar and Dausa districts on the east, Sawai Madhopur District on the south east, Tonk district on the south, Ajmer district on the west and Nagaur district on the south west. There are 13 Subdivisions, 13 Tehsils, 2369 villages, 13 Panchayat Samitis, 489 Gram Panchayats, 10 Nagar Palikas and 1 Nagar Nigam. The total population of Jaipur district is 66.63 lacs. The district has a population density of 598 inhabitants per square kilometre. The sex ratio is 909 and the literacy rate is 76.44%. Different Folk Forms and Handicrafts of the Region: Folk Form / Community Block / Area # of artists Potentiality Kathputli Panipej, Kathputli basti near Udyog Bhavan in Jaipur town. There are around 500 artists involved with the craft. The artists originally came from Nagaur district and settled in Jaipur town. The entire group of artists hails from the Bhatt community. These group of traditional artists perform in various festivals and fairs. Some also perform in hotels, resorts and other places. Some artists like Mukhesh Bhatt and Binod Bhatt performed in Pragati Maidan, festivals at Shillong, Kolkata and other places. Apart from performance the artists make puppets on their own and sale them in the market and hotels. Generally, after each show they sale the puppets that they carry. Artists like Mukesh Bhatt have their workshops where slum dwellers learn to make puppets and sale them. The artists generally earn about Rs 3000/- to Rs 4500/- per month and during season the earning is about Rs
  • 46. 5000/-. There are huge possibilities of linking the artists at international and national level but the issue is that the concentration of the artists is mainly at the Jaipur town and artists are not found at the villages. Daff / Chang dance District: Sikar . Tehsil - Fatehpur. There are around 150 artists involved with the art. Daff or Chang dance is a dance form practiced by the Malis during the Holi festival. Slowly, other villagers also got involved with the dance form. Daff or Chang dance is a group dance depicting three forms of Dhamaal accompanied by the musical instrument dafli, shahnai and dhol. The three forms of Dhamaal are ‘Shringar Ras’ (depicting love and devotion), ‘Deb Vandana’ ( about gods and goddesses), ‘Raj Vandana’ ( about kings and their kinship). The artists presently perform in various festivals and fairs. Artists like Ghisaram Joshi is empanelled with WZCC, ICCR and have performed all over India. The group under Ghisaram Joshi gets programme but other artists do not get regular programmes. The artists who do not get regular programmes sustain through other forms of livelihood. Handicrafts : Lac Jaipur – Manihar, Gali and Pattabasti in Jaipur town. Near about 500 people. Lac bangles, sindoor box, pen stand, pen are the major items made by the lac articles. Wearing lac bangles is a ritual and is wore by all married women. Lac has a huge market in Rajasthan. The raw lac is being brought from West Bengal. Lac based products is an industry and the artists work as labours. Miniature Painting Joypur town around city palace. Some artists also stay at Sanganer Tehsil, Sanganer village There are around 150 artists. Miniature paintings are the famous art form of Rajasthan influenced by the Mughal miniature painting. Rajasthani miniature paintings has so many gharana like Bundi, kota, Kisangarh, Mewar and Marwar school of paintings. Painters were patroned by the kings of
  • 47. Rajasthan. Jaipur miniature paintings are highly influenced by the Mughal miniature painting. Presently very few artists practice this art form. They perform as individual artists and also work under businessmen. Blue Pottery Sangner at Jaipur There are around 400 artists Blue Pottery is known for its Turko Persian origin. The potters work under businessman and big industrialist who export their product in international market also. Artists like Anil Daraya has international fame but the artists are seldom recognised as they cannot make their own product due to high raw material cost and do not have market to sale them. Leather Works Block: Chomu, Village : Udaypuria 400-450 families are involved with the craft. Leather works are mainly done Regari community. They make decorative ‘Mojri’ which they sale at the wholesale market. The craftsmen earn around Rs 4000/- per month. SHGs are also formed in the village and the craftsmen are also enrolled under the SHG. There are possibilities of giving them a bigger market. Bagru Print Bagru village and Sangner There are more than 1000 craftsmen. The craftsmen from the Chipa community is involved with the craft form. After the bagru print is done the cloth comes to industries in Sanganer from where it is being sold. Terracota Block: Chomu village: Harota There are around 200 artists involved with the craft. The potters work in families. The artists lack unity among themselves. The artists make dolls (mukhota), utensils and other decorative items. The artists earn about Rs 1 lac per year. They sale them in the market and also perform in various festivals and fairs. Artists like Kailash Chand Prajapat have participated in festival at Shilpa Gram, Pragati Madan at Delhi and Joypur Saras Rashtriya Craft Mela. The artists also participate though DRDC.
  • 48. Persons Met : Name Organisation Phone Number R C Agarwal DPM,Jaipur, NRLM 9413239055 Dilshad Khan Manihar, Jaipur town 9929069086 Devilal Barma Miniature Painting 9928402395 Anil Daraya Blue Pottery, Sangner 9412618800, 9460709372 Banoyarilal Boradia Leather Work 9829288257 / 9509431892 Rajesh Cheepa Bagru Print Kailash Chand Prajapat Terracota artist, Harota 9828095465 Om Prakash Bhatt Kathputli artist 9579727111, 9667438229, 9636722554 Sitaram Pujari Sikar, Shekhawati painting 7742246652 Ghisaram Joshi Daff / Chang dance 9571801809, 01571231921
  • 49. Udaipur : History :Udaipur is also known as the City of Lake. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Guhils (Sisodia) clan ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after founding city of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent Udaipur was founded in 1559 by Maharana Udai Singh II as the final capital of the erstwhile Mewar kingdom, located to the southwest of Nagda, on the Banas River, the first capital of the Mewar kingdom. Legend has it that Maharana Udai Singh II came upon a hermit while hunting in the foothills of the Aravalli Range. The hermit blessed the king and asked him to build a palace on the spot, assuring him it would be well protected. Udai Singh II consequently established a residence on the site. In 1568, the Mughal emperor Akbar captured the fort of Chittor, and Udai Singh moved the capital to the site of his residence, which became the city of Udaipur. As the Mughal empire weakened, the Sisodia ranas, and later maharanas (also called the Guhilots or Suryavansh), who had always tried to oppose Mughal dominance, reasserted their independence and recaptured most of Mewar except for Chittor. Udaipur remained the capital of the state, which became a princely state of British India in 1818. Being a mountainous region and unsuitable for heavily armoured Mughal horses, Udaipur remained safe from Mughal influence in spite of much pressure. The rajvansh of Udaipur was one of the oldest dynasties of the world. Even the Nepal kingdom and Jammu kingdom are believed to have been originated from Mewar. Demographic Profile : Udaipur is one of the major tourist destinations of Rajasthan. Udaipur district has a total population of 3067549 of which around 50% are female. Thus it has a higher sex ratio 958. The literacy rate of Udaipur is 62.74%. Folk Form / Community Block / Area # of artists Potentiality BhawaiNrityo Gogunda Block , Thur village There are around 100 artists. But many artists stay in Udaipur presently living their village homes. The dance form originally was practiced by the Bhawai community who migrated from Gujarat. But presently many communities practice this form. Bhawai dance is a colourful dance form Teratali Gogunda Block, Dhol village There are around 50 artists. Ramdevra pujari...kamad community Kathori dance Kathori Bastee, Sanija Gram Panchayat, Kotra Block There are around 50 artists. The Kathori community migrated from Gujarat. This dance is generally performed during Navratri when they worship Amba Mataji. The artists do not
  • 50. get much performance and depend on other forms of livelihood. The artists also work under MNREGA and engage into agricultural works. Though they have performed in some festivals but they were not paid any honorarium and were only paid conveyance fare . Organisations visited: WZCC: West Zone Culture Centre in Udaipur in Rajasthan state is one of many regional cultural centres established by Ministry of Culture, Indian Government to preserve and promote traditional cultural heritage of India. The West Cultural Zone is one of seven Cultural Zones of India defined and provided with administrative infrastructure by the Government of India. This organization not only has retained the cultural talent but also has worked for its development. The organization provided information of the empanelled folk artists. Bharatiya Lok Kala Mandal: Bharatiya Lok Kala Mandal is a cultural institution based in Udaipur in Rajasthan state in India engaged in studying folk art, culture, songs and festivals of Rajasthan, Gujarat and Madhya Pradesh and to popularise and propagate folk arts, folk dances and folk literature. It was set up in 1952 by Devilal Samar. The institution has a museum that exhibits collection of folk articles from Rajasthan like rural-dresses, ornaments, puppets, masks, dolls, folk musical instruments, folk deities and paintings. There is puppet theater (Kathputli) too where puppet shows are held at regular interval. Tribal Research Institute: The institute led by M L Venna works for the development of the tribals in the district of Udaipur and also adjoining districts.
  • 51. Persons met: Name Organisation Phone Number R.Agarwal AGVP 09414104718 Mr.Prakashji AGVP 09461387946 Vilas Janve WZCC 09414158686 Rakesh Mehta WZCC 09785390774 Dinesh Upadhyay Tribal Research Institute 09414385562 Bhamri Devi Teratali artist 09950127934 Nirmala Devi Teratali artist 09950127934/09624139505 Jashoda Devi Teratali artist 09549664377 Ramli bai(Kashiram Lakhma) Kathodi Bastee villager 09636074023 Bhurilal Garasia Garasia community member 09784182710 Mirza Akbar Begh Tura kalengee 09928327380 Ratan lal Dholi Tura kalengee 09929514816 Osman Shah Tura kalengee 09928515371 Madan Chittari Tura kalengee 09694831024 Gopal Gamiti Bhawai(dhol) - Benilal bhat Katputli 09352526355 Vijoy Bhat Kath putli 09928736236 Gobardhan Samar Bharatiya lok kala mondal 09352516622
  • 52. Bhilwara: History : The Textile City of India has very fine history. When Arjuna was going to Dwarika with all Gopis during Mahabharata period he was passing through the present Bhilwara region. There was a war between Arjuna & Bhils. Local tradition reveals that it came to be known as Bhilwara because it was mostly inhabited by Bhil tribes in old days. These Bhils were eventually driven away towards the hilly tracts and interior places of less importance by the ancestors of the peasant settlers. Another version recounts that the present Bhilwara city had a mint where coins known as 'BHILADI' were minted and from this denomination was derived the name of the district. A town nearby the city named "Mandal" is assumed to be the base of the Mughals when they attacked Chittor Garh, the mughal forces camped near the "talab" of the town of Mandal, ruins of the camp can still be seen there. Bhilwara is also known as "the city of Cloth". The city also has religious importance. The NIRGUNA Ramsnehi Samrday was founded here by saint Ram Charanji Maharaj in 1779 AD. There is a famous Ramdwara in the city, which is also housing Ram Snehi Hospital in its campus. The other important place (Ram Niwas Dham) of the samrday is located 50 km away in the town of Shahpura, where every year on the eve of Holi a 5 days celebration takes place. Demographic Profile: The district has an area of 10,455 km², and a population of 2,009,516 (2001 census), which increased 26.14% from 1991 to 2001. It is bounded on the north by Ajmer District, on the east by Bundi District, on the south by Chittorgarh District, and on the west by Rajsamand District. State Highway (Jaipur- Udaipur) passes through the district, as does a broad gauge railway line measuring 84 km and connecting Ajmer with Khandwa in Madhya Pradesh. The nearest airport is at Udaipur (171 km). There are 7 sub-divisions in the district Bhilwara, Shahpura, Gangapur, Gulabpura, Aasind, Mandalgarh and Jahajpur. There are 15 tehsils named Bhilwara, Banera, Mandal, Mandalgarh, Beejoliya, Kotri, Shahpura, Jahazpur, Sahada, Raipur, Asind and Hurda. Similarly there are 1783 villages as per census of 2001. According to the 2011 census Bhilwara district has a population of 2,410,459 . The district has a population density of 230 inhabitants per square kilometre (600 /sq mi) . Its population growth rate over the decade 2001-2011 was 19.7%. Bhilwara has a sex ratio of 969 females for every 1000 males,[1] and a literacy rate of 62.71%.