Geeta’s tryst with the community began with her discovery of Chittara, an art form practiced by the community’s women.
Image source: Facebook
“I have always been interested in folk arts and often pitched as an art volunteer,” she says. “I saw my first Chittara art at an exhibition and it was love at first sight.” Intrigued as she was, Geeta found little information readily available on the subject. Not one to give up, she explored on her own and found the information she needed, gradually making her way to Sagara village, home to the Deevaru community.You might also like: If You Think Art Is Elitist, Chennai's New Public Art Initiative Will Definitely Change Your Mind
Since then, Geeta has promoted the community through various initiatives, contributing to the revival of the art form that has been declining over generations.
“Chittara is done by the community’s women and is deeply personal — there’s one specific variety that must be created by women before their wedding ceremony,” Geeta says while praising the geometric precision, use of natural dyes and other intricacies of the folk art form. “The Deevaru have never tried to commercialise their art. I have tried to interpret the designs in murals and silk fabrics, but I don’t want to tamper with the authenticity of the art form.
Like many other rural and tribal communities around the country, the traditional ways of the Deevaru people are slowly vanishing in the face of poverty and modernization.
Geeta says, “Finances are a major concern, as is the lack of interest among the younger generation. They would rather watch television than master the art form, and motivating them can be quite difficult.”
Geeta and her organisation strive to offer fresh incentives for the Deevarus to preserve their heritage and cultural artefacts. “There’s much more to the community than Chittara art,” says Geeta. “The community has its own distinctive forms of silver jewellery, mat making, embroidery and textiles. The Deevarus may not be literate, but they are educated in their own way and engagement with their environment.”CFRIA periodically organises exhibitions, workshops, and events, and develops a sustainable business model for the community. “CFRIA organised the first International Chittara exhibition in Japan and has also presented papers in three international conferences,” Geeta says. The varied products made by the community are also available in select outlets in Bengaluru.
Geeta is deeply invested in more than simply bringing the community’s art forms or craftsmanship into the limelight.
Image source: Facebook
Sagara, and the other villages in the region, have long been isolated from developmental projects. Much remains to be done in the region to provide the locals with new means of livelihood and uplifting their way of life. CFRIA has numerous plans for the areas in and around Sagara, including a community centre to teach the art and generate livelihood, a resort for travellers to visit the community and engage with them, museums, a cafe and an amphitheatre. However, these are still long-term goals, as the large funding required to execute these projects remains a major challenge. However Geeta remains optimistic. “I will set it up some day,” she says.You might also like: This Initiative Is Helping Rural Artisans Create Masterpieces by Collaborating With Modern Artists
In the meantime, she is gearing up to start filming a documentary on the community later this year. “Making a documentary is quite expensive as well, but I have recently received some funds and will finally be able to start the project,” she says. Not surprisingly, Geeta wants the movie to look beyond Chittara and be a cinematic record of the community’s traditions. “I want to document the lives of the community in all its beauty,” says Geetha, resolute in her mission to promote the little-known cultures of Karnataka. To get in touch with Geeta Bhat, click here.
Antique jewellery of India[/caption]
Ornaments excavated from Indus Valley Civilisation sites[/caption]
Jewellery from Indus Valley Civilisation[/caption]
Temple jewellery[/caption]
A navaratna necklace[/caption]
This intricate pendant was created in the late 16th century for the Mughals.[/caption]
The Mughals loved spectacular pieces such as this rigid collar-necklaces which is studded with gems and is designed to cascade down the neck.[/caption]
The Taj Mahal Emerald[/caption]
The Nizam of Hyderabad necklace[/caption]
Nizam's sarpech[/caption]
Cartier's 'tutti frutti' bracelet.[/caption]
Hope Diamond (left) and Kohinoor (right)[/caption]
Tenor’s own story is a personal story of struggle and success, not unfamiliar to the Tibetan community living in India. Struggling with political tensions in Tibet, his parents sent him to India at the age of five. Away from his family, he grew up in a Tibetan boarding school in Dharamsala.
Tenor’s initiative brings a new vitality to the area. “Ramnagar has a relaxed atmosphere making it a great environment for working and creating,” he says. The Sharlho team comprises a mix of full-timers and freelancers, and many of the employees have moved from bigger cities to settle here.
In recent years, the fashion industry has begun acknowledging the need for sustainable practices and slow fashion. Sharlho embraces these values as its core principles.
Abrar Ahmad at his bone-carving workshop.[/caption]
The process of bone carving involves intricate hand-eye coordination, and there are several layers to the process before it finally transforms into a decorative craft item. From making his own carving tools, called titli, to maintaining extreme precision while carving, Ahmad shows sheer dexterity and nothing else. Without the use of any graphs or machines, he makes a masterpiece every time.
In Barabanki, he says, most designs are inspired by the Awadhi architecture, which comprises of jali work and bel-patti. Bones and horns—extracted from animals that have naturally died—are first beaten and given shape.
A bone-carving jewellery box made by Ahmad.[/caption]
Today, people know Mailaraiganj village for Ahmad’s karkhana (workshop). Often, “Ustaad Sahab”, as the villagers popularly call him, even hosts craft tourists at his house. Recently, even the State Ministries of Minority Affairs and Handicrafts recognised the efforts of Ahmad. In his 70-year life, he has spent more years in bone carving than in anything else, yet he earns less than a daily wage labourer.
The demand for products has fallen tremendously over the years. The nature of the market and the tastes of people have also changed. With reduced last-mile reach, not every craftsman has direct access to fairs, exhibitions, and bigger markets, and so profits are becoming smaller by the day. This is the reason that many from the younger generation are no longer willing to take up bone carving, and many other crafts-based vocations.
Ahmad shows an artefact that he has carved by hand.[/caption]
However, Ahmad believes that his art is going to mark a comeback in the market.
Under the Upgrading the Skills and Training in Traditional Arts/Crafts for Development (USTTAD) Scheme, Ahmad has initiated a training centre for young artisans. He has selected more than 50 students across the district to train. The 
“Every sporting team needs time to develop and get better — the Indian cricket team didn’t start winning overnight,” says Mithun. “The players in our ice hockey teams are very talented. They need about eight months of practice, and all they get is two months before major championships. If they get enough practice, they can start winning.”
Awareness is the first step towards securing better facilities and opportunities for the players, asserts Mithun. While private sponsors tend to fund more popular sports like cricket, it is important that the government builds a platform for other sports as well.
At the performance pictured here, Walter Kaufmann is at the piano, Edigio Verga is on cello and Mehli Mehta is playing the violin.[/caption]
Bombay in the 1930s[/caption]
All India Radio and its legendary speakers.[/caption]
Graffiti wall at the Good Graffiti Fest 2016[/caption]
Image source: 
Rahimabehn at work on a Khavda Pottery water bottle.
While the men do all the throwing in this pottery craft, the women handle all the surface decoration, which, in this northern Kutch village of Khavda, is primarily in the form of painting. The potter gets mud from a specific acre (a lake) area near their village. It is called “Rann ki Mitti”. This soft clay is shaped into a pot on a potter’s wheel and left to dry in the shade, then Kumbhar women use red, black, and white clay-based paints to decorate each piece of pottery with distinct community-specific designs.
After a while, the pot is cleaned and put in the sun to dry, and then baked in a furnace powered by simple and locally available fuels of dry wood and cow dung. The vessels are coated with a thin wash of geru (red color). The pots of Khavda get their red colour from Geru, a type of soil (ocher/umber), and the black-and-white dots and stripes are also made with natural materials.
Unfortunately, this traditional Khavda Pottery craft of Kutch is diminishing. Out of the ten families who used to practice this craft, there are only two left. The other families have been forced to shift to other livelihoods. Their pottery items used to be made for the local market, but the demand for of these items has decreased dramatically. They have lost the battle against plastic, steel, and Chinese products of everyday use. Today, the artisans are dependent on external markets.
Abdulla Kumbhar, his wife Rahima Behn, and their children are one of the two families that continue the Khavda Pottery traditions in spite of very meagre incomes and extreme hardships in the harsh environment of North Kutch, Gujarat.
Abdulla and Rahimabehn’s modest home in Khavda.
The Heart for Art Public Charitable Trust helped Abdulla and his family get additional income recently by conducting several consumer workshops in Pune where close to 100 art & craft lovers participated in paid workshops, and also bought a lot of their products. While talking to the couple, the organisation found that they have contemplated leaving the craft and doing other things, but have stayed on to keep the craft of our country alive. When asked what will help them stay in the craft, their answer was “regular business and help with infrastructure needs”.
The Trust is now working on getting regular business for their family in several ways, including taking their products into more exhibitions, doing more consumer workshops, etc. It has also started a fundraiser online to help fund the family’s infrastructure needs. Their requirements are quite basic really, that they have been doing without for all these years:
The smoke-filled chulha bhatti the family uses today.
You can help Heart for Art support this family’s needs. 
Beginning of the tale—soles for the Jodhpuri chappal. (Image: Project Kalayatra)[/caption]
A walk through the “Chappalon Wali Gali” behind the city’s Clock Tower leads to a narrow nondescript lane. Awaiting no second glances, the lane looks like any of the hundreds winding around Jodhpur, famous for its 15th century Mehrangarh Fort. “Chappalon wali gali” literally translates to “the Footwear Street”.
Myriad of colours. Jodhpuri chappals are some of the most vibrant footwear created in India. (Image: Project Kalayatra)[/caption]
The story of Jodhpuri chappals is incredibly romantic. The metamorphosis of plain leather into a completed colourful chappal is incredibly disciplined, as much as it’s beautiful. The process of making the chappal is an example of a well-oiled factory line, where the women and men share equal responsibilities to bring out the finished product. The leather received from various parts of the state is treated and then worked on by the men, who learn the art from their fathers, and have been doing so for generations.
Artisans, irrespective of their gender, contribute to the craft. (Image: Project Kalayatra)[/caption]
Now, the women take over with their nimble fingers, creating the beautiful embroidery which makes the Jodhpuri chappal so distinct from the various footwear coming out of other parts of India.
This intricate embroidery fetches them ₹30 a pair. (Image: Project Kalayatra)[/caption]
Jodhpuri chappals have adorned feet for years. Middlemen picked them from these streets, and send them in huge numbers to shops in bigger cities, especially to the metros. Suppliers provide them to the hawker at the pavement and dozens of e-commerce websites, alike. The cost of a Jodhpuri chappal ranges from ₹300-500 when bought from any of these sellers.
The artists usually receive as low as ₹30 to embroider one pair of Jodhpuris. For years, they have worked under clouds of economic disparity, and it’s not unknown to them. Quite contrary to the morose atmosphere one would expect, these artisans overwhelmingly display happiness, punctuating their everyday juggling of work with smiles.
The final step of creating this beautiful peace of art. (Image: Project Kalayatra)[/caption]
What sets this community apart is their pride in accepting themselves as heirs to a skill passed on to them for generations. The younger artists have migrated to cities (as is the story with many art forms in small cities and villages), yet many have returned to their community in recent times. Unknown to many, more often than not, economic support plays second fiddle to the appreciation and encouragement that the artist seeks.
In the last few years, some resident history guides have brought sets of tourists and visitors to the chappalon wali gali, and the difference is evident in the faces of these artists. There is no prominent support for financial independence from any individual, organization, or the government.
Finishing touches, before they head to the market. (Image: Project Kalayatra)[/caption]
A little effort can go a long way. Whether you are a tourist, visitor, volunteer, or shopper, one can script a significant role in this movement. Jodhpur is visited by tourists all year-round. Inculcating these artists and other existing art forms as a part of the tourist trail can be amply beneficial. A visitor to Jodhpur can contribute by taking half a day out of his/her schedule to spend time with the artists. After all, chappalon wali gali is central to Jodhpur, and easily accessible.
Volunteering to help or learn the trade, and buying directly from the artisans or organizations who support fair trade for the artists, is another positive. It is heartening to see the comeback of Indian indigenous art in the lives of many Indian shopping enthusiasts. India is a kaleidoscope of handicrafts.
Embracing an indigenous Indian art form means welcoming it into our lifestyle. (Image: Project Kalayatra)[/caption]
The city of Jodhpur owes as much of its glory to history as it does to the various art forms which have originated and thrived here. This includes the Jodhpuri chappals, the Bandhini sarees, leather bags, camel bone sculpting, and so much more. All it needs is an effort to explore and discover that little extra which is usually unheard of. This vibrant city welcomes explorers, connoisseurs, artists, story tellers, and wanderers,to experience art rarely found in books.
If you know any artisans/art forms that are little-known and in need of assistance, contact Project Kalayatra via 
“Initially the parents did not see the benefit of sending their children away for three hours when they could earn some money by begging in that time, and were slightly challenging to convince. But tons of persuasion and reasoning got some parents to cave in and we had 35-40 children at the first Picture Wala movie screening,” Shreya says, adding that the number of children has only increased with every progressive skill building workshop.
Ask her about her experience and association with the children and Shreya says, “It has been a wonderful 18-month association with the children in Andrews Ganj and we will soon be hosting our last workshop of this tenure this month. This has saddened the parents, some of whom have told me how they have observed changes and reforms in their children over time. Some of the kids we have worked with have also shown great improvement at school, which is a wonderful thing.”
“Most of the children used to be shy and kept to themselves initially, but now express themselves with ease and confidence. This was the ultimate goal, and it feels great to achieve it.”
That’s not all, the Picture Wala has also identified five children from the Andrews Ganj who have shown fantastic skills and potential. “We are committed to sponsoring their higher education once they graduate from school,” says Shreya.
To know more about Picture Wala, visit their Facebook page 
The Handloom School provides specialized education to young weavers, and aims at preservation and protection of the crafts.[/caption]
Nivedita shares that in the next five years, WomenWeave will strive to breathe life into languishing signature crafts. “It’s incredible to see the difference employment makes to women. Their attitudes change, they discover the power of a bank account, and their standing in the family rises,” she says.
“We have a very rich heritage of arts and crafts. Our challenge is to create products that are affordable without diluting this heritage. Socially- and environmentally-conscious decisions have to be made at every step of the making process, and the good part is that every artisan we work with is open to this discussion. They understand it’s a win-win,” says Jaimini Purohit, Co-founder at 
The intricate process of ‘Jodni’ practiced by the weavers of Maheshwar, one of the many processes that are part of India Kala’s virtual library.[/caption]
While these designers have disassociated with the handloom label while marketing their brand, another couturier, Anita Dongre, has tailored one of her fashion lines from pure handlooms. Her Grassroots collection, crafted from organic fabrics, has been created and promoted as an artisanal line.
This year, for the first time, the 
Kutch artisans walked the ramp at Lakme Fashion Week ’17, a first-of-its-kind concept.[/caption]
SKV’s Founder-Director, Judy Frater, is an American with an inherent passion for Indian craft. Frater has been working with artisans since 1970, and a serendipitous meeting with the Lakme team in Kutch this year led to the display of her students’ artisanal line during the Lakme Fashion Week 2017. “The team at Lakme was visiting Kutch for participants in their Textile Day, as this year’s theme was Kutch artisans. Somewhere, they heard about me. That’s where it started, and that’s how these designs reached the ramp,” she shares.
When asked about how the Fashion Week helped artisans, she reveals, “Artisans are India’s original designers. The Lakme Fashion Week was a great platform for them to be recognised on. Having said that, artisans need to be self-sufficient when it comes to reaching the market. They need to have the right knowledge and skill sets. At SKV, we encourage a culture of co-design. This means that we promote collaborations between designers and artisans as equal partners, in India and abroad.”
Judy Frater, or ‘Judyben’, as Kutch’s local artisans fondly call her, has dedicated her life to the betterment of artisans.[/caption]
Master artisan Aziz Khatri’s Clamp Dye collection for India Kala.[/caption]
With the onset of socially conscious businesses, artisans needn’t look forward to a better tomorrow. As more Indian enterprises include artisanal products in their offerings, a “better today” is finally becoming a reality.
Discover more handmade products and support the artisans behind them on India Kala’s 
The bowls used in Jalatarangam.[/caption]
Today, artists generally prefer china bowls, numbering around 16 in normal use. The number of cups depends on the melody. In order to play this instrument, the player arranges the cups in a half-circle in front of him/her to be able to reach them all easily.
He/she pours water into the cups, and changes the pitch by adjusting the volume of water in the cup. The player then softly hits the cups with a wooden stick on the border to get the sound. However, playing this instrument is not at all easy. It requires a lot of skill to produce music leading to trance.
Jalatarangam, the instrument.[/caption]
Poets of the Krishna cult have mentioned the wonders of Jalatarangam in their literature work. Many contemporary players of Carnatic music do attempt to produce Gamak (a fast meend or spanning 2-3 notes, normally deliberately forceful and vigorous, and repeating in an oscillatory manner), often in the face of skewed sounds and lack of required control.
Kottayam TS Ajith Kumar performing in a show[/caption]
Jalatarangam is a unique type of music, and the most soothing one as well. We must highlight and promote it to release it from obscurity, and once again leave its audience with ecstasy. The idea of water waves, when laid together with proper techniques, releasing sound that is so alluring, is truly transcendental.
This article originally appeared on 
Fabienne Menoud
Manisha Mehta
Born in Udaipur, Manisha spent much of her childhood in Mauritius. She was passionate about dance from a very young age and loved matching her steps to the beats of music. During her formative years, she trained in several dance forms like Bharatanatyam, Kathak, Jazz, Jive and Ballet. However, her favourite dance form was Rajasthani folk, especially Ghoomar, which she used to learn when she returned to Udaipur every year during her school holidays.
That was the beginning of Manisha' journey. When she returned to Bengaluru to start her own software company, she continued to teach dance to kids whenever and wherever she could. The turning point came just before she was about to turn 40.
A few days before her 40th birthday, Manisha read somewhere, "life starts at 40." And that's when she decided to not just follow her passion, but also to utilise her skills to give back to society. She founded her own dance academy, Dancekala.
She also decided to make it a fundraiser, with all proceeds going to the orphanage. All the expenses for the preparations came from her own pockets but Manisha says that it was totally the worth the hard work to see the kids from the orphanage take to the stage for the first time.
Manisha plans to teach as many kids from the orphanage for as long as she can.
Fearless Nadia
Nadia was originally born Mary Ann Evans
Heartbroken by my diagnosis, my parents supported me wholeheartedly and ensured that all my needs were taken care of. A physiotherapist, who visited me, told my mother that I will not live long. But I proved her wrong as I’m still very much alive. I am not my condition, and positive energy keeps me alive.
I faced relentless teasing and mockery from peers at school as well as neighbours, especially when I would walk, run or while playing games. I was under constant fear while attending physical training class. This one incident still gives me nightmares: I was asked to do long jump in my physical training class and I really made myself a laughing stock as everyone was watching to see how I ran and jumped. Such were the experiences that I gained from society that was always making fun of me.
I could not sit cross legged as even this was such an issue of mockery among my classmates. Since I had difficulty in studying in CBSE my mother sought a state-board syllabus, but problems took a different form as I had to travel by public transport to reach school.
Many a times I would fall, and sometimes I would board the bus by crawling into it. I could not cope in this fast world and did not have many friends. My shyness also kept me isolated. When my own peer group went on to the next stage of life, I failed to get exposure to the outside world.
As I learned more about painting and started experimenting with various mediums, and began exploring my creative talents through art and handicraft, I felt happy and passionate. However, my condition continued to get worse as I had increasing trouble walking and couldn't even lift my arms normally.
A decade after my diagnosis, my condition continued to deteriorate as I would fall frequently, especially in the restroom, and had to wait for help to arrive, because I could not get off the floor myself.
Slowly, I stopped taking classes and began restricting myself from going outdoors. Although I painted at home, I did my best to avoid the outside world completely. Hoping to provide me with the new window into the world, my parents thoughtfully bought me a laptop.
I always admire people for who they are and take inspiration from everyone I meet. My first inspiration in life was my grandfather, as he taught me how to use the laptop and encouraged me to watch English movies, listen to music and entertain myself, so that I would never be bored.
He would spend quality time with me, and we would watch movies or other things together. As my parents were working at the time, he would keep a close watch over me and ensure that he would be immediately available to help me out, if I should fall. My grandfather and parents helped me through the darkest days.
I began moving around and living my life with enthusiasm once more safe, because the wheelchair allowed me the safety and mobility I needed. Once more, I began enjoying life and pursuing my creative interest like painting, craft work, watching movies etc.
One of my neighbours came into my life like a breath of fresh air and ignited me with positive energy. She was around only for six months, but those were the best days of my life, for she changed my outlook completely and showed me how to be happy. She was instrumental in encouraging us to purchase a dog, my best friend, Shadow. After she relocated, I missed her desperately, but Shadow was able to ease the pain, with his constant presence and unconditional love.