Kantha Handicraft.pptx

Under the Guidance/Mentorship of
Mr. Jyoti Prakash Behera, Assoc. Prof. of Bachelor of Fashion Technology
Submitted By
 Ajit Kumar
 Dipanjan Chatterjee
 Krishnakantha ms
 Sakshee Sree
 Shikha Singh
 Smriti Goel
 Sonali Sinha
Bachelor of Fashion Technology Department
Batch 2018-2022
National Institute of Fashion Technology, Kolkata
2

Declaration by Students
We, the students of Bachelor of Fashion Technology, Semester 5 hereby affirm, confirm and submit that this report titled “KANTHA” is
the outcome of our own efforts and also state that it is strictly in line with the College, Department and course regulatio ns pertaining to
cheating and plagiarism.
Also, it is to inform that the appropriate credit has been given where references have been made to the work of others. It is further
declared that the matter contained within this project has not been made use of in any other presentation by the authors for any
academic achievement.
We are Group of 7 Members, namely
 Ajit Kumar - BFT/18/322
 Dipanjan Chatterjee - BFT/18/N1441
 Krishnakantha MS- BFT/18/L12
 Sakshee Sree - BFT/18/202
 Shikha Singh - BFT/18/919
 Smriti Goel - BFT/18/302
 Sonali Sinha - BFT/18/714
Bachelor of Fashion Technology, Semester 5
National Institute of Fashion Technology
3

Acknowledgement
We are grateful to Development Commissioner (Handloom) and Development Commissioner (Handicraft), Ministry of Textiles,
Government of India for sponsoring the Craft Cluster Initiatives of NIFT Kolkata and also for all the financial support that provide us the
opportunity to study and have a hands-on experience about the craft all over the state- West Bengal
This Research was supported by National Institute of Fashion Technology, Kolkata Campus. The “Craft Cluster Initiative” gave us an
opportunity leading to a fresh perceptive towards India Crafts.
We take this opportunity to express our gratitude and appreciation to all those who encouraged us to complete this project.
We Wish to express my indebted gratitude and special thanks to Shri Shantmanu, IAS, Director General, National Institute of Fashion
Technology, for giving us the opportunity to conduct the project.
We would thank Ms. Monika Aggarwal, Director, National Institute of Fashion Technology, Kolkata, who helped us whenever we desired.
We are also thankful to Dr. Abhijeet Mukherjee, Course Coordinator, Mr Jyoti Prakash Behera, Associate Professor, (Bachelor of Fashion
Technology), National Institute of Fashion Technology, Kolkata, for guiding us during the survey and documentation.
Lat but not the least, we would like to thank our parents, friends and other colleagues who supported us immediately during our survey
and compilation of this report.
4

Mentor Certificate
It is hereby certified that the Craft based Project entitled “KANTHA” has been carried out by the students of Bachelor
of Fashion Technology Department, Batch 2018-2022 of National Institute of Fashion Technology, Kolkata under the
able supervision and guidance of the faculties members as follow:
Dr. Abhijeet Mukherjee, Centre Coordinator, B.F.Tech Dept.
Mr. Jyoti Prakash Behera, Asst. Prof, B.F.Tech Dept.
Mr. Montu Basak, Asst. Prof & CIC, F.D Dept.
This assignment is a part of the curriculum of the subject Craft Cluster Documentation. This Research has been
carried out in the month of November, 2020.
5

Abstract
Barasat, the land of Nobel poet laureate Rabindranath Tagore created a pathway for the upbringing of craft and
culture with the immense joy and fervor.
Kantha is a centuries-old tradition of stitching patchwork cloth from rags, which evolved from the thrift of rural
women in the Bengali region of the sub-continent - today the eastern Indian states of West Bengal and Orissa, and
Bangladesh. One of the oldest forms of embroidery originating from India, its origins can be traced back to the pre-
Vedic age (prior to 1500 BCE). This needle- craft is the quilting of old fabrics such as sari, dhoti etc. Used as a blanket
by rural people to protect them against cold. The document discusses how kantha has been dominated by women
and has ultimately helped to empower hundreds of them. Through primary research conducted among 24 artisans
from West Bengal’s Barasat, Guma, Ashoknagar, the various factors that made it women-centric were explored. A
qualitative and ethnographic cluster study was conducted in which direct interviews were taken and questionnaire
was prepared accordingly.
6

Table of Contents
 Objective
 About the Craft
 Origin and History
 Types of Kantha
 Types of Stitches
 Types of Motifs
 Products
 Location
 Raw Materials
 Tools Required
 Colours & Borders
 Process
 Kantha Kalakars
 SWOT Analysis
 Data Analysis
 Problems
 Solutions
 Personal Experience
 Conclusion
 References
7

8
The craft cluster of our course curriculum is a venture attempted keeping in mind the end goal to lift and upgrade
the craft specialities of India, with standard. In this project, the students, as a group interact with capabilities of
exclusively of the craftsmen for upliftment of the craft. To understand the current socio-economic status of the
cluster as well as of people there.
Also, to evaluate the current status of handicraft cluster in terms of the product variety, yarn availability, the number
of artisans, role of support organisation and prevailing infrastructure facilities.
Students also aim at highlighting the constraints faced by the cluster and suggest suitable remedies which may be
considered for future recommendations.
Sanaih kantha
Sanaih pantha
Sanaih parvata langhanam.
Objective

9
“Kantha, making whole again that which
was fragmented or broken.”

10
Kantha, or “patched cloth” embroidery.
The Kantha Embroidery is the predominantly the most popular form of
embroidery practiced by the rural women. The traditional form of
Kantha embroidery was done the soft dhotis and saris. The thread for
this craft was drawn out of the borders of the used cloth. It is a simple
running stitch made on the edges. When five to six layers of the cloth
were embroidered together it formed a quilt. Fewer layers of the cloth is
used to make clothes for other purposes. The outer layers of the cloth
comprise of white- or light-coloured clothes which made the embroidery
perceptible. Depending on the use of the finished product they were
known as Lepkantha, Sujni Kantha etc. The embroidered cloth is used as
stoles for women and shawls. The clothes also find use as covers for
mirrors, boxes, pillows etc. The entire cloth is covered with running
stitches and usually has beautiful folk motifs, floral motifs, animal and
birds figures and geometrical shapes.
Themes from day-to-day activities are also a common subject for the
embroidery. Such stitches on the cloth give it a slight wrinkled wavy
effect. The contemporary Kantha is not necessarily done on old multiple
layered saris or dhotis. It can also be seen on the present-day garments
like the sarees, dupatta, shirts for men and women, bedding and other
furnishing fabrics. For these fabrics and dresses the base fabric used is
cotton and silk.
About the Craft

Origin and History
Kantha, one of the oldest forms of embroidery from India and a craft practiced today by millions of South Asian women, originated from
the humblest of beginnings. Born in the rural villages of Bengal, this art form all but disappeared in the early 19th century before being
revived in the 1940s by the daughter in law of the famed Bengali poet and Nobel laureate, Rabindranath Tagore.
The revival of kantha was disrupted again during the Partition of India in 1947 and the ensuing conflict between India and what was the
Eastern Pakistan (now Bangladesh). Finally, since the Bangladesh Liberation War (1971), kantha has experienced a rebirth of its own as
a highly valued and much desired art-craft form. While the word kantha has no certain etymological root, it is believed to be derived
from the Sanskrit word kontha, meaning rags. One of the oldest forms of embroidery originating from India, its origins can be traced
back to the pre-Vedic age (prior to 1500 BCE), though the earliest written record is found dating 500 years ago.
11

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In his book titled Sri Sri Chaitanya Charitamrita, the poet Krishnadas Kaviraj writes how the mother of Chaitanya sent a homemade
kantha to her son in Puri through some traveling pilgrims. This same kantha is today on display at Gambhira in Puri.
As with all traditional textiles, kantha was influenced by external factors such as material availability, daily needs, climate, geography
and economic factors. Historically, textile production was one of the most labour-intensive industries, and as such, textiles were highly
valued. Thus, the recycling of well used cloth-turned-rags was a natural step in the life cycle of textiles the world over. Given that this
recycling was home-based work, it usually fell to the women of the village to prepare, cut and stitch the rags - giving old textiles new life.
Traditionally, old cotton saris, lungis and dhotis, which had turned incredibly soft through wear, were used to make kanthas, with the
thread for the stitching drawn out from the fabric itself. Recycling at its best! Around five to seven fabrics would be layered together,
with lighter coloured fabrics on the outside so the stitch and pattern was discernible. The stitch would cover the entire cloth to provide
strength.
Women in almost every household in rural villages would be kantha experts, and spend whatever quiet time they had available -
between looking after the house and children, tending to livestock and during the long days of the monsoon - on stitching the pieces. It
could take months or even years to complete one kantha. The stitching could be handed down through generations, with grandmother,
mother and daughter working on the same kantha.

1
3
There are many traditional ways we can do this running stitch
in different ways.
●Lep kantha: These are rectangular warps heavily padded to
make warm coverlets, the entire pieces would be stitched in
way rippled designs over which simple embroidery was
executed.
●Sujani Kantha: It is rectangular pieces of cloth used as
blankets or spreads on ceremonial occasions.
●Baiton kantha: These are square wraps used for covering
books and other valuables. They are elaborately patterned
with borders of several rows of colourful designs.
●Oar kantha: These are rectangular pillow covers in simple
design with decorative borders sewn around the edges.
●Archilata kantha: It is a small rectangular cover for mirrors
or toilet accessories with wide colourful borders in wide
colourful borders in assorted motifs.
●Durjani kantha: These are small rectangles with a central
lotus design and embroidered borders. Three concerns of the
rectangle are folded inward to form a wallet.
Sujani Kantha
Types of Kantha

1
4
Types of Stitches
Kantha can be categorised by stitch type:
 Running kantha: Running Kantha is a straight running stitch and the original and earliest form of kantha.
Running kantha can be further classified into that using figures and storytelling (Nakshi Kantha) or geometric
patterns (Par Tola Kantha).
 Lik or Anarasi (pineapple) kantha: It is practiced in the Chapainawabganj and Jessore areas of
northern Bangladesh. There are numerous variations of this form.
 Lahori kantha or ‘wave’ kantha: This type is popular in Rajshahi (Bangladesh) and is divided into (a)
soja (straight or simple), (b) kautar khupi (‘pigeon coop’ or triangle), and (c) borfi (‘diamond’) forms.
 Sujni kantha: This type is only found in the Rajshahi area of Bangladesh. A popular motif is an undulating
floral and vine pattern. It's worth noting that Sujni is also practiced in Bihar.
“The beauty of Nakshi kantha is that the shape is formed by looping threads on one surface only, so the reverse
side of the fabric remains a simple kantha of straight, running stitch, while the front side is a complex
geometric pattern.”

The motifs used in kantha embroidery have a great influence of Portuguese and European traditions. The first factory in India
was started at Patna during the year 1920. Dr. Stella Karamrisch writes that kantha was first manufactured in 1875. The motifs
are composed of heterogeneous objects like various types of lotus flowers, Mandala, Satadala padma, trees, creepers, foliages,
floral scrolls, kalkas, animal figures, human figures, spirals, whirls, birds, fish, boats, submarine sceneries, ships, pitcher,
mermaids, various sea monsters, comb, mirror, nut cracker, umbrella, chariot, palanquins etc.
The designs of kantha are taken from day-to-day life, depicting folk stories, epics, mythological background, ritualistic motifs,
luxurious vegetation with roaming animals, deer running, dancing peacock, temples, hukkas, jewelleries, various types of
costumes and so on. Some kanthas even represent the steeds of Gods like bull, swan lion, elephant, peacock, mouse, cat, eagle,
owl, and swan. The original kantha is double faced where the design appeared identical on either side of the quill. The great
length of stitch is broken into tiny tackings which give almost a dotted appearance on either side of the quilt like ‘Do rukha’.
Sometimes the embroidery is so finely done that it is very difficult to identify the wrong side. The main colours used are white,
red, deep blue and black.
Bengal is also known for its appliqué art and is popular because of its very rarity. There are of two styles. The large and bold
designs worked on wall hangings, canopies, bedspreads, tents, banners, flags where a lion or lotus motif is cut out in red ma terial
and appliquéd against white background. The other style is of small patterns worked on personal items and household textiles
like pillow covers. This is done by cutting the coloured cloth into narrow strips and stitched as outlines of the design. Appliqué
on quilts earned a large market in the foreign trade during sixteenth century.
Lotus is the most common and important motif widely used in Kantha. An all over pattern of lotus may have the petals of red
alternating with black petals. Black thread is used to give either outline for the design or sometimes filled with the stitches of the
same colour. A couple of tantric motifs like ‘Vajra’, the thunder bolt, ‘swastika’ were used along with the spiral whirl,
representing the eternal life cycle. Kalka is another important motif, a cone or mango shaped, embroidered in association with
spiral whirls, broad band of circles, lotus or heart shaped foliages
15
Types of Motifs

Lotus Motif
The lotus motif is the most common motif found in
kanthas. This motif is associated with Hindu
iconography and thus is also very popular in the kantha.
It is also symbolic of cosmic harmony and essential
womanhood. There are various forms of lotus motifs,
from the eight-petaled astadal padma to the hundred
petaled satadal. In the older kanthas, the central motif is
almost always a fully bloomed lotus seen from above.
Tree Motif
A simple tree is a symbol of ever-growing life that seizes
to exist. It is called "the tree of life". It is a symbol of
fertility, and hence continuity of life. The tree of life
concept is sacred to most cultures. Its significance
transcends cons3cious reality.
16

Solar Motif
The solar motif is closely associated with the lotus motif.
Often, the lotus and the solar motifs are found together
at the centre of a nakshi kantha. The solar motif
symbolizes the life-giving power of the sun. The sun is
associated with the fire which plays a significant part in
Hindu rites, both religious and matrimonial.
Fish Motif
Fishes are essential staple diet of rural Bengal. Fishes
are considered auspicious for any ceremony, religious or
personal.
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Products made using Kantha Earlier kantha was used for making simple Quilts.
They were woven by women to keep the family
warm during the night. This style of embroidery
became exceptionally popular after tourists started
visiting Bengal.
In the traditional times, Kantha made use of a
simple running stitch towards the edges using
sarees and soft dhotis.
Contemporary Kantha has been spread to a wide
range of Garments.
Some of the Products Include:
 Dupattas
 Sarees
 Pillow Covers
 Bedsheets
 Shirts for women and men
 Kurtis/Kurtas and Churidars
 Bags
 Apparels (Especially Jeans and Jackets)
 Shawl
 Quilt
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Barasat is a municipal and the
district headquarters of the
North 24 Parganas district in
the Indian state of West Bengal.
The entire artisan’s family is
wholly dependent on the craft
and connected to the same in
several ways. The men folk are
involved mostly in getting
orders from mass retailers at
Barra Bazaar and Park Street
from Kolkata, they are also
involved in drawing the design
and tracing the design in the
fabric. Women here do not
know how to make the design or
to trace them. In this cluster the
women artisans only do the
embroidery.
Guma is a census town in Habra II
CD Block of Barasat sadar
subdivision in North 24 Parganas
district in the Indian state of West
Bengal. We went to Guma after
having conservation with the
artisans of Barasat. Here we had
conversation with 7 artisans who
worked under Nasima Goldar.
Most of the artisans enjoying
working with her and most of
them enjoy doing Kantha.
Ashok Nagar is a popular locality
situated in Kolkata. We went here
after having conversation from both
the places. Here we had conversation
with 7 of the artisans and these
artisans also work under Nasima
Goldar.
Barasat
Guma
Ashoknagar
22

Raw Materials
 Tracing Sheet – Tracing sheet is used to trace the design to the Fabric with the help of the Mixture.
 Zinc Oxide Powder
 Kerosene- For making the mixture of tracing the design equal amount of powder is used with kerosene, in
order to make a thick mixture.
 Cloth (Mulmul, Tussar Silk, Hyderabadi Silk and many more) - To make the kantha cloth, the fabric is first cut to
shape and layered to achieve the desired size and thickness. The layers are spread out on the ground and ironed. The artisan will
first stitch some large, loose basting stitches around the edge of the fabric to hold the layers together. The finer kantha stitch is
then made, starting in one corner and making short, parallel running lines to avoid creases and warping in the fabric.
Kantha on the traditional cotton fabric was much easier than the silk fabric layers that our kantha artisans create; while cotton
layers stick together, silk slides and slips and the kantha is much more time consuming.
For par tola geometric kantha, the stitching count is done from memory; no pattern is drawn. For nakshi kantha, the pattern was
traditionally outlined with needle and thread. Today, patterns are first drawn by pencil and then copied by tracing paper onto the
fabric. In some types of kanthas (carpet, lik and sujni, etc.) wooden blocks were used to print the outline.
Tracing Paper
Zinc Oxide Powder Kerosene Cloth
23

Tools Required
 Pin These are used to
make holes in the
Tracing Paper so that
the mixture gets
through them and
then they can leave
patches on the Cloth.
24

 Needle These are used for
Stitching Purpose.
 Thread These are the threads
which are used for
making the stitches.
Earlier they took out
the threads from the
borders of the old
clothes.
25

 Pencil To draw the motifs on
the Tracing Paper.
 Embroidery
Frame
It is used to hold the
Fabric.
26

2
7
More than 60 colours have been documented in the dictionary.
Colours

2
8
Owing to the traditional knowledge of the artisans, it was easy to collect the colloquial names of the borders.
Borders

3
0
STEP – 01
Drawing on a Tracing Sheet or Butter Paper.

3
1
STEP – 02
Raw materials to trace are Indigo and Kerosene.

3
2
STEP – 03
Pinching of Needle around the motif.

3
3
STEP – 04
Rub with kerosene & indigo solution & keep the fabric below the paper.

3
4
STEP – 05
Rub over the motif and remove the butter paper.

3
5
STEP – 06
A complete motif will be traced on the fabric.

3
6
STEP – 07
Ultimately, Running Stitch is done.

Artisan
 Age:18years
 Marit
alSt
at
us:Unm
arried
 Clust
er:Kant
ha
 Village:Banam
alipur(Barasaat
)
 Dist
rict
:North24Paraganas
 FamilyInformation:
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
o Educat
ionalqualificat
ion– B.A1styear
 Associate
dInformation:
o Craft– Handicraft
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 3years
 MarketRelatedInform
ation:
o Undergonecraftrelatedtraining– Y
es,fromKiara
Bibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involvedact
ively
 AdditionalInform
ation:
o Involvem
entofnextgeneration– No
RESHMAKHA
TUN
38

Artisan
 Age:40years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Kharda
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 21
o T
ot
alnum
berofearningm
em
bers– 4
o Mont
hlyincom
e– Rs.2000-5000
o Educationalqualification– Uneducated
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5hours
o T
ot
alnum
berofyears w
orking– 10years
ation:
es,fromKiaraBibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
ively
ation:
o Involvem
entofnextgeneration– Y
es
TUL
TULIGOLDAR
39

HeadoftheGum
aCluster
 Age:48years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5hours
o T
ot
alnum
berofyearsw
orking– 20years
ation:
es,fromher
mother
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
KIARABIBI 40

41
Artisan
 Age:35years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e–Rs.2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5hours
o T
ot
alnum
berofyearsw
orking– 10years
ation:
es,fromKiara
Bibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
NARGISSUL
T
ANA

42
Artisan
 Age:40years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5hours
o T
ot
alnum
berofyearsw
orking– 12years
ation:
es,fromKiara
Bibi
o Wisht
oat
t
endt
radefairs– yes
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
entofnextgeneration–No
ANJANABIBI

Artisan
 Age:27years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 4years
ation:
es,fromKiaraBibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
NURNEHARBIBI
43

Artisan
 Age:19years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Barasat
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 3years
ation:
es,fromKiaraBibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
RANIMAKHATUN
44

Artisan
 Age:38years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
o Educat
ionalqualificat
ion–Uneducat
ed
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 20years
ation:
es,fromhermother
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
SABHANABIBI 45

Artisan
 Age:30years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 15years
ation:
es,fromKiaraBibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
FARIDABIBI 46

Artisan
 Age:40years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 3
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs. 2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 6hours
o T
ot
alnum
berofyearsw
orking– 20years
ation:
es,fromhermo
m
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
HANIMABIBI 47

Artisan
 Age:31years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Ashoknagar
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers–2
o Mont
hlyincom
e–Rs. 2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5hours
o T
ot
alnum
berofyearsw
orking– 10years
ation:
es,fromRatna
Karmokar
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
NARGISBIBI 48

49
Artisan
 Age:16years
 Marit
alSt
at
us:Unm
arried
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
o Educat
ionalqualificat
ion– class10
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 3hours
o T
ot
alnum
berofyearsw
orking– 4years
ation:
es,fromNargis
Bibi
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
ively
ation:
o Involvem
es
KIY
AKHA
TUN

50
Artisan
 Age:30years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs.2000-5000
o Educationalqualification– Class8
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 10years
ation:
es,fromRatna
Karmokar
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
SANGIT
AHALDAR

51
HeadoftheAshokNagarCluster
 Age:48years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 3
o Mont
hlyincom
e–Rs. 2000-5000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4hours
o T
ot
alnum
berofyearsw
orking– 25years
ation:
es,fromher
mother
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
GANGAKARMOKAR

Artisan
 Age:31years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 3
o Mont
hlyincom
e– 15000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4-5hrs
o T
ot
alnum
berofyearsw
orking– 15years
ation:
es,fromNashima
Goldar
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
HAFIZABIBI
52

Artisan
 Age:35years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs8000
o Educationalqualification– Class9
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 4-5hrs
o T
ot
alnum
berofyearsw
orking– 16years
ation:
o Undergonecraftrelat
edt
raining– Y
es,from
Nashim
aGoldar
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
PAROLIBIBI
53

54
Artisan
 Age:25years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 3
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs5000-6000
o Educat
ionalqualificat
ion– Mat
riculat
e
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5-6hrs
o T
ot
alnum
berofyearsw
orking– 4years
ation:
edt
raining–Y
es
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
ively
ation:
o Involvem
es
RUMANABIBI

55
Artisan
 Age:34years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs8000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5-6hrs
o T
ot
alnum
berofyearsw
orking– 15years
ation:
es,fromher
mother
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
es
PANJILABIBI

56
Artisan
 Age:16years
 Marit
alSt
at
us:Unm
arried
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 3
o Mont
hlyincom
e– Rs10000-12000
o Educat
ionalqualificat
ion– Inclass11
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 1-2hrs
o T
ot
alnum
berofyearsw
orking– 3years
ation:
es,fromher
mother
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
MASUMAKHA
TUN

57
Artisan
 Age:38years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o Tot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs6000-8000
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5-6hrs
o Tot
alnum
berofyearsw
orking– 10years
ation:
o Undergonecraftrelatedtraining– Yes,fromGanga
Karmaoar
o Wisht
oat
t
endt
radefairs– Yes
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
SAMOLIKARMOKAR

58
Artisan
 Age:30years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 4
o T
ot
alnum
berofearningm
em
bers– 3
o Mont
hlyincom
e– Rs12000-14000
o Educat
ionalqualificat
ion– Mat
riculat
e
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5-6hrs
o T
ot
alnum
berofyearsw
orking– 12years
ation:
edt
raining– Y
es
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
RA
TNAKARMOKAR

59
Artisan
 Age:28years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 3
o Mont
hlyincom
e– Rs12000-15000
o Educat
ionalqualificat
ion– Mat
riculat
ed
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 7-8hrs
o T
otalnumberofyearsworking– 12years
ation:
edt
raining– Y
es,from
Nashim
aGoldar
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
NURJAHANKAHTUN

60
HeadArtisan
 Age:45years
 Marit
alSt
at
us:Married
 Clust
er:Kant
ha
 Village:Banam
alipur
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 3
o T
ot
alnum
berofearningm
em
bers– 2
o Mont
hlyincom
e– Rs18000-20000
o Educationalqualification– HigherSecondary
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5-6hrs
o T
ot
alnum
berofyears w
orking– 22years
ation:
edt
raining– Y
es
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
entofnextgeneration–Y
es
NASHIMAGOLDAR

61
Artisan
 Age:28years
 Marit
alSt
at
us:Unm
arried
 Clust
er:Kant
ha
 Dist
rict
:North24Parganas
o Num
beroffam
ilym
em
bers– 5
o T
ot
alnum
berofearningm
em
bers– 3
o Mont
hlyincom
e– Rs15000
o Educat
ionalqualificat
ion– Mat
riculat
e
 Associate
dInformation:
o Tim
espentperdayfort
hecraft– 5-6hrs
o T
ot
alnum
berofyearsw
orking– 13years
ation:
es,fromher
m
ot
herGangaKarmokar
o Wisht
oat
t
endt
radefairs– Y
es
o Fut
ureprospect
soft
hecraft– Involved
ation:
o Involvem
ASHOKKARMOKAR

 The main strength of this cluster is exclusive intricate stitches which have a huge demand in the
contemporary world.
 Artisans of this cluster have very good skills and are extraordinary talented.
 It employs the extraordinary talented rural artisans and those who need employment.
 It emphasises Women Empowerment, makes them economically independent.
 In a conservation society, women are becoming courageous and considered capable and earning members
of the family which eventually increases their respect in the society.
 This craft is helping artisans’ families and the education of their children.
 Kantha products are in great demand in the Indian market as well as International market. Hence it makes
our heritage cluster very significant.
 One of the unique parts of this cluster is that they cater to the customer of all age group and category. It
makes various products from apparels to home accessories.
 Associated with being the memories, culture, emotions, significance of Global influence.
 The strength of the craftswomen lies in their traditional skills, understanding of materials, and grasp of
design, form & decoration of their products, all acquired over generations from their ancestors. The craft
requires very minimal amount of equipment and can be done at any time and any place. The craftswomen
can do it in their leisure time after work and can self-earn by their work.
Strength
63

 Lack of Communication between artisans, middlemen and traders/agents.
 They get very low wages.
 Lack of Knowledge of Contemporary Designs, Colours, and Motifs. They only follow specific market design
required by the client.
 It is a leisure time activity for some artisans; they don’t realize the importance of this heritage craft in this
market.
 Market value is more during the festive Season but they get the same remuneration.
 They have to find an alternative way to sell products which are not sold.
 Lack of training from government bodies to spread awareness about new technological advancement,
policies, the importance of the craft, market value of the craft etc.
 Lack of knowledge about the market price of the product.
 The absence of alternative occupational opportunities for the artisans is another drawback.
 Many women are not permitted to leave their in-laws house to work outside explore the market.
 Due to many restrictions, lack of money, no knowledge of drawing and tracing, lack of trust to outsiders,
lack of market understanding they cannot start their own business.
 Lack of training and knowledge about modern designs/ modern machineries/techniques and current
market-demands cause the back-lag. Same kind of traditional motifs are practised. The craftswomen do not
know how to draw designs/trace them. They only do the embroidery on already-drawn designs. They lack
education and aren’t aware about government aid/credit facilities.
Weakness
64

 In recent times, the West Bengal Government has taken initiatives to reinforce the handicraft industry of this state
so this is high time to rejuvenate this age-old heritage in terms of product diversifications, betterment of quality of
products, making linkage with border market and huge volume of buyers of the country as well as aboard by taking
the facilities of E-Resource.
 State and Central government bodies are organising textiles fairs and exhibitions like Karunmoyee Mela, Park
Circus Mela, etc. around the country. They can participate and promote the craft and can directly sell it to
customers.
 They can explore and understand the contemporary designs and market value of these products.
 Many designers like Tarun Tahialani etc who incorporating Indian Textiles into their collection allows these
workers to practice their craft on an International level and provide them the credentials.
 Growing awareness about handcrafted products among global consumers including well to do consumers of Indian
Cities.
 Many Bloggers are promoting sustainable clothing and hence the revival of Nakshi Kantha has begun- Open media
visibility of the craft with the help of bloggers and influencers.
 This is because of educated society (Who are moving towards a sustainable lifestyle) towards responsible fashion.
 With the increasing demand and knowledge about the handicraft across the globe, there is a need for production of
demand-based handicrafts and of an institutionalised marketing arrangement. The government and NGO’s tie-ups,
organisation of fairs in the cities and letting artisans participate in it can market their products more. The girls of
next generation are pursuing education in the cluster which can help them aware of various government facilities,
market demand & the craft’s importance. They can gain knowledge about using internet facilities and self-market
and sell their handicrafts through online mode without even depending on the middlemen.
Opportunity
65

 Medical issues like Eye problems, Muscle pain, and Back pain and they do not have access to Government
hospitals nearby.
 The main threat is the advent of machine-embroidered and printed products which are mass-produced and
available at cheap-rates in market due to which the craftsmen are losing their value and their source of
income.
 Another threat is the new generation doesn’t want to continue to work in this craft as it is labour-intensive
and income is not sufficient rather; they would like to do other jobs due to which the future prospects of the
craft ceases.
 Intricate Kantha designs take a lot of time and hence slow problem.
 Understanding of present market trends is very important. A blending of modern and traditional designs is
done by skilled designers who do not have access to these artisans.
 Big Budgets of marketing done by various brands that have an adverse effect on the production of the
artisans.
Threats
66

Figure 01. This chart represents the age groups to which the artisans belong.
The chart shows that the artisans of age group 15 to 55 years are involved in this craft. The younger generation is also interested in
doing this craft after learning from their mothers. This chart also shows that mostly the artisans belong to the age group from 35 and
above and have been practicing this craft for more than 10 years which brings them a discomfort when introduced about the
technological interventions while doing this craft.
2
1
0
3
10
9
8
7
6
5
4
15-25 45-55
3
5
10
6
Number
of
Artisans
25-35 35-45
Age of the Artisans
Age Group Statistics
68

Figure 02. This chart represents the skill level of the artisans.
This pie chart shows that maximum amount of artisans are skilled in doing this craft. They have learnt this craft either from their
mothers or from the head artisan of the clusters. Also, a few percentages of them are highly skilled and have undergone training.
54%
25%
21%
Skill Level of Artisans
Skilled Artisans
Semi - Skilled Artisans
Highly - Skilled Artisans
69

Figure 03. This chart represents the Education Level of the artisans.
This chart shows that most of the artisans are illiterate while few of them are still in the college and managing both simultaneously. Few
of them have studied till primary classes only. Since most of them are un-educated, hence-forth they are unaware of the use of
technology which can be beneficial for them.
0 1 2 3 7 8 9 10
Illiterate
Primary
Secondary
College
10
7
4
3
4 5 6
Number of Artisans
Educational
Level
Educational Level Statistics
70

Figure 04. This chart represents the willingness of artisans to train their next generation for Kantha.
This chart shows that more percentage of artisans want their children to practice this craft as it has been there for generations and part
of their lifestyles despite their low wages. The next generation getting education can learn marketing techniques, latest technologies and
can sell their own products too. But due to the low wages, less profit and labour-intensive task, many artisans do not want their children
to practice the craft instead they want them to do other jobs.
54%
46%
Yes No
Willingness to train their future generation for
Traditional Craft Practices
71

Figure 05. This chart represents the problems which the artisans face while working.
This chart shows that artisans majorly faces problem of back pain since they work straight for 5 to 6 hours a day which not only affects
their body posture but also affects the muscles in the back. Also, a few of them also experience the problem of neck pain since they have
to continuously lower their neck while holding the fabric and then stitch. Moreover, a certain percentage of artisans also face pain in
eyes as they are required to stitch very intricate designs which requires constant focus, as a result of which many of them wore
spectacles to reduce the strain.
33%
8%
17%
21%
8%
13%
No Pain
Eyes Pain
Neck Pain
Back Pain
Pain in Hands
Pain in Legs
Problems faced by Artisans while working
72

PROBLEMS
Through the charts and graphs, we saw various problems that the artisans were facing as a result of which their overall growth was not
happening as it should have been.
Few problems are listed below
1. Since most of the artisans were of old age, they don’t want any technological intervention in their working process which could
otherwise be beneficial for them.
2. Since a large number of them were un-educated, they were unaware of the benefits of technology which can help and safeguard
them in their future lives.
3. Also, since this is a craft which requires continuous sitting of about 5 to 6 hours a day, therefore it was harming their body and
health and making their body less efficient to do the tasks.
4. By continuously sitting, it deteriorates the hand and leg movements of the artisans’ because of which they were facing pain in
both the parts of the body.
5. Also, since Kantha craft is an intricate craft which requires a lot of focus while stitching, it therefore was affecting the eye sight of
the artisans. They were having pain in eyes due to which most of them started wearing spectacles while working.
6. Moreover, as they used to sit on the ground and then work, it affects their body posture badly and also leads to pain in neck and
back.
73

74
So, considering all the problems that the artisans were facing, we came with some solutions which will not only help their body and
health but also will increase the productivity of the craft that they were doing.
1. To correct their body posture and their back pain, we can provide the artisans the Adjustable Magnetic Posture Corrector which
will support all the right areas to align their neck and spine and train the posture to maintain its upright position.
2. To reduce the pain in hands and legs, we advised them to take 15 minutes break after every 2 hours of working. Though, it will
increase the time required to make the product, but if we consider it for a long run time, then it would result in better
performance and production than the previous. It will not only reduce the pain in hands and legs, but will also give eyes the time
to relax.
3. Also, since they don’t know much about how technology can make their work a little easy, so they should be given trainings and
should be told about the benefits of using it and live a more healthy and happy life.
SOLUTIONS

Personal Experiences
Ajit Kumar Das, B.F Tech - Sem 5
It was an enlightening experience for me talking with the artisans of Barasat cluster. I got many things to know about the handicraft (kantha)
and the livelihood of the artisans. They were very generous and cooperative while answering our questions and sharing their experience in this
craft. I had a very friendly interaction with them and it was very nice to know them. This cluster has been very helpful for me and I would like to
thank our mentor Mr. Jyoti Prakash Behera for constantly guiding us and giving us this opportunity.
Dipanjan Chatterjee, B.F Tech - Sem 5
I met so many different people and really enjoyed to talk with them, it was so great to talk with them with my mother tongue and learn so many
things about handicrafts, they were really helpful and we learned a lot, and I want to thanks to my mentor Mr. Jyoti Prakash Behera to support us in
every single time.
Krishnakantha MS, B.F Tech - Sem 5
It was good to met the cluster peoples, they are all well support us to explain the different skills about Kantha handicraft. I learn so many things
about handicraft in this cluster interaction. All thanks for our mentor Mr. J. P. Behera to encourage us.
Shikha Singh, B.F Tech - Sem 5
During craft cluster visit I get the opportunity to meet the artisans who are from different backgrounds, there are so many different experience like I
really enjoyed to talk with those artisans who were talk with us in Hindi and try hard to understand those who can talk only in Bengali. Overall it was
so great to talk with them and get to learn so many things about handicrafts, the problems they were facing, their experience while practising this
craft from so many years, the new changes in the handicraft in last few years and the process they get the order, etc. They were really very helpful
during the interaction sessions and we learned a lot. Also I want to thanks to my mentor Mr. Jyoti Prakash Behera to help us in every moment
throughout this craft cluster visit.
76

77
Smriti Goel, B.F Tech - Sem 5
My experience of this craft cluster was pretty informative as well as a memorable. Though virtually, but the interaction was very overwhelming by
observing those artisans pouring their hearts out by their staggering effort on works. The aesthete and the surrealism had engraved a place deep in
my heart. Their diligence and dedication is what I have learnt from them. Despite not making exorbitant money monthly and yet being happy and
content with a bare minimum is something everybody can take lessons from. Also, I would like to thank our very cooperative mentor Mr. Jyoti
Prakash Behera, who helped us whenever we needed. He guided me and taught me life lessons about how being a leader have great responsibilities
and how to be good at it. He helped us through all the thin and thick in our journey.
Sakshee Sree, B.F Tech - Sem 5
It was truly an enlightening experience for me talking with the artisans of Barasat cluster. I got a valuable and in-depth understanding of the
handicraft (Kantha), the livelihood of the artisans. They were very generous and cooperative while answering our questions and sharing their
experience in this craft. I had a very friendly interaction with them and it was very nice to know them. This cluster has been very helpful for me
and I would like to thank our mentor Mr. Jyoti Prakash Behera for constantly guiding us and giving us this opportunity.
Sonali Sinha, B.F Tech - Sem 5
This time, we had our cluster visit for 5 Days in the month of November 2020 though it was not physically but this would be counted as one of
the most interesting chapter of this semester. As we get to learn about the craft as well as the artisans behind them. I learnt a lot over there
from the manufacturing process of handicraft till its marketing. We get to know a lot about the artisans through the interview that we took.
Their energy was so pure and raw. They were hard working and pay their full efforts to their jobs despite of all the problems they face while
working with this craft but the good thing is that they have learnt to adjust. All of them were so kind and generous; they helped us in every
possible way by clearing out our doubts. We even get to know about the environment in which they work and about their lifestyles. At the same
time we get to learn about the craft - Kantha a lot through them as well as though some pdf's which were sent by our faculties. Those pdf's were
also very helpful during this time.

Conclusion
Kantha requires awareness and encouragement of artisans so that there is an up-gradation of
traditional craft ultimately the growth of GDP. We feel that it was a significant journey of our lives
where we came across the lives of artisans and the traditional craft of Kantha. The creativity of the
craftswomen should be encouraged and at the same time, the production process should be
structured to ensure product efficiency.
Artisans were predominately women who practice Kantha in their leisure time along with household
work. Artisans work hard to complete each product within the deadline. They work approximately 2-5
hours per day. They mainly work in daylight and sometimes may work extra hours to fulfil the
demand in the market during festivities. Most of them face health hazards like back pain and eye
problem but still they practice this craft as they get remuneration and they are self-employed due to
this work. They are proud of their work and want this craft to get further recognition. Unfortunately,
they don’t get justifiable wages.
Therefore, it is high time to use those schemes for the artisans in a proper way and make innovative
marketing strategies to connect with a greater volume of buyers that would eventually improve the
clusters over all conditions.
78

References
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 Banglapedia. (2014). Retrieved from banglapedia: banglapedia: banglapedia. comBasaka, S. (2006). Nakshi Kantha pf Bengal.
Gyan Publishing House. Bhattacharya, S. (2017, October 1). The untold stories of Nakshi Kantha. Retrieved September 8, 2019,
from IndyVogue:
 http://www.indyvogue.com/blogs/indyvogue-fashion-center/the -untold-stories-of-nakshi-kantha
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displinary Research Journal, City shot. (2019). Retrieved from shor: cityshor.com
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 Ranjan, A. (2007). Handmade in India. Council of Handicraft Development Corporations.
 Strand of Silk. (n.d). Retrieved from http://strandofsilk.com/journey-map/west-bengal/kntha-embroidery/motifs-andcolours.
 13,2019, from blogs :1 Kantha-Traditional Embroidery from India: http://patternscolorsdesign.blog/2013/03/13/kantha-
traditional-embroidery-from-India/
 Saxena, N. (2013, 03 13): http://patternscolorsdesign.blog/2013/03/13/kantha-traditional-embroidery-from-India/.Retrieved
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