BAGRU - NIFT

Bagru Haath Thappa Chhapai 151

Bagru Haath Thappa Chhapai 152

Geographical indication is a tag given to prod- products of Bagru Hand Block Printing are as
ucts that identify as originating in a specific follows:
location and have their unique qualities due 1.These printed products and textiles are pro-
their place of origin. Under the Geographical duced in limited geographical areas of Bagru,
Indication Of Goods (Registration And Protec- Kaladera, Jahota And Jairampura, Bagru being
tion) Act, 1999, products and craft practices the main center.
are registered as specific to that location and 2.It is a 300 year old printed textile production
their authenticity is approved by a certificate which uses vegetable dyes and wooden hand
issued by the Registrar Of Geographical Indica- blocks.
tion. 3.Climatic conditions and water composition is
The three centuries old craft of Bagru Hand ideal for the processes involved in production.
Block Printing was first certified under GI in 4.Goods produced are mainly apparel and home
2004 and is registered under the Geographical furnishings namely Fadat, Lugdi, Dhabli, Ango-
Indication No. 183 according to the latest re- chha, Tehmat, Janani Dhoti, Bichhauni, Chada-
newed certificate sealed in 2011. ra, Jazam, Chouka, Rumal, Table Mats, Raprons
Registered in the name of Bagru Haath Thap- and Kaftaan.
pa Chhapai Dastakar Sanrakshan Avvam Vikas 5.Motifs used in the print enable the identifi-
Samiti (BHTCDSAVS) Of Laxminath Chowk, cation of the craft community. The motifs are
Chhipa Mohalla, Bagru-303007, Jaipur, Rajas- majorly floral or consist of tendrils, trellis, fig-
than, India, the specifications of the craft and ures and geometrical shapes and designs.

Bagru Haath Thappa Chhapai 153

Swot analysis

Bagru Haath Thappa Chhapai 154

Bagru Haath Thappa Chhapai 155

STRENGTHS WEAKNESS
1.Rich raw material base: Current industry has all the needful sources to pro- 1.Lack of educational and organizational skills: Lack of educated entrepre-
duce this block printing. Locally the engraved blocks are readily available. Pro- neurs to raise the craft. Also, the industry operates rarely employed profes-
duction of natural resources can easily be done at houses.For faster produc- sionals managerial services as the entrepreneurs themselves do most of
tion, synthetic dyes are readily available and are used commonly. the organizational activities.
2.Skilled Labour: Generational printing process has families who are bonded 2.Financial Crunches: In the laborious work of printing, the printing labour
to the craft, hence members having an immense knowledge with womenfolk are paid less.
having mastery in colour and preparing dyes. 3.Absence of research and development: there is hardly any research done
3.Reputative designs: The global market acknowledges the ethnicity of the within the industry on the market as well as on the technological front. Sim-
prints and motifs. ilarly technical support to the cluster from the research industries are rare.
4.Export Contacts: The upliftment of the craft through the trade and export
is immense as the demands of the print is considered in international market.
5.The plus of point of the dyes being natural is the unique feature which is why
this craft is elevated.
6. It has registered GI certification.

Bagru Haath Thappa Chhapai 156

OPPORTUNITIES THREATS
1. As designers opt for customization work, so they get to explore more fab- 1.Scarcity of water: Over the years with expansion of work and population in
rics and about fashion which is in trend. Designers buy sarees but convert and around the cluster creates proof of space, water and other infrastruc-
them into salwar kameez or some contemporary style clothing. Gaining more ture facilities.
respect for the craft from people as they are hardworking and dedicated to- 2.No quality assurance mechanism: Fabrics being an integral part of the
wards their work and people are moving towards the old heritage and crafts. craft, the production is done on low quality fabrics to cut off the costing.
2.You can have your strong presence digitally on the social media. Posting But to continue the block printing, there is no quality assurance by the in-
about some of your stories of experiences and incidents, so that people can dustry to stop these practices.
start engaging with you. Uploading behind the scenes after the final fabric
comes out can be helpful. They can do various collaborations. Talking about
their workers and their art. Regularly posting their work and different collec-
tion and art pieces made by them will be .
3.As they work with designers , designers want customization work so they
create creative contemporary designs for printing. Artisan gets to explore a
lot many new designs and can experience the trend which is going on.
4.To exhibit the talent to the world with outlook to uplift the craft.
5.To take part in various competitions They can take part twice annually in an
exhibition.

Bagru Haath Thappa Chhapai 157

artisan profile

Memory album of artisan

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Bagru Haath Thappa Chhapai 159

Artisan

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Artisan name – Mr. Lalchandji derawala ward.
Age – 50 yrs Female involvement – Even the ladies are involved in differ-
Address – Bagru ( Jaipur ) ent process such as color making, Printing and then drying of
Gender – Male clothes.
Contact number – 9829069214 When he started – When he was in school, he use to go out
Occupation - An artisan-entrepreneur with a National Award for with his father to attend the workshops and later on he (17
block-printing. yrs) started practicing printing and dyeing with his father.
Education level of artisan – Middle class pass out ( primary) Daily routine – From morning 8-8:30 to 6-7 in evening.
Language known – Hindi Travel – Own vehicle ( Scooty , car )
Family members – 6-7 ( all involved in craft) Favorite food items – Kua bhujia, Mangori ki sabji, palak ki sab-
Production – Throughout the year ( little bit delay in rainy sea- ji, besan ki sabji and gehu ki roti.
son) Holidays – The workers get holiday only on full moon (poorni-
Involvement in any other activity – No ma) and no moon day (amavasya).
Location – Since the ages, we are settled in Bagru, a small town Karkhana Area – 3000 Gaj that means 1 bigha.
about 35 km west of Jaipur, renowned for its distinctive hand- Achievements – National award winner in 1999 by Sir Krishan
block printing and natural dyeing techniques. kant at Vigyan Bhawan (Delhi).
Month in which production is high – Summers (normal weath- President of paramparik sansthan
er 25 – 30 C ) Done workshops at different colleges and schools such as
Children involvement – This practice of hand block printing is NID, NIFT etc.
from ages. It is passing on from generation to generation and Have travelled to various places such as Argentina, Italy, Dubai,
they want their son and grandson to carry on this system for- Sri Lanka, Coimbatore, Germany, Berlin and many more places.

Bagru Haath Thappa Chhapai 161

Production rate – 100meters require 10-12 days, also depend on the ral and leaf motifs. Colours were the same then as we use now – nat-
design of motifs ural dyed indigo blues, a deep red, ochre yellow and a brownish black.
Festivals celebrated – All the occasions and festivals are celebrated Early start
with joy and happiness there and in every festival, they make sure to “I remember even when I was very young, I wanted to print cloth. Our
worship him and take out prashad of his name first. Apart from celebrat- family has been printing for over a century now. It is our way of life,
ing all this festival with joy they have a very special festive called “bas- what we learn from our elders. It is a 500 or 600-year-old tradition,
ant panchami” , which is their main festival and is celebrated tremen- learned by practice. My father taught me how to print and dye cloth.”
dously. Where they worship, and even their is a special juloos on that He added , “After practicing the craft and honing my skills for sever-
specific occasion. Also there is a community temple nearby known as al years, I began participating in exhibitions in cities and showcasing
Laxminathji ka mandir, where people of this community goes for work- the textiles I had printed.Travelling out of town for exhibitions was
ship their god and goddesses. an eye-opening experience for me. I met artisans from other parts
Total families in bagru – Around 250 to 300 families of chippa com- of the country and we discussed each other’s craft practices. I also
munity reside here in bagru and do bagru block printing. met store owners and designers, and began understanding what kind
House detail – Own ancestors house of products people were looking for. We began printing bedsheets,
Disease through craft – No harm on health dupattas and sarees. They sold very well.” “This was a big change for
Tie ups with the companies – Fab India Jaipur e- commerce, Sabyasa- us – new products for people in cities. Word began spreading about
chi label. our beautiful textiles and there was no looking back.
About artist For this fabric, the Government of India gave me the National Award
He runs a thriving hand block printing studio that employs 30 artisans and it felt very good to be recognized for fine craftmanship.
who print with wooden blocks and colour fabric in natural dyes, follow- The recognition from the National Award and my involvement with
ing the traditional techniques that produce Bagru’s signature patterned Paramparik Karigar – an organization that works to preserve and pro-
cloth. My father would travel to Jaipur or local haat to sell the cloth we mote traditional arts and crafts – has allowed me to take the craft
printed. We mostly printed fadat – cotton fabrics with dark indigo back- to a wider audience. I regularly conduct talks and demonstrations to
grounds for womens’ ghagra skirts. The patterning was mostly small flo- create awareness about the craft.”

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Artisan demonstrating

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Fabric display

Bagru Haath Thappa Chhapai 164

our Journey

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Mentor : Ms.Anusha Arun
Assistant Professor,
FD Department.

STUDENTS

“Being a student, learning is an art to inherit the best in you. Through online mode, learning Bagru Block
Printing handicraft by much respected artisan, Mr. Lal Chand Derawala, made me understand the need
to uplift such skilled craft. Sticking to its culture, the effort to keep this craft ongoing is commendable.
The opportunity given by National Institute of Fashion Technology, Jodhpur, is much respected. To under-
stand the need of the hour, the craft itself is a culture to be recognized on larger scale. The harmonious

prints, powerful natural process, etc. was mesmerizing to look at.” -
AKSHAY SINGH

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Into a sea of wooden blocks, textiles and natural colours, the cluster was packed with tradition and sto-
ries which gave a sneak peek into the intrinsic and thorough process of block printing. The natural ingre-
dients, the natural and daily life inspirations for motif design and their beautiful presentation on fabric
fascinated me the most. We were grateful to have interacted with the artisan community who never

made us feel like outsiders and shared with us about their life and work. -
NIMISHA RAMANI

“Undoubtedly, one’s experiences play a crucial role in the development of one’s skills and outlooks which
are what ultimately determine the quality of one’s work. My learning experiences in Jaipur widened my
horizons and inspired me towards betterment in certain aspects where I was previously lacking, such
teamwork and communicating my ideas to my fellow designers. I learnt valuable lessons in presentabil-
ity through my interactions with the well-respected artisan and national award winner Mr. Lal Chand Ji.
He truly motivated me to dig beyond the superficial and discover the true value of craft. It was a great

experience and an initiative taken by National Institute of Fashion Technology Jodhpur!” -
SPRUHA PRAJAPATI

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“The craft Bagru is well known for its Beautiful overlapping and mix-match of prints, so the journey of
Bagru craft cluster inclined me towards exploration in motifs and unique design. The learning was about
how they get inspired from the day to day lifestyle of the people and create motifs from it and they also

continue to do it for the modern era.”-
SAHIL PILLAI

“In this seven days of collaboration we were acquainted with the crafts-
man of bagru block printing , which is famous for its natural beauty.
During the call we cooperated with the famous craftsman Mr. Lalchand ji derawala and his fami-
ly members and encountered their delights and grievances while working with this craft. We under-
stand the whole interaction and the issues looked by the craftsmans from sourcing the raw mate-
rials to the promoting of the completed item and to fulfill the necessities of contemporary world.
The craftsman are exceptionally talented and create the products of unmatched worth and quality.

This experience was incredible and we were happy to be a part of this craft cluster.” -
BHUMIKA KHAIRAJANI

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“This informative journey of exploring handicraft and textiles in our very own country i havent only learnt
about the techniques and skills this craft holds but also the social and economicalimportance it has
among the whole textile and handicraft industry. In the world full of digital and computerised designs and
prints, the craft bagru explains the importance of a traditional printingtechnique that is done using only
natural colours. Their main focusis always on creating handmade, ethical designs with Indian artisans.” -

TAMANNA MEGHWAL

“The initiative taken by our college National Institute of Fashion Technology, Jodhpur for the online craft
cluster was a very informative, detailed and wonderful experience which gave us students an opportunity
to explore the Indian craft and realize the importance and value of it even through the ongoing pandemic.
We got the amazing opportunity to interact with the honorable artisan Lal Chand Ji and his family of Bagru
craft from Jaipur and acknowledged the hard work and dedication they bring when it comes to their craft
and creativity and being so consistent throughout. He shared his wonderful experiences and knowledge
of his craft Bagru printing which involved the printing process , the carving of different designs of blocks
, the fabrics , the natural colours he used , sustainability ,the market and more importantly the team work
and many more things .We are very thankful of him for taking out his handful amount of time and inter-
acting and sharing with us about his craft even in these difficult times and being so cooperative on the
online meetings held and giving us this lifetime of experience ,teaching and knowledge about the craft .” -

PRAJAKTA SONTAKKE

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annexure

National Institute of Fashion Technology 15. Any month /months in the year that is high in demand for craft -
………………… (NIFT center)
16. Has there been a change in the location or area of the craft?

If yes, specify original ¬___________

CRAFT DEVELOPMENT INITIATIVE 17. Are you a member of any of the following organizations?

1) SHGs ( ) 2) Cooperative ( )

GENERAL INFORMATION 3) Society ( ) 4) any other ( ) 5) None ( )

1. Artisan’s Name- 18. Are you planning to train your children in your traditional craft practices?

2. Contact Number- 1) Yes ( ) 2) No ( )

3. Artisan’s Address- Give reasons for your choice _______________________________

4. Artisan’s Age-

5. Artisan’s Sex 1)Male( ) 2) Female ( ) INCOME RELATED QUESTIONS

6. Education level of artisan 1) Illiterate ( ) 2) Primary( ) 19 . Current monthly income of the artisan:

3) Secondary ( ) 4) College ( ) 1) Rs. 2500 – 5000 ( ) 2) Rs. 5000 – 7500 ( )

3) Rs. 7500 – 10,000 ( ) 4) More than Rs. 10000 ( )

7. Languages known- Comprehend ______Read_______Write______ From other source _______________

20. Do you have a saving account in the:

8. Size of the family unit – Male ( ), Female ( ), Children (below 13 yrs) ( ). 1) Bank ( ) 2) Post Office ( )

3) Any Other ( ) 4) No ( )

9. What craft are you associated with? ASSETS
10. For how many years the craft has been practiced by family?
0-5yrs ( ) 5-10yrs ( ) 10-25yrs ( ) 25-50yrs( ) beyond 50 yrs( ) 21. Dwelling
11. Family members participating in craft - Male ( ), Female ( )
12. Average number of hours devoted to the craft per week – 1) Own House ( ) 2) Rented House ( )

Male ( ), Female ( ) 22. Type of House
13. No. of months for which artisan is involved in craft related activity:
1) 3 – 6 months ( ) 2) 6 – 9 months ( ) 3) Throughout the year ( ) 1) Kachha ( ) 2) Pucca ( ) 3) Semi-Pucca ( )
14. Are you engaged in any other activity apart from the handicrafts?
1) Yes ( ) 2) No ( ) 23. If own house, did you
If yes, specify the occupation _________
1) Purchase ( ) 2) Constructed ( ) 3) Inherited ( )

24. If rented house, what is the monthly rent _______________________

25. In the last two years, have you purchased/changed or added any of the following:

• Land ( )

• Cattle ( )

Bagru Haath Thappa Chhapai 170

• Two-wheeler () 1) Yes ( ) 2) No ( )

• Four-wheeler () 34. Identify the skill level of the artisans (as per the artisan’s perception), with respect to the handicraft

• Electronics (TV/Radio/Mixer/Grinder/Music System/etc) () only:

• Mobile () 1) Unskilled ( ) 2) Semi-skilled ( )

• Gas Connection ( ) 3) Skilled ( ) 4) Master craftsmen ( )

• Computer ( ) 35. Are you self employed - Yes ( ) No ( )

• Any other item () If no, specify place ______________

• None 36. Which are would you like to strengthen for your growth

1) Production ( ) 2) Design ( ) 3) Packaging ( )

MEDICAL FACILITY 4) Marketing ( ) 5) Any other __________________________

26. Are there any occupational health hazard/diseases, linked with your craft practice?

1) Yes ( ) 2) No ( ) TRAINING
37. Have you received any training recently for upgrading your skills?
If yes, please specify ________________________________ 1) Yes ( ) 2) No ( )

27. Do you have health/ life insurance policy? If yes, specify the kind ___________
38. Are these kind of training good for your work opportunities?
1) Yes ( ) 2) No ( ) 1) Yes ( ) 2) No ( )
39. Do you need further training?
DESIGN & TECHNOLOGY 1) Yes ( ) 2) No ( )
40. In which of the following areas would you want to be trained?
28. Are you working on- 1) Skill Development 2) Capacity Building 3) Design Innovation

a) Traditional Design ( ) b) Latest Design ( ) 4) Better Quality 5) Marketing 6) Any other _______________
41. Do you know how to use Computer?
d). Market Demand Design ( ) 1) Yes ( ) 2) No ( )
42. Do you use Internet?
29. Who gives the design? 1) Yes ( ) 2) No ( )
If yes, what do you use it for?
1) Own ( ) 2). Trader/Agent ( ) 3) Old Patterns ( ) 4) Designers 1) Personal ( ) 2) Business Purpose ( ) 3) Both ( )
43. Have you benefited in any way by the use of Internet?
30. Has there been an adoption of new techniques in development of craft because of any change of 1) Yes ( ) 2) No ( ) If yes, specify _____________

location?

If yes, specify_____________

31. Have you developed any new products in last two years?

a. _______________________

b. _______________________

c. _______________________

32. Have you explored new raw materials other than traditional?

Yes ( ) No ( )

If yes specify reason –

1) Better pricing ( ) 2) Non availability ( ) 3) Creative persuasion PRICING
44. Who or what decides the pricing of your products?
4) Market Demand ( ) 5) Any other __________ 1) Self ( ) 2) Trader/Agent ( ) 3) Raw Materials ( ) 4) Local Market Demand ( ) 5) Labour Cost ( ) 6) Any

33. If yes, are the new products more profitable than the old products?

Bagru Haath Thappa Chhapai 171

other _____________
45. Are you satisfied with the present system of pricing?
1) Yes ( ) 2) No ( )
If no, then give suggestions ___________________________________________
46. Where do you procure raw material from?
1) Local Market ( ) 2) Agents ( ) 3) Nearby Markets ( ) 4) Far away markets ( )
47. Do you have any problem in buying of raw materials Yes ( ) No ( )

If yes then specify – 1) Often ( ), 2) Sometimes ( ), 3) Rarely ( )
48. How can this problem be eliminated? (Give suggestions).
________________________________________________________
49. Do you get any subsidy from the Govt. while procuring raw materials?
1) Yes ( ) 2) No ( ) If yes, specify _____________

MARKETING

50. How do you sell your products?

1) Directly to customers ( ) 2) melas & Festivals ( )

3) Dealers/Agent Network ( ) 4) Exports ( ) 5) Local Markets ( )

6) Trade fairs ( ) 7) any other __________

51. Are you facing any difficulty in marketing your products?

1) Yes ( ) 2) No ( )

52. If yes, what are the main reasons?

1) Distance from your unit to market ( ) 2) Transportation ( )

3) Middlemen/Agent ( ) 4) Lack of domestic/local market ( )

Any other ( ) ___________

Question asked by students:
1.How and what steps are being taken for sustainability?
2.How do they deal the natural dye production with respect to the chem dyes ?
3.Is the cluster outgrowing better or diminishing ?
4.How long have you been working here ?
5.Mostly which material is used for making printing blocks ?
6.How multiple colors are added to fabric ?
7.Where is the raw white fabric sourced from?
8.Are all raw materials locally available ?
9.Is there a development of new motifs according to demand or only the traditional motifs are circulated with variations?
10.How different colors are produced naturally?

Bagru Haath Thappa Chhapai 172

sketches

Bagru Haath Thappa Chhapai 173

glossary

Bagru Haath Thappa Chhapai 174

Image 25

Bagru Haath Thappa Chhapai 175

A Bichhaunis: mats or small mattresses
Aath kaliyan: motif having 8 small flower buds in the center Bichhu buti: a motif inspired by the buds and leaves of the nettle
Angocha: cloth worn on the shoulder by Indian men. plant.
Angrakha: common upper body garment with a usual asym- Braj BhashSa: a Western Hindi literary language of 19th century
metrical opening in the chest area reaching down to the C
knees, knotted or secured traditionally by strings worn by Chakri: spinning wheel or grinding stone used to grind flour.
men in the Indian subcontinent. Chanderi: a traditional ethnic fabric characterized by its light-
Ankhada: a plant with a big single flower weight, sheer texture and fine luxurious feel
Aatmanirbhar Bharat- Chhapai: printing
B Chhipa: a community of printers found in the state Gujarat, Ra-
Bandhani: type of tie-dye textile decorated by plucking the jasthan and Madhya Pradesh of India
cloth with the fingernails into many tiny bindings that form Chuna: a colorless crystal or white powder called lime or quick-
a figurative design. lime
Basant Panchami: Indian festival that marks the prepara- Chutney: a spicy condiment of Indian origin, made of fruits or
tion for the arrival of spring. vegetables with vinegar, spices, and sugar.
Bewada: a group of women carrying pots on their heads, D
usually seen in desert regions where water sources are far Daad: tooth
away from residential areas. Dabu: a paste made with mud used in resist printing
Bhai Dooj: festival celebrated by hindus Dhaniya buti: motifs inspired from leaves of coriander plant
Bhatti: furnace Dhawada: the flower of the axle wood tree
Begar Dhawai: herbal powder of red flowers
Bhil, Grasiaand Kathodi: oldest communities of southern Dhoti: a type of sarong, tied in a manner that outwardly resem-
part of Rajasthan, India bles loose trousers.

Bagru Haath Thappa Chhapai 176

Dhundhari: language spoken in and around Jaipur, India Gud: jaggery
Dhurries: heavy cotton rugs H
Dingal- ancient Indian language written in Nagri script and Haat: local marketplace with non-stable shops
having literature in prose as well as poetry Harda: powder from the buds of Myrobalan
F K
Fadat: a thin cotton fabric like a cheesecloth Kacchi ghori: Rajasthani folk dance
G Kachnar buti: motif inspired from the pink orchid flower.
Gadia Lohar: blacksmith in a vehicle, nomadic community of Kairi: unripe green mango
Rajasthan Kamal buti: lotus flower and leaves, floral
Gangaur: a festival celebrated in the Indian state of Rajas- Ketli: tea pot
than and some parts of Gujarat, Madhya Pradesh, and West Khirni : fruit of a white flowering tree
Bengal. Khud khargosh: traditional Indian hunter dish common in the days
Gatte ki sabji: Rajasthani/ Marwari preparation made in a of the Rajput kings
tangy yogurt curry. Khyal: major form of Hindustani classical music
Geru: an earthy- red colour/ red ochre
Ghagra: a long full flared skirt, often decorated with embroi-
dery, mirrors, or bells.
Ghan ki rangai: process of fixing the colors by boiling and
steaming
Ghoomar: traditional folk dance of Rajasthan
Gobar: cow dung
Gond: natural gum
Gota: a type of Indian embroidery/embellishment

Bagru Haath Thappa Chhapai 177

L R
Lugdi: 1.5 meter long saree draped on the lower body Rabar: rubber
M Rakshabandhan: festival celebrated by Hindus
Mahadevi, Parvati: Indian goddesses, deities Razais: quilts
Malmal: very thin cotton cloth/ muslin Rumal: handkerchief
Manjeeth: Indian madder plant S
Matka: earthen pot Safa: a traditional head wear for men, similar to a turban
Mewati: A member of a people of the Mewat region in Syahi: ink, name for black dye in Bagru printing
north-western India (now called Alwar, and part of Rajas- T
than) and neighbouring areas. Taat: jute cushion
Mirchi buti: motif inspired from chilli plant Tamda: wide copper vessel
Mor : peacock bird Tarkashi: art of engraving wire on wood
Myrobalan: Indian plant with herbal properties Tehmat: version of the lungi which has folds at the front
N Turri Patashi : a motif inspired from the decorative piece
Nargis : daffodil flowers tied on the head of an Indian bridegroom.
P Z
Pagri: turban Zardozi: a type of embroidery
Pahadi bel: small mountainous vines and tendrils Zari: gold thread used in weaving and embellishment in
Panihari: woman who fills water Indian textiles
Pankhi buti: leaf of mor pankhi plant, floral
Patashi : a floral motif with leaves, stems and buds.
Patiya: a stone slab

Bagru Haath Thappa Chhapai 178

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Bagru Haath Thappa Chhapai 179

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Image 17-2 45. Image 25:
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39. Image 19: https://indiaview.co/best-rajasthan-quotes/
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gNpbWcQAzIECCMQJ1DMTVjkTmD3UGgAcAB4AIABeYgB4gGSAQMwLjKYAQCgAQGqAQtnd- 2Fabout-block-printing&psig=AOvVaw1ArCrZ-ljqW9m3oE1ep98_&ust=1630557958674000&-
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40. Image 20:
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Bagru Haath Thappa Chhapai 184

Bagru Haath Thappa Chhapai 185