Se Thathera
This document is originally submitted as part of academic learning to the National Institute of Fashion Technology, Panchkula by students from the Department of Design Space. This craft documentation on the Thathera Craft Cluster, Jandiala Guru has been written, edited, illustrated and designed by student researchers: KM Pallavi Kumari Ojaswita Mishra Parul Shreyan Debnath Sonam Jaiswal Sumedha Basu Photos and illustrations in the Craft Research Documentation are by the authors, source mentioned elsewise. Faculty mentor: Ms. Bhawna Chauhan Assistant Professor Department of Design Space National Institute of FaslUon Technology, Panchkula Copyright © National Institute of Fashion Technology, 2023 I
Craft Research Documentation II M.DES 2022-2024
The Indian subcontinent is home to a wide variety of distinctive and innate handicrafts, one of them being the two hundred years old craft of utensil making practised by the Thathera community who reside in the town of Jandiala Guru, close to Amritsar City. As one stroll through the lanes of Jandiala Guru, the 'thak thak' sound of hammering, as the artisans bangs away at the metal to give it shape, greets the passer-by. The document is an account of the legacy of the craft comprising the primary and secondary research done by the students of Master of Design at the National Institute of Fashion Technology, Panchkula, for their subject Craft Research and Documentation. III PREFACE Craft Research Documentation M.DES 2022-2024
Craft Research Documentation IV M.DES 2022-2024
Craft is a form of expression that is beyond just the finished product. India is a land of diverse craft practices, each unique in a different way. Our attempt to penetrate Jandiala's fineries and comprehend the intricate process of creating exquisite Thathera crafts proved to be an experience of unending enrichment and delight. We are thankful to Mr. Manohar Lal, the master craftsman, and Mr. Ashwini Kumar, the artisan, for their unwavering guidance to us through this process. We are indebted to them for their insightful thoughts concerning the craft, system dynamics, and other aspects. We take this opportunity to express gratitude to Mr. Amandeep Singh Grover, director of the National Institute of Fashion Technology, Panchkula; for integrating such vital initiatives within established academic environments. Such modules not only enrich the students with knowledge about the craft of that cluster but also help in developing an understanding of all the aspects involved in it holistically. We are incredibly grateful to our mentors Ms. Bhawna Chauhan, Assistant Professor, Mr. Vinod Bhatia, Assistant Professor, Dr. Ritika Saxena,Assistant Professor, Dr. Vishu Arora, Associate Professor, for their direction and encouragement, without which we would all have become aimless. V ACKNOWLEDGEMENT Craft Research Documentation M.DES 2022-2024
Craft Research Documentation VI M.DES 2022-2024
// 02 about // 04 market analysis // 01 introduction // 03 thathera // 05 data analysis // 06 outlook CONTENT VII PAGES 01 - 06 PAGES 07 - 20 PAGES 21 - 38 PAGES 39 - 48 PAGES 49 - 58 PAGES 59 - 64 Craft Research Documentation M.DES 2022-2024
FIG 1 // Copper pots made in Jandiala Guru (Thathera) Craft Studies 01 M.DES 2022-2024
INTRODUCTION chapter // 01 Craft Studies 02 M.DES 2022-2024
// 1.1 INTRODUCTION indian craft Indian Craft The broad spectrum of Indian cra s (hastshilp or hastkala) is comparable to a patchwork quilt of numerous tints and tones of meaning that reflect interactions with economic, societal, spiritual, and cultural contexts. The diverse array of handicra s is full of contrasts, from the most basic to the most complex, technologically. It is a world of conventional products and sacred relics, everyday objects, and ephemeral adornments for festivities. India has stood at an intersection of civilization for over five thousand years. The states of India exhibit a unique past, with every community having its own culture, language, cuisine, and traditions, and the heritage of each is communicated through the arts and cra s. The broad range and versatility of Indian cra smanship is astounding. (Ranjan & Ranjan, 2005) The history of handcra ing is deeply integrated within Indian history, to the point of being almost synonymous with art. Earliest traces date back to almost 5000 BC, before any of the major civilizations, when handmade cra was primarily associated with religious artefacts. Around 3000 BC, with the dawn of the Indus valley civilization several forms of cra were initiated, some of them still observable in the museums of today. Following it was the Vedic age, then there was a 3rd century shi in cra - a courtesy of the Muryan age. Then came the Gupta dynasty with their expertise in sculpting and stone carving. Although textiles and sculpting were deeply rooted in the cra s of India, the prevalence of contemporary materials like metal and leather did not get much focus until the British influence on India. As time went on, Indian cra s eventually evolved to include them as well, in its repertoire (Tripathi, 2018). The Present - Contemporary Scenario The current scenario for Indian cra is far from ideal, possibly on the verge of obscurity owing to the rapid industrial and technological revolutions and their accessibility to the common masses. Thriving still, tradition inspired and backed by rich history, the cra of India gathers aficionados from all around the world, making it a globally expansive market and resultantly creating awareness and demand for Indian cra s and their respective artisans (Tripathi, 2018). Thathera Deriving its name from the distinctive Thak Thak sound, created when the metal is beaten in to make utensils, Thathera is a traditional cra of metal work practiced in India, mainly in the states of Rajasthan, Haryana, Punjab, Bihar and Uttar Pradesh. The cra of the Thatheras of Jandiala Guru is a representative of the traditional techniques of manufacturing brass and copperwares in Punjab. As one walks through the streets of Gali Thatherian, they find it lined with lota, katoriyan, handi, tumblers, paraats, and more, as the sound of metal beating rings in your ears - a testament to their cra manship, and pride alike. Craft Studies 03 M.DES 2022-2024
INTRODUCTION background 1.1 1.2 1.3 1.4 FIG 1.1 Indus Valley Pots FIG 1.2 Buddha Statue (Gupta Age) FIG 1.3 Indus Statue FIG 1.4 Teracotta Monkey (Mauryan Age) FIG 1.5 Brahma in Copper Statue (Gupta Age) 1.5 SOURCES // FIG 1.1 Encyclopædia Britannica, n.d. Indus Valley Pots, Indus Civilization; FIG 1.2 Wikipedia, 2020. Standing Buddha of the art of Mathura, Gupta Art; FIG 1.3 Encyclopædia Britannica, n.d. Indus Statue, Indus Civilization; FIG 1.4 Wikipedia, 2012. Monkey (terracotta) from Mathura, Mauryan Art; FIG 1.5 Wikipedia, 2023. The Brahma from Mirpur-Khas, Gupta Art. // 1.1 Craft Studies 04 M.DES 2022-2024
INTRODUCTION background FIG 1.6 Map showcasing Handicra s of India (Statewise) SOURCE // Gupta, Y., 2017. Mapping India's Folk Arts, Me Meraki. In a a country as diverse as it gets, there is no wonder that the diversity of crafts practiced would be as much elaborate, if not more. Almost every region in India has a signature handicraft being practiced, refined and evolved for centuries, sometime millenia. // 1.1 Craft Studies 05 M.DES 2022-2024
INTRODUCTION objectives / methodologies Craft Cluster Any location, where any cra practices occur is o en known as a cra cluster, has problems at the local level that the state authorities where it is based work alongside with. Each state has given rise to its victors through non-governmental organizations or eciently accessible authority-supported systems. The National Institute of Fashion Technology intends to establish relationships with local artisans and cra speople through endeavors such as cra cluster. The initiative has been curated to make students aware of the functioning and challenges of the cra sector. During this groundbreaking experience, the students collaborate extensively with artisans and work on tasks like qualitative research, design interventions, and creation of prototypes (Anon., 2017). Methodology Understanding and analyzing various aspects of the craft cluster required thorough qualitative research. The research methodology used to study the craft cluster is ethnographic as it attempts to provide a descriptive narrative of a particular culture, enabling one to delve into an array of elements related to the community and its surroundings. 1. Observation and collection of Field study notes: Observing and taking notes was the primary step toward understanding the artisans and their relationship with craft and the surroundings then, organizing thoughts. Passive Observation gave meaningful insights into traditions and social life. 2. Structured, unstructured interviews and Case studie: The predetermined questions formulated for the interviews facilitated comprehension of the perception of artisans on various matters. Case studies enabled the segregation of narratives to process the life experiences of artisans without distorting the essence. 3. Secondary Data: Secondary data was gathered and studied from diverse sources before the visit to the craft cluster for a better understanding of the dynamics of the community. Tools for Data Analysis For analysis of the primary data, empathy mapping, SWOT and PESTLE analysis, system mapping and causal loop were employed. The empathy maps establishes an undertsanding of the mindset of the artisans. System mapping and causal loop establishes a clear link within the various factors aiding in gap analysis. Objectives 1. To understand and analyze the cra cluster on cultural, social, economic and environmental aspects 2. To map and analyze the problems faced by the artisans 3. To suggest an action plan for the future based on the primary data analysis // 1.2 - 1.3 Craft Studies 06 M.DES 2022-2024
FIG 2 // Golden Temple Craft Studies 07 M.DES 2022-2024
ABOUT chapter // 2 Craft Studies 08 M.DES 2022-2024
// 2.1 ABOUT punjab Punjab FIG 2.1 Google Map of Punjab SOURCE // Google Maps, 2023. Punjab. Punjab is a rich agricultural reserve state in north India that shares its boundaries with Pakistan, and the states of Himachal Pradesh, Haryana, Rajasthan and Jammu & Kashmir. The rule of Mughals, Britishers, Afghans, and Persians during the early 14th Century to the mid-20th Century has undoubtedly le their impact on the region, evolving it to the present-day Punjab as we know it. Punjab is the destination for so many tourists in India and holds a special religious significance for Sikhs all around the world. During the Vedic period, Punjab was known as Sapta Sindhu which means seven rivers. Later, Punjab got renamed as the land of five rivers, the namesake comprising of Jhelum, Ravi, Satlui, Beas, and Chenab. Chandigarh is the capital city of Punjab, which it shares with its neighboring state of Haryana (Government of Punjab, 2023). The geography of Punjab is characterized by various landforms, including the Kandi or Shivalik Mountains, foothills, semi-arid areas in the southwest, and the Satluj-Ghaggar plain. The Kandi or Shivalik Mountains are a prominent feature of the region. The southwest parts of Punjab are characterized by a semi-arid area, while the Satluj-Ghaggar plain, covering a vast chuck of land, is rich with alluvial soil - supporting agriculture, and hence, the lifeline of food in India (All About Sikhs, 2023). Craft Studies 09 M.DES 2022-2024 2.1
ABOUT punjab Demographics The following data is in accordance with the census of 2011 and is directly accessed from the Census of India website (Census Commission of India, 2011). Description Actual Population Male Female Sex Ratio Child Sex Ratio Total Literate Literacy Male Literate Male Literacy Female Literate Female Literacy 80.44% 82,71,081 70.73% Population 2,77,43,338 1,46,39,465 1,31,03,873 895 846 1,87,07,137 75.84% 1,04,36,056 Description Population Percentage Sikh 1,60,04,754 57.69% Hindu 1,06,78,138 38.49% Muslim 5,35,489 1.93% Christian 3,48,230 1.26% Not Available 87,564 0.32% Jain 45,040 0.16% Buddhist 33,237 0.12% Other Religion 10,886 0.04% Punjab Census 2011 Data Punjab Religious Data 2011 Census Craft Studies 10 M.DES 2022-2024 2.2 2.3 // 2.1 FIG 2.2 Male vs. Female comparison FIG 2.3 Comparison of literacy rate across demographics
ABOUT punjab The Culture of Punjab The folks of Punjab are known for their multi-hued lifepoetry, strong determination, philosophy, velour, and high-spiritedness. The state where guests are treated as God – and it is forevermore apparent when one witnesses the preparation of a huge langar to be served at the Golden Temple. The culture of Punjab can be seen in celebration, it can be vividly experienced in their dance, food, music, and wedding. Although Punjabi is the most prevalent language in Punjab, like any other northern state Hindi follows as a close second. The primary script used is Gurumukhi, which is the ocial script for Punjabi. The state traditionally comprises three physically and culturally distinct zones - Malwa region, Urban region, and Doaba region, colonized by the occupational class, tanners, weavers, carpenters, and metal workers. Although in earlier days every village had a weaver, dyer, cobbler, and carpenter, globalisation and urbunization has changed it. Punjab cras lean more towards being pragmatic rather than ornamental. In the past the village women gathered at, what is referred to as Trinjan, where they embroidered, knit, spun and spent time exchanging their skills, singing, and sharing the news of the mundane. Punjab also houses the material culture of phulkari, bagh embroidered textiles and cotton dhurries, all of which are associated with rites of passage, marriage, birth, and death (Ranjan & Ranjan, 2005). Food of Punjab The cuisine of Punjab is famous for its rich, flavorful and diverse dishes. Some of the popular dishes include Sarson da Saag, a mustard leaf dish served with Makki di Roti, a traditional cornbread. Another favored combination of dishes is Ma di Daal, a lentil preparation, served alongsideMissi Roti, a gram flour bread. Lassi, a refreshing drink made from sweetened buttermilk, is a popular accompaniment to the meals, and is iconic in Punjabi cuisine. Moolie di Roti, a bread stu¢ed with radish, and Shalgam-gobhi achar, a pickle made from turnips and cauliflower, are also common in Punjab. Diverting the focus from savory to sweet, we have Pinni and Dodha are popular sweetmeats, while Rawa di Kheer is a sweet pudding made from semolina. Kanji is a popular cooler made from fermented carrots and is oen consumed during the festival of Holi (Ranjan & Ranjan, 2005). SOURCES // FIG 2.4 NDTV Food, n.d. Sarson ka saag aur makki ki roti Recipe; FIG 2.5 Manali, 2021. Lassi Recipe, Cook with Manali; FIG 2.6 Kakkar, R., 2020. Pinni Recipe, My Tasty Curry; FIG 2.7 Mathur, N., 2021. Kanji Recipe (Kanji Drink), Whisk Affair. FIG 2.4 Makke ki Roti with Sarson ka Saag FIG 2.5 Lassi FIG 2.6 Pinni FIG 2.7 Kanji Drink 2.4 2.5 2.6 2.7 Craft Studies 11 M.DES 2022-2024 // 2.1
ABOUT punjab Festivals Festivals play a major role in the constitution of any Indian community. There are many of them which highlight the festivities and colorful life of Punjab, but the major ones are outlined as follows: Baisakhi is a harvest festival celebrated in the northern region of India, especially in Punjab, to mark the beginning of a new agricultural season. Lohri, also popular in Punjab, is celebrated to mark the end of winter and the beginning of spring. It is a festival of bonfires, song, and dance. Holla Mohalla is another festival celebrated in Punjab, which is a martial arts festival and is oen referred to as the "Sikh Olympics." Celebrated in the lunar month of Chet, it honors the valor and courage of the Sikh community. Gurpurab Festival is a significant festival for the Sikh community and commemorates the birthdays and martyrdom of the ten Sikh Gurus. It is celebrated with great devotion and includes the singing of hymns, o¢ering prayers, and serving community meals (Ranjan & Ranjan, 2005). Cras of Punjab Punjab is known for its rich tradition of arts and cras, something which is clearly reflected in its handicra. The artisans of Punjab give more importance to artistic aesthetics and minute details of their work, which in turn is noticeable in their skillfully woven footwears, carpets, dresses, etc. Rural women also have a major contribution in producing these fascinating works of art. SOURCES // FIG 2.8 Gill, P., 2022. Bhangra on Baisakhi, s.l.: The Financial World; FIG 2.9 Inderjeet.S.Bhatia, 2022. Prince, s.l.: s.n; FIG 2.10 PTI, 2018. Nagar Kirtan procession at Amritsar, s.l.: Press Trust of India; FIG 2.11 Singh, R. S., 2023. Lohri 2023, s.l.: Indian Express. 2.8 2.9 2.10 2.11 // 2.1 FIG 2.8 Baisakhi celebration FIG 2.9 Holla Maholla celebration FIG 2.10 Guru Parab celebration in Amritsar FIG 2.11 Lohri 2023 Craft Studies 12 M.DES 2022-2024
In rural areas, Mud work has been practiced from ancient times, continuing till day, as in every house, mud-plaster the walls can be observed to be adorned beautiful motifs. Metal Work is also a significant forte of the artisans here, which is very popular to the common masses and luxury connoisseurs alike. The product ranges from utensils that are used in households to religious purposes, and everything in between. Carpentry is also a significant cra practiced in Punjab, and include products ranging from Peeras or Peerians, Pidhis, decorative boxes, and wooden toys - which are very famous in North India. The other cra are basketry, mats, carpets, and rug works which are made out of thin straws of glass. The state is also famous for its intricate embroidery of Phulkari, an iconic cra which has defined this state for decades in the handicra sector (Government of Punjab, 2013). Basketry Basketry is a handicra that has a long-standing practice in Punjab. Most village women are more inclined towards basketry as their employment than any other cra. Initially, women used to make these baskets to use for their household purposes, but the focus is gradually shiing towards the business sector as well (Bharat Online, 2023). Paintings Punjab has a grand collection of arts and cras, mural painting and frescoes are one of them which is done on surfaces like ceiling, walls, and gates permanently. Punjab is also house to Sikh School of Painting (Bharat Online, 2023). Paranda Paranda is a traditional handicra that is worn by women in their hair. Made out of silk threads and intricately woven, women plait their hairs with these colorful paranda, tying it ABOUT punjab FIG 2.12 Basketry of Punjab FIG 2.13 Miniature Painting from the Sikh School of Art FIG 2.14 Seerat Paranda SOURCES // FIG 2.12 Anon., 2019. Still of Baskets taken from video documentation of Village Life of Punjab; FIG 2.13 Unknown, 1825/1850. Guru Nanak with Mardana in the house of Bhai Lalu. [Art] (Sikh School of Art); FIG 2.14 Anon., 2023. Seerat Paranda, India Trend 2.12 2.14 2.13 at the end. On display in several celebrations, it is an iconic part of their culture. (Bharat Online, 2023) Craft Studies 13 M.DES 2022-2024 // 2.1
Phulkari and Bagh The signature handicra of Punjab, Phulkari, technically means ‘making flowers. It’s an embroidery that is done on an attire to enhance its aesthetics, but also plays a deep-rooted significance in their culture. Passed on generation down, it is almost exclusively practiced by the women of Punjab. Mostly done on dupattas and headscarves, these play a major role in rites of passage, marriage, birth, and death. There are primarily two types of embroidery, one is Phulkari and another is Bagh. Phulkari is an embroidery characterized by the use of bright hues on light-coloured fabric with a motif of the flower. Bagh is similar to Phulkari as a majority, but it is embroidered over the entirety of the fabric’s surface (Bharat Online, 2023). Woodwork Punjab carpenters are well known for their artistic woowork, incorporating their skill with a sensible approach to functionality to yield strong, durable, visually attractive furniture. Included in their repertoire are the intricately carved wood inlay work of Hoshiarpur, the creative beds that has beautifully carved, colorful pawas (legs) and a back fitted with mirrors (Bharat Online, 2023). Durries Durries are one of the cras which are functional and integrates a critical aesthetic component within itself. Durries are used as carpets on the floor or as bed sheets and add to the décor room. They come in a plethora of designs, although primarily focusing on flora and fauna, which are weaved on adda - an elementary loom (Bharat Online, 2023). Mud Art It is an ancient handicra that is noticeable as the zenith of Punjabi creativity. Mud work is known as chowk-poorna, plastering the house wall with mud, then decorating it with motifs (Bharat Online, 2023). ABOUT punjab SOURCES // FIG 2.15 Gaatha, 2016. Phulkari Craft; FIG 2.16 Verma, A., 2023. Wood Inlay Boxes. [Photograph]; FIG 2.17 Cagdelhi, n.d. Indian Villages, s.l.: FreeImages; FIG 2.18 Direct Create, n.d. Panja dhurrie, Direct Create 2.15 2.16 2.17 2.18 FIG 2.15 Phulkari Embroidering FIG 2.16 Wood Inlay Boxes FIG 2.17 Mud Art on the walls FIG 2.18 Durry // 2.1 Craft Studies 14 M.DES 2022-2024
ABOUT punjab Tilla Juttis Tilla Juttis are inspired by Indian Rajputana culture. Traditionally juttis are made up of leather with gold and silver thread used for embroidery, with intricate patterns (Bharat Online, 2023). Folk Toys Right from the Indus Civilization, handmade toys can be traced to northern region of India like Punjab. Comprising of small terracotta carts, chankan (whistles), and ghuggu (rattlebox); these are primarily toys used by children to playwith, but also find a niche in the market of interior decoration (Bharat Online, 2023). Galeecha The art of hand-knotted carpet weaving known as Galeecha has its roots in Amritsar. In the early 19th century, Kashmiri carpet and shawl weavers migrated to Amritsar under the patronage of the Maharaja. Galeecha carpets are woven using the Persian knot technique, with woolen yarn knotted around the individual threads of the cotton warp. The primary geometric patterns used in Galeecha are Bokhara and Mouri, with black and cream designs woven on a deep red, ivory, or green background. Weavers use a color-coded pattern, known as Naksha, drawn on a graph to replicate designs already woven from memory (Asia in CH, 2023). Khunda The town of Batala is known for craing Khunda, which is a type of iron tipped bamboo stave used as a walking aid, weapon, and an essential element of the Bhangra dance. The Khunda is also used by the Nihang warriors and the nomadic Gujjar cattle herders. The staves are made by cutting bamboo poles to size while maintaining their natural shape. The ends of the staves are sharpened and fitted with iron sheets to make them e¢ective weapons. The poles are then tinted reddish-brown and decorated with brass strips, poker work, brass nails, and kokas (Asia in CH, 2023). SOURCES // FIG 2.19 Craft Revival Trust, n.d. Tilla juttis (the traditional footwear of Punjab); FIG 2.20 Rawat, S., 2023. Galeecha Carpet. [Photograph];FIG 2.21 Anon., 2023. Punjabi folk cultural bhangra gidha stick traditional khoonda handmade, Online Sikh Store Tilla Juttis FIG 2.19 Hand Knotting of Galeecha Carpets FIG 2.20 Khunda FIG 2.21 2.19 2.20 2.21 // 2.1 Craft Studies 15 M.DES 2022-2024
// 2.2 ABOUT amritsar Amritsar FIG 2.22 Google Map of Amritsar SOURCE // Google Maps, 2023. Amritsar. The city of Amritsar was founded by Guru Ram Das Ji in 1577, when he, in an attempt to initiate a community, invited a total 52 traders from di¢erent sectors like Patti and Kasur to settle here. The first 32 shops which were setup are started which are still standing, a true testament of his goodwill. He went on to create a temple around a small pool, said to have housed a mysterious healing power, alongside Arjan Dev – the one we now know as the historical Golden Temple. Maharaja Ranjit Singh, the first Maharaja of the Sikh Empire, claimed Amritsar from the Bhangi Sikh misl in 1802. His legacy is inevitably tied to this place as he established a period of Sikh cultural and artistic renaissance. His legacy also includes rebuilding of the Harmandir Sahib, which was previously desecrated by the Afghans. Amritsar has a religious and historical spirit which can be found in the gurdwaras, mosques, takias, temples, khankas and churches, but is not limited just to religious places, as is apparent due to the abundance of its numerous museums, memorials, havelis and forts, fairs and extravagant festival celebration. As such, its religious and historical significance at the world’s stage is second to only a few. Because of their propensity for cast swords, the city attracted a large number of ironsmiths from Sialkot, Pakistan who migrated to this region. Historically, Amritsar traded silks, shawls and copper ware from Kashmir in return for raw silk, gold, carpets & horses from Afghanistan and Central Asia. Due to their inclination towards trade, this region was relatively wealthy, something that is well reflected in its carved havelis, expensive bagh textiles, delicately embroidered shawls, zardozi, ivory carving & inlay. 2.22 Craft Studies 16 M.DES 2022-2024
ABOUT amritsar Places of Interest Amritsar o¢ers numerous tourist attractions. The Golden Temple is a must-visit destination, but the city also houses several gurdwaras of equal importance, including Gurdwara Baba Atal Sahib and Sri Akal Takhta Sahib. For those interested in history, The Jallianwala Bagh Memorial or the Ram Bagh Garden is a recommended visit. Shri Durgiana Temple, a Hindu temple dedicated to Goddess Durga, is another popular tourist destination in Amritsar. Visitors can also explore the city's local markets and indulge in shopping for traditional Punjabi items, such as phulkari embroidery and juttis. Golden Temple The Golden Temple, also referred to as Harmandir Sahib or Darbār Sahib, is situated in the city of Amritsar, Punjab, India. It holds significant spiritual importance for the Sikh community and is considered to be one of their most sacred sites, along with the Gurdwara Darbar Sahib Kartarpur in Kartar- pur and Gurdwara Janam Asthan in Nankana Sahib. It was built by Guru Ram Das in 1601 on a site donated by the Mughal emperor Akbar. The architectural style of the monument is an amalgamation of Islamic and Hindu styles. Jallianwala Bagh Memorial Located in the vicinity of the Golden Temple in Amritsar, Jallianwala Bagh national memorial that serves as a reminer of the tragic Jallianwala Bagh Massacre of 1919, when general Dyer's acctions claimed the lives of many. Covering an area of 7 acres, the garden includes a museum, a gallery, and multiple memorial structures. FIG 2.23 Golden Temple FIG 2.24 Jalianwala Bagh Memorial SOURCES // FIG 2.23 Saiko3p, n.d. Golden Temple, s.l.: iStock Photos; FIG 2.24 Chaurasia, B., 2019. The Jallianwalla Bagh memorial, s.l.: s.n. Craft Studies 17 M.DES 2022-2024 2.23 2.24 // 2.2
ABOUT jandiala guru Jandiala Guru District Amritsar Tehsil/Taluka Jandiala Guru State Punjab Latitude 31.73875 Longitude 74.86925 Jandiala Guru is a town in the Amritsar district of Punjab, India. It is located on the Grand Trunk Road and has an altitude of 229 m (754 ft). There are 43 villages in Jandiala Guru block (Census Commission of India, 2011). Jandiala Guru was created in honour of Jand, the founder's son. It used to be enclosed with a mud wall and seven gates, A few of these gates still exist and stand intact. The municipality was created in 1867 during the colonial period of British rule and formed part of Amritsar Tehsil. The town was situated on the route of the North-Western Railway. The population according to the 1901 census was 7,750, and the revenue of the town in 1903-4 was Rs. 8,400. Currently it constitutes a total population of 29,232. The craftsmen occupy a specific settlement, Bazar Thatherian (market of the Thatheras), Gali Kashmirian, in the small town of Jandiala Guru about 10 km from Amritsar on the Grand Trunk Road in the state of Punjab. The current community consists of 400 families that migrated here from various regions including Gujranwala in Pakistan, Rewari and Jigadhri. The history of the Thatheras can be traced back to over 200 years. According to the District Gazetteer of 1883, the craftsmen colony was established during the reign of Maharaja Ranjit Singh, who encouraged skilled metal workers from Kashmir, primarily Muslims, to settle in his kingdom. The town has religious diversity. A number of popular and well visited religious places for Sikhs, Hindus, Jains and Muslims exist in and around the town. A historical Gurudwara of Baba Handal (Baba Handal Tap Asthan) is well known and well visited religious place. The traditional brass and copper craft of utensil making among the Thatheras of Jandiala Guru is included in the list of intangible cultural heritage by UNESCO (Jandiala Guru MC, 2023). FIG 2.25 Google Map of Amritsar SOURCE // Google Maps, 2023. Jandiala Guru. Craft Studies 18 M.DES 2022-2024 // 2.3 2.25
ABOUT jandiala guru Jandiala Guru Census 2011 Data Jandiala Guru Religious Data 2011 Census Description Population Percentage Sikh 18,495 63.27% Hindu 9,813 33.57% Muslim 143 0.49% Christian 167 0.57% Not Available 18 0.06% Jain 579 1.98% Buddhist 0 0.00% Other Religion 15 0.05% Description Actual Population Male Female Sex Ratio Child Sex Ratio Total Literate Literacy Male Literate Male Literacy Female Literate Female Literacy 22,956 78.53% 12,776 81.61% 10,184 75.01% Population 29,232 15,655 13,577 867 815 Demographics The following data is in accordance with the census of 2011 and is directly accessed from the Census of India website (Census Commission of India, 2011). FIG 2.26 Male vs. Female population comparison FIG 2.27 Comparison of literacy rate against state statistics Craft Studies 19 M.DES 2022-2024 A comparitive graph of the literacy rates (in percentage) of Jandiala Guru, compared against Punjab statistics as a baseline. 2.26 2.27 // 2.3
ABOUT jandiala guru FIG 2.28 Comparison of population distribution based on religion FIG 2.29 Male vs. Female working population comparison Craft Studies 20 M.DES 2022-2024 2.28 2.29 FIG 2.28 A comparitive graph of the population distribution based on religion (in percentage of overall population) of Jandiala Guru, compared against Punjab statistics as a baseline. // 2.3
FIG 3 // Polished brass utensils on display Craft Studies 21 M.DES 2022-2024
THATHERA chapter // 3 Craft Studies 22 M.DES 2022-2024
// 3.1 THATHERA about craft About Craft The Thathera is a community of metal working artisans in Northern India, whose traditional occupation is the making of brass and copper utensils. Thathera can be found in several districts in Punjab, Uttar Pradesh, Bihar, Rajasthan, and Haryana. Along with their traditional metal work and utensil repair businesses, many Thathera are also involved in farming and jewelry-making. The Thathera in Haryana claim to have moved from Rajasthan in the 19th century and settled in Rewari. Some Thathera in Jagadhari are said to have immigrated from Pakistan. The Thatheras of Rajasthan migrated to the capital city of from Amber in 1727, when Raja Jai Singh laid the foundations of his new capital, Jaipur and since then, the preferences of Hindu/Jains and Muslim communities that settled in the city have shaped the Jaipur’s Thathera as it is today (Jaipur Virasat Foundation, n.d.). History Historicaly Thatheras' creations fulfilled physical, psychological, and symbolic needs. Their object designs were evolutionary, meaning that artisans made minor modifications to previous versions over many centuries until they met the needs of their time. Utilitarian vessels sold in the past were not usually decorated because they had to be scrubbed with mud, but they still had elegant shapes and remarkable visual appeal. During colonial times, Thathera crasmen's processes changed with the use of metal sheets and power-operated machines. This led to some loss of manual skills, but the Arts and Cras movement and the Rajasthan school of Arts emphasized a dierent aesthetic that valued hand skills such as polishing and engraving. The British ocials who directed the School of Art in Jaipur opposed the eects of industrialization on Indian crasmanship but believed in combining scientific progress with manual skill to improve the natives' social and moral conditions. Aer independence, the traditional patron-client market network of crasmen was replaced by a modern market system, which limited their access to new product ideas. With industrialization came cheaper and more accessible utensils, made from stainless steel, plastic, and quickly these replaced utensils made from brass, bronze, and copper. As a result, artisans started becaming dependent on middle-men who took majority of the profits, leaving the crasmen poorer and striving for livelihood. All these factors have led to a diminishing of pride with the younger generation seeing no future in learning and following the cra of their forefathers. Moreover because of fall in prestige and wages, men are leaving the industry and the number of crasmen have reduced across all the sectors (Jaipur Virasat Foundation, n.d.). Craft Studies 23 M.DES 2022-2024
THATHERA thathera of jandiala Thathera of Jandiala The Thatheras is a hard-working community of artisans who have been manufacturing brass and copper utensils in this town of Jandiala for over two centuries. Being a thathera in Jandiala Guru is more than just a job - it defines their entire life. Manufacturing utensils defines their life. Lota, katoriyan, handi, tumblers - each shop displays various items manufactured for ceremonial and domestic purposes for individuals and the community. Sadly, the hammering sound, something which is synonymous with the streets of Jandiala Guru, is gradually diminishing. The tradition of thatheras dates back 200 year, but the cra in Jandiala Guru only gained traction post independance, when during the partition a lot of metalworkers from Pakistan, Haryana and dierent regions of Punjab migrated and settled here. The drop in economy provided a major boost to the pital industry, since the workers who previously worked with precious metals such as silver could no longer aord to do so, and inevitably switched to a cheaper raw material. Still, post independance India was relatively unaected by globalisation and industrialisation aected only selected segments of the market, brassware not being one of them. As a result the demand for brassware was still far from ‘on the decline’. As narrated by the artisans, earlier government provided them with raw materials and bought the finished products directly from the artisans aer deducting the cost of materials at a discounted price. It was only in 2008 that Dr Yaaminey Mubayi, a historian and community development specialist, rediscovered this community and worked to nominate their community for UNESCO's Intangible Cultural Heritage list. And finally in 2014, the thathera community from Jandiala Guru was accorded the honour of featuring on UNESCO’s List of Intangible Cultural Heritage (ICH). The first time for a traditional cra from India to make it to this distinguished list, this rare honour however has not managed to translate into the preservation of this dying cra. Despite the UNESCO recognition, the Thatheras have been marginalized and their cultural legacy is rapidly fading away from modern memory. There are few who are following in their ancestor's footsteps, and this has resulted in the cra being lost to the ravages of time. The only remaining memory of this cra is the dimming sounds that once brought glory to the narrow bylanes of Jandiala. Today, more than ever, there is a focus on preserving India's intangible cultural heritage. With a unique ethnic and historical identity, the metalwork of the thatheras is slowly being given its time in the spotlight. One such initiative is Punjab Thathera Art Legacy (P-TAL), an independent startup that aims to revive this dying art form. It started as one of the projects under Project Virasat by students of Enactus SRCC in 2018. // 3.2 Craft Studies 24 M.DES 2022-2024
Currently a total of about 55 artisan families are still engaged in the cra. Owing to the galliant eorts of P-TAL, and the head of this initiative Ms. Keerti Goel, or as the artisans like to refer to her as ‘Keerti Madam’, a committee of 11 senior artisans were setup to rally the eorts of the artisan community and to eleviate their situation. However, this was short lived, as the committee dissolved soon aer, resultant of internal feud, the details of which we weren’t privy to. UNESCO and P-TAL are not the only ones investing eort into revitalising this cra. In 2018, Navjot Singh Sidhu announced a corpus fund of Rs 10 lakh for the revival and existence of this art while claiming that there would never be a dearth of money for these artists. “This is the only Indian art form recognised by UNESCO. These people are our pride. Today, I promise them that our government will never let this art fade away. The government will add money to the corpus fund on an annual basis”, he said. Sidhu oered them free shops to market and sell their products at Gobindgarh Fort and Town Hall and assured their participation in the upcoming Global Festival which is scheduled at Dubai. (Paul, 2018) Following the numerous eorts by P-TAL and Navjot Singh Sidhu, the oce of DC Handicras (Hoshiarpur) initiated direct eorts to remediate the decline of the cra and the artisans by issuing artisan cards to them, and bringing several government schemes on table. Although the schemes have been part of the discussion for half a decade now, it still lacks implementation - something which the assistant director of DCH, Mr. Rajat Verma, has indicated to be rectified soon. The talks of GI tag for the Thatheras of Jandial Guru, giving them exclusive rights to this practice, have also been discussed to be implemented by the end of this decade. THATHERA thathera of jandiala FIG 3.1 Frontal view of a workshop of Gali Thatherian, in all its antiquity and glory 3.1 // 3.2 Craft Studies 25 M.DES 2022-2024
THATHERA process & materials Brass is however more expensive because it involves the mining of two dierent metals. Zinc and copper are still plentiful but not quite as plentiful as iron. Since it relies on two dierent metals, rather than a more readily available substance like iron, the manufacturing process is longer and a bit more dicult. Copper It was the first element known to man, besides being the only metal with anti-bacterial properties. Copper treat various illness like cuts, headaches, varicose vines. though these are just unverified claims. Although it has been clinically established that copper can assist in fighting o cancer (Hussain, et al., 2019), balances hypertension, aids the functioning of thyroid gland, prevents anaemia, cures arthritis and inflamed joints, negates infection, assists in digestion, helps cardiovascular system, controls ageing, increase brain eciency, prevents stroke, weight loss, aids in healing wounds faster, keeps the temperature of the body on the cooler side, gives relief from throat congestion (Singh & Goel, 2021). For all its merits, it also has a few demerits. If drinking water that has been constantly stored in copper bottle or vessel, chances are high that might be at the risk of copper toxicity. It can cause severe nausea, dizziness, abdominal pain and can result in liver and kidney failure (Royer & Sharman, 2022). Bronze Bronze is made by mixing Copper 78% and tin 22% (although percantages can vary, they are seldom drastically dierent to this ratio) and it is 90% recyclable. Raw materials are all essentially crucial to the overall crawork, but the basic, and most essential, still remains the one which forms the base of the product – which in this case is metal sheet. The main raw materials used in Thathera metal cra include suhaga, a powder used for welding; thin brass rods used to join two metals while welding; LPG gas is used for welding; lac to fill the hollow metal, acid (tamarind and industrial), greentara and pattar (Metal Sheet). In order to understand the essence of a cra we must also thoroughly analyze the choice of material, and hence a detailed study of the dierent metal of choices of materials for the Thathera cra was deemed necessary. Brass Brass is an alloy of Copper and Zinc which is mostly 75% Copper and 25% Zinc. Among its benifits are included: 1. It protects from worm infestations, cough, and other respiratory diseases. (Singh & Goel, 2021) 2. Cooking in Brass vessel releases Zinc into the food, which helps in blood purification and boosts hemoglobin count. (Greeuille, 2021) 3. Cooking in Brass vessels releases natural oils, which enhance the taste of the dish and add extra flavor to the dish. (Singh & Goel, 2021) 4. Store water in a Brass jug overnight and consume it first thing in the morning on an empty stomach it will improve immunity. (Singh & Goel, 2021) Raw Material // 3.3 Craft Studies 26 M.DES 2022-2024
THATHERA process & materials 1. Pacifies vats and Pitta - Beneficial for issues such as dry skin, nervous temperament, irritability. 2. Reduce obesity 3. Improve eyesight and skin condition Amongst its disadvantages counts the fact that very old bronze vessels might have impurities of arsenic and lead which can leach into the food. Therefore, it is recommended to use a new bronze utensil. It is also recommended that acidic food items are not cooked in these vessels. which can leach into the food. Therefore, it is recommended to use a new bronze utensil. It is also recommended that acidic food items are not cooked in these vessels. FIG 3.2 - 3.4 Comparison of Brass, Copper and Bronze Chakka (circular metal sheet used as a raw material for making of the thathera utensils) 3.4 3.3 3.2 // 3.3 Craft Studies 27 M.DES 2022-2024
THATHERA process & materials Tools Hammer (hathoda) - Dierent sizes of hammers, both with wooden and metal hammerheads, are used to shape the metal. The metal ones are used to straighten out the rough welds. (Fig. 3.6) Wooden Mallet (khandwala) - Big size wooden mallets are used for initial shaping of big products. (Fig. 3.9) Naula - It is a solid metal piece of iron on which the metal sheet is placed and beaten with the hammer, alongwith simultaneously rotating the sheet to bend and shape it. It is specifically used for shaping glasses. (Fig. 3.5) Chaurasmekh - Same as naula, but it is used in the shaping and pattern making of plates. (Fig. 3.5) Khalwanda - Same as naula, but it is used exclusively in the shaping and pattern making of lota (Tumbler). (Fig. 3.5) Solid Metal Stand (thiya) - These are solid iron blocks of dierent shapes and sizes, that are used for shaping the utensils. These act as a support while hammering the sheet. These serve an almost identical purpose to that of the above mentioned tools (naula, chaurasmekh and khalwanda), but it lacks their niche applicability. Chisel (cheni) - Dierent size and shapes of chisels are used to cut and shape the product. (Fig. 3.10) Scissors (kenchi) - Small and big metal scissors are required to cut the sheet into precusor shapes, which are then hammered into the shape of the desired utensil. (Fig. 3.7) Compass (prakar) - Used for marking the metal sheets, which aids in providing guidelines on which to cut using. (Fig. 3.7) Bung machine - It is used in finishing process to enhance the smoothness of the final product and also to obtain the glossy finish. (Fig. 3.8) Welding Machine - This is used in combination of borax to attach two pieces of metal, wherever required. Usually used to attach disjoined ends of a glass or pieces of lota. (Fig. 3.11) Iron Forceps (pakad) - These are used to handle hot metal while welding. Also used to hold the heated the products while doing kali (Tin Coating). (Fig. 3.7) FIG 3.5 (a) Khalwanda; (b) Naula; (c) Chaurasmekh; (d) Small metal hammer for denting and pattern making a b c d 3.5 // 3.3 Craft Studies 28 M.DES 2022-2024
THATHERA process & materials FIG 3.6 Assortment of Metal Hammers FIG 3.7 (a) Metal cutting scissors; (b) Iron Forceps; (c) Compass FIG 3.8 Bu ng Machine FIG 3.9 Wooden Mallets FIG 3.10 Chisel FIG 3.11 LPG driven gas welder 3.6 3.7 3.8 3.11 3.9 3.10 a a a b b b c // 3.3 Craft Studies 29 M.DES 2022-2024
THATHERA process & materials Process Manual Made Thathera From the procurement of flat metal sheets, which sometimes is done onsite by flattening of metal cakes, to finishing of the product, the process can be compartmentalized into four major and distinct stages Cutting of sheet The sheet (brass, copper or bronze), brought from the market is first straightened. Aer this with the help of scale and compass markings are done on the metal sheet for the product to be made. In the next stage the sheet is cut either by chisel (if thick) or by metal scissor (if thin). Alternatively, artisans use premade chakka (Circular Discs) for shaping the product. However certain utensils (like glasses) cannot be made from chakka, and therefore necessitates the use of manual cutting. Shaping the product Once the sheet is cut it is placed on naula, chaurasmekh and khalwanda and hammering is done with khandwala (wooden mallet) or hathoda (Hammers). Traditionally thiya (Solid Metal Stand) is also used to shape the product or to make the neck of the vessels. While shaping the metal the sheet is rotate continuously for even treatment of the shape or the metal body. Joining of piece The products made oen have open endings, which are finally joined by either heating or by gas welding. These joints were initially smoothened by further heating and beating them. This process was earlier carried by heating the metal pieces in furnace at high temperature. This made the metal more flexible and thus blended into each other. FIG 3.12 A metal sheet cut into shape for making tumbler FIG 3.13 Shaping of tumbler using a Naula FIG 3.14 Welding, to join the ends of the tumbler and easy. For this process both the pieces are heated till they becomes red hot. On the surface suhaga is applied and a thin brass rod is melted joining the two pieces. 3.13 3.14 3.12 // 3.3 Craft Studies 30 M.DES 2022-2024
THATHERA process & materials Primary bung In the beginning, bung is done to get rid of the welding marks and joints on the assembled parts. A grinding and bung machine is used for this.The bung machine has two discs: an electrocoated disc for adjusting the product's shape and a cloth disc for shining it. Reti or sandpaper are used for polishing in the absence of a machine. Pattern Making Aer bung, concentric circular designs are made with a hammer or hathodi, which takes great dexterity and hand control within a set amount of time. Finishing Aer patern making, the product once again goes through amother acid wash to clean the surface. The product is then bued again to give it a final finish. Kali In cookwares, especially copper, a thin layer of tin (kali) is coated on the inside to ensure safe usage of the utensil when used for hot or acidic food, Primary Bu ng FIG 3.15 Pattern Making FIG 3.16 Acid Treatment FIG 3.17 Artisan coating a copper pot with Kali FIG 3.18 3.15 3.16 // 3.3 Craft Studies 31 M.DES 2022-2024
THATHERA process & materials 3.13 3.14 FIG 3.19 Process of Thathera - from start to finish in a single frame FIG 3.20 A finished product - Glass 3.17 3.18 3.19 3.20 // 3.3 Craft Studies 32 M.DES 2022-2024
Machine Made Thathera As discussed before, with the advent of technology and industrialisation, gradually the handmade cra of thathera, something revered for its icon sound of thak thak, has been gradually engulfed by automation. Machines provide a lot of benifits, less time consuming being the foremost. In the following section, the entire process of a machine craed brass bowl is summarised. Cutting of sheet The sheet (brass, copper, or bronze), brought from the market is first straightened. Aer this with the help of a scale and compass markings are done on the metal sheet for the product to be made. In the next stage, the sheet is cut either by a chisel (if thick) or by metal scissors (if thin). Hydraulic Press or Draw Machine Aer cutting o the sheet, hydraulic oil is applied to it. The oiled sheet is then, fixed into the machine, which is there in the workspace for 7-8 years. A suitable die set is adjusted to the machine, and settings are made. Aer completion of adjustment, the machine is operated and the utensil gets the desired shape. Bung and more The following steps aer hydraulic press is identical to manual process. THATHERA process & materials A bowl created by hydraulic press FIG 3.21 Moulding process of bowl using dyes in a hydraulic press FIG 3.22 3.21 3.22 // 3.3 Craft Studies 33 M.DES 2022-2024
Artisan Profiles THATHERA artisans Artisan : Manohar Lal Place of Birth : Jandiala Guru Age : 74 Experience : 60+ years Artisan Card: Yes BACKGROUND One of the original Thathera craftsmen, Manohar Lal ji is a resident of Jandiala Guru, a town close to Amritsar. In-depth conversations with him and frequent trips to his home, where he works on his craft, resulted in gathering a wealth of useful information. After leaving school in 1960, he started learning this technique and has been practising it for about 60 years. His ancestors, who lived in prosperity, made silver utensils and were referred to as "Chandiwala" throughout the community. His grandfather had two marriages, one in Lahore and the other in Amritsar, before settling in Jalandhar. The family started to incur losses as time passed because they kept getting into disputes and disagreements with the silver utensil traders. With the increasing rivalry, Manohar Lal ji's father decided to migrate to Jandiala Guru, which was home to many Kashmiri migrants and partition refugees as well. After experiencing a difficult period and deteriorating financial circumstances, Manohar Lal Ji's father decided to move away from producing silver utensils and started creating brass and copper utensils. Today only a few of his relatives based in Amritsar continue the silverware-making tradition. FIG 3.23 A still of Manohar Lal working on a bu ng machine 3.23 // 3.4 Craft Studies 34 M.DES 2022-2024
PRESENT SCENARIO Manohar Lal ji was born and raised in Jandiala, where he resides with his wife and two sons. His younger son works in the textile trading business, while his older son Ashwini also practices the craft. He has a little farming area outside his house where he grows vegetables that are both sold at the market and used for cooking. In addition, his elder daughter-in-law stitches garments for the local women. Manohar Lal Ji is a devout and spiritual person, and his home features a Pooja ghar made of brass with a brass Ladddu Gopal, images of Radha Krishna, and a Sai idol. He emphasized his conviction to remain truthful and honest in all his endeavours. His work ethic heavily depends on these ideals. He continued to say that some of the raw materials were sourced from Jagadhri in Haryana, which is also where his maternal ancestors originated. He explained many utensil-making techniques used and his journey to Italy, Japan, California, and Australia for conferences and exhibitions before talking about crucial issues like the unwillingness of craftsmen to attend fairs, their aspirations and ambitions, and their outlook on the craft. Manohar lal ji elaborated on P-Tal's role in improving the condition of Thathera by bringing in business, design intervention, and strategies. His face lit up with a sense of pride while mentioning the recognition that the craft attained by UNESCO. THATHERA artisans Name: Gaurav Sori Age: 30 Years old Place of Birth: Jandial Guru Experience: 6 Years Artisan Card: Yes Gaurav Sori is a skilled artisan of the Thathera Community in Jandiala. He received his artisan card from the Development Commissioner (Handicrafts) and utilized it to bring business to the Thathera community in collaboration with the Zistha Company, based in Bangalore. Gaurav facilitates the collection of handmade products from fellow artisans and pays them INR 100 per kg of material used. In managing their social media accounts, Gaurav works together with his wife. Notably, he works from home and earns adequately, is what he told when asked of his financial situation. Despite his willingness, Although he is willing to impart his knowledge, Gaurav is unable to do so due to the lack of space. Gaurav mentioned ending his ties with the P-Tal brand because of insufficient compensation and their deceitful practice of selling products produced outside of Jandiala as if they were from there. His unwavering dedication to the craft and fellow artisans makes him a remarkable contributor to his community. Gaurav resides in Jandiala with his wife and young son. His other family members are not employed in this craft, making him the only one who practices the skill. His nephew desires to pursue a career in craftwork and conform to market demands. When Gaurav’s wife started working with him, many people in their community and neighbors began to gossip about why he allowed his wife to join the craft, as no one else was working with their spouse. However, Gaurav was not bothered by such opinions and did not care if women were // 3.4 Craft Studies 35 M.DES 2022-2024
THATHERA artisans not typically involved in this work. His wife also faced similar situations, as people would approach her to ask why she was working and suggested that she should not be involved. She complained to Gaurav, and he advised her not to worry about it and ignore such comments. He encouraged her to use her education and knowledge to do her work. Overall, Gaurav is very open-minded and does not let societal norms or expectations limit his choices or those of his family members. Gaurav has created 100 unique designs for his handmade products and remains open to innovations to keep up with current trends. Despite the space constraints at his home workshop, he continues to work diligently and supply products to Zistha. Unlike other artisans, they have no intention of educating others unless that person is a family member.According to Gaurav, many other artisans are unwilling to pick up new skills or adjust to shifting consumer preferences. He also mentioned that many artisans are reluctant to work with businesses because they feel that doing so will limit their freedom.As the head of the group that provides products to Zistha, Gaurav currently oversees ten artisans. He would want to work with more people, but because of the mindset of the other artisans, they are reluctant to work under him. Given that Zistha gives him a respectable salary, Gaurav is pleased with his business relationship with the company. He does not participate in exhibitions because of his hectic job schedule. Gaurav feels he is making a nice living and does not need to spend time on such events. FIG 3.24 A Still of Gaurav Sori 3.24 // 3.4 Craft Studies 36 M.DES 2022-2024
THATHERA artisans Name - Gurucharan Singh Agw- 65 Years Old Place of Birth- Daska, Pakistan Experience- About 50 Years Artisan Card- Yes A craft passed on from father to son for the last 100 generations, Mr. Gurucharan Singh continued the practice, even at the cost of forsaking his educational qualifications. He only works on copper utensils and servewares. An established and distinguished artisan who can create 500kgs worth of products in just a mere 15 days. One of his children works as an apprentice in a nearby shop. He is displeased with the bureaucracy of the system and the severe lack of financial aid from the government. According to him the money offered is not fair as the craft is extremely labor intensive . When asked why the future generations are not interested even though there is an increment in the recognition of their crafts, he places the blame on the lack of funds from the government, and in general for that matter. But that is not all, according to him machine made products have also created competition, which has drastically killed the demand for their products - causing the ultimate sinkhole for their livelihood. FIG 3.25 A Still of Gurucharan Singh 3.25 // 3.4 Craft Studies 37 M.DES 2022-2024
THATHERA artisans Name: Harvinder Singh Age: 52 Years Old Place of Birth: Rewari Experience: About 50 Years Artisan Card: Yes An open and friendly person and a noble artisan with skills honed at a young age, passed down from generations, Mr Harvinder Singh works along with his family to create brass utensils and music instruments like tabla. He holds the belief that this craft can only be learned at a young age, after which it is impossible to teach. They also do not teach outside the family which is bittersweet in this case as the children of his family have corporate sector jobs. Though he has sworn to pass his skills and vast array of knowledge on to his nephew . Mr Singh holds his community in the highest of regards, he is of the opinion that their particular cluster have skills of the higher level and hence are superior than the other communities. He is associated with and is a regular supplier for the brand P-TAL, but is only able to make tabla’s due to being swamped with work and a severe lack of time. Fearing competition, he does not allow pictures of his work to be taken, he also does not appreciate talking about the economical aspects of his business as he believes that it devalues his craft. He maintains a significant amount of customer loyalty. FIG 3.26 A Still of Harvinder Singh working on his craft 3.26 // 3.4 Craft Studies 38 M.DES 2022-2024
FIG 4 // Thathera products on display in the market of Jandiala Guru Craft Research Documentation 39 M.DES 2022-2024
MARKET ANALYSIS chapter // 4 Craft Research Documentation 40 M.DES 2022-2024
// 4.1 MARKET ANALYSIS market Market The artisans occupy a specific settlement, Bazar Thatherian (market of the Thatheras), Gali Kashmirian, in the small town of Jandiala Guru, 10 km from Amritsar on the Grand Trunk Road in the state of Punjab. Earlier, The community consisted of 400 families that migrated here from dierent regions of Punjab, Haryana, Kashmir, and Gujranwala in present-day Pakistan, but now approximately only 55 families are associated with the cra. Local Market and Distribution In thathera market, the majority of artisans create utensils, while others only polish only polish. Some of them deal in leovers generated from copper cake or metal cake. Some are suppliers in that market who export utensils, handmade and machine produced, to other regions of India. To comprehend and analyze, the market is segregated into the following categories Artisans distribute their utensils to local suppliers who circulate them outside Jandiala because they have less access and no direct linkage to larger markets. Artisans distribute their utensils to local suppliers who circulate them outsideJandiala because they have less access and no direct linkage to larger markets. Some Suppliers used to be artisans previously and therefore have in-depth knowledge of the intricacies of the cra. Kulwant Singh from the shop Brijlal and Sons produces musical instruments, specifically Tabla, which he distributes to Amritsar, Jalandhar, Patiala, and Chandigarh. In contrast, Mr. Rakesh Kumar acquires cookware from local artisans and distributes it to sellers in Rajasthan, Baddi in Himachal Pradesh, and Jammu and Kashmir aer polishing it. FIG 4.1 Bustle of Gali Kashmirian 41 M.DES 2022-2024 4.1 Craft Research Documentation