Class 11 Heritage Crafts Notes Chapter 7 (Chapter 7) – Living Craft Traditions of India Book

Alright class, let's delve into Chapter 7, 'Crafts and Community' from your Heritage Crafts textbook. This chapter explores the inseparable link between India's diverse craft traditions and the communities that nurture and practice them. Understanding this relationship is crucial, not just for appreciating the crafts themselves, but also for recognizing their social and economic significance, which is often tested in government exams.

Here are the detailed notes covering the key aspects of this chapter:

Chapter 7: Crafts and Community - Detailed Notes

1. Introduction: The Symbiotic Relationship

• Crafts in India are rarely practiced in isolation; they are deeply embedded within the social, cultural, and economic structures of specific communities.
• A craft often defines a community's identity, and the community, in turn, sustains the craft through generations.
• This relationship is shaped by factors like geography, social structure (caste), religion, and historical events.

2. Social Structure and Craft Specialization

• Caste-Based Occupations: Historically, many crafts were associated with specific caste groups (jatis). This occupational specialization was a key feature of the traditional Indian social structure.
  • Examples:
    • Kumhars: Potters (working with clay)
    • Lohars: Blacksmiths (working with iron)
    • Sonars: Goldsmiths (working with precious metals)
    • Julahas/Ansaris/Vankars: Weavers (working with yarn/textiles)
    • Chamars/Mochis: Leatherworkers
    • Tarkhans/Suthars/Badhais: Carpenters (working with wood)
    • Kaseras/Thatheras: Coppersmiths/Brassworkers (working with non-ferrous metals - Note: Thatheras of Jandiala Guru have UNESCO recognition)
• Hereditary Skills: Craft skills were traditionally passed down from one generation to the next within the family and community, often from parent to child. This ensured the continuity of intricate techniques and designs.
• Jajmani System (Contextual): While not the sole system, the traditional Jajmani system involved reciprocal exchange of goods and services between different caste groups within a village, including artisans providing their crafts/services in exchange for agricultural produce or other necessities.
• Social Status: The social status of artisans varied. Some, like goldsmiths, might enjoy higher status, while others associated with materials considered 'impure' (like leather) faced social discrimination.

3. Geographical Communities and Craft Clusters

• Specific regions or villages often become renowned centres for particular crafts. This is influenced by:
  • Availability of Raw Materials: Proximity to specific clays, minerals, fibres, woods, etc. (e.g., Terracotta in river plains, Stoneware in specific geological zones).
  • Historical Patronage: Royal courts, temples, or wealthy merchants often patronized specific crafts, leading to their flourishing in certain areas (e.g., Kanchipuram silks, Mughal miniature painting centres).
  • Environmental Factors: Climate influencing types of crafts (e.g., wool weaving in colder regions).
  • Trade Routes: Locations on trade routes facilitated the exchange of ideas and market access.
• Examples of Craft Clusters:
  • Kanchipuram (Tamil Nadu): Silk Sarees
  • Moradabad (Uttar Pradesh): Brassware
  • Channapatna (Karnataka): Lacquered Wooden Toys
  • Bastar (Chhattisgarh): Dhokra (Lost-wax metal casting), Terracotta, Wood Carving
  • Kutch (Gujarat): Embroidery, Ajrakh block printing, Bell metal work
  • Saharanpur (Uttar Pradesh): Wood Carving
  • Firozabad (Uttar Pradesh): Glass Bangles and Glassware
  • Pochampally (Telangana): Ikat Weaving

4. Tribal Crafts: Expression of Identity and Belief

• Tribal communities (Adivasis) across India possess unique and vibrant craft traditions integral to their way of life.
• Characteristics:
  • Often use locally sourced, natural materials (bamboo, cane, grass, leaves, clay, natural fibres, metals).
  • Designs are deeply connected to their cosmology, myths, rituals, social customs, and natural surroundings.
  • Crafts serve both utilitarian (baskets, pots, tools) and ritualistic/decorative purposes (masks, paintings, jewellery).
  • Skills are community-held and transmitted orally and through practice.
• Examples:
  • Warli Painting (Maharashtra): Ritualistic paintings by the Warli tribe.
  • Dhokra Art (Chhattisgarh, Odisha, West Bengal, Jharkhand): Lost-wax metal casting practiced by communities like the Ghadwas of Bastar.
  • Naga Crafts (Nagaland): Intricate beadwork, warrior shawls (distinct patterns for different tribes/clans), wood carving, basketry.
  • Gond Painting (Madhya Pradesh): Vibrant paintings depicting nature and folklore by the Gond tribe.
  • Santhal Crafts (Jharkhand, West Bengal, Odisha): Basketry, musical instruments, scroll painting (Jadupatua).
  • Bamboo and Cane Crafts (Northeast India): Practiced widely by various tribes for diverse uses.

5. Religious Communities and Associated Crafts

• Religious beliefs and practices significantly influence craft traditions.
• Examples:
  • Hinduism: Idol making (stone, metal, clay), temple wood carving, Pattachitra (Odisha, West Bengal - depicting mythological scenes), Tanjore painting (Tamil Nadu - divine figures), ritual pottery.
  • Islam: Calligraphy in various media (wood, stone, metalware), intricate geometric patterns (Jaali work in stone/wood), carpet weaving (often influenced by Persian designs), Bidriware (metal inlay).
  • Sikhism: Specific motifs in Phulkari embroidery (though largely secular now, historically significant), traditional weaponry craftsmanship (Nihang traditions).
  • Buddhism: Thangka painting (Himalayan region), prayer wheels, metal statues of Buddhist deities, monastic wood carving.
  • Christianity: Nativity scenes, church decorations, specific embroidery traditions in some communities.

6. Gender Roles in Craft Production

• Historically, there has often been a division of labour based on gender within craft communities.
• Common Patterns (with many exceptions and changes):
  • Women: Often involved in preparatory stages (cleaning/spinning fibre), surface decoration (embroidery, painting on pottery), basket weaving, beadwork, appliqué work.
  • Men: Often involved in tasks requiring more physical strength or specific tools (operating looms, metal casting, wood carving, stone carving, pottery wheel throwing).
• Changing Dynamics: These roles are not rigid and are evolving. Women are increasingly taking up roles traditionally dominated by men, and vice-versa, especially with modernization and formation of Self-Help Groups (SHGs).

7. Transmission of Skills: The Guru-Shishya Parampara

• The primary mode of skill transmission has been hereditary, within the family or community.
• The Guru-Shishya (Teacher-Disciple) relationship is central, involving long periods of apprenticeship where the learner observes and practices under the guidance of a master craftsperson.
• This ensures the faithful transfer of complex techniques, aesthetic sensibilities, and cultural context associated with the craft.

8. Challenges Faced by Craft Communities

• Competition: From cheaper, mass-produced industrial goods.
• Market Access: Difficulty reaching wider markets, often reliant on middlemen who take a large share of profits.
• Economic Vulnerability: Low wages, irregular income, indebtedness.
• Changing Tastes: Decline in demand for traditional products.
• Raw Material Scarcity/Cost: Difficulty in sourcing traditional raw materials due to environmental degradation or increased costs.
• Social Stigma: Some crafts still carry social stigma, discouraging younger generations.
• Lack of Recognition/Documentation: Many skills and traditions are undocumented and risk being lost.
• Migration: Younger generations often migrate to urban areas seeking alternative livelihoods.

9. Revival and Sustenance Efforts

• Government Initiatives: Schemes by Ministries of Textiles, Culture, Rural Development; setting up of craft museums, emporiums (like Central Cottage Industries Emporium), design centres (NID, NIFT). Providing awards and recognition.
• Non-Governmental Organizations (NGOs): Working directly with artisans on design development, skill upgradation, marketing, and forming cooperatives/SHGs.
• Designers: Collaborating with artisans to create contemporary products based on traditional skills for urban and international markets.
• Geographical Indication (GI) Tags: Protecting unique crafts linked to specific geographical origins (e.g., Pochampally Ikat, Channapatna Toys, Kullu Shawl).
• E-commerce: Providing direct market access to artisans.
• Craft Tourism: Promoting tourism focused on experiencing craft traditions and buying directly from artisans.

Conclusion: Craft communities are repositories of invaluable skills, cultural heritage, and indigenous knowledge. Understanding their structure, traditions, challenges, and the ongoing efforts for their sustenance is vital for preserving India's living craft traditions.

Multiple Choice Questions (MCQs)

1. Which community is traditionally associated with pottery in India?
   a) Lohar
   b) Sonar
   c) Kumhar
   d) Julaha

2. Dhokra art, a form of lost-wax metal casting, is prominently practiced by tribal communities in which region?
   a) Kutch, Gujarat
   b) Bastar, Chhattisgarh
   c) Channapatna, Karnataka
   d) Saharanpur, Uttar Pradesh

3. The transmission of craft skills within traditional Indian communities primarily occurs through:
   a) Formal vocational schools
   b) Government training programs
   c) Hereditary system and apprenticeship (Guru-Shishya)
   d) Online tutorials

4. Warli painting, known for its depiction of social life using simple geometric shapes, belongs to a tribal community in which state?
   a) Nagaland
   b) Madhya Pradesh
   c) Maharashtra
   d) Odisha

5. The traditional Jajmani system primarily involved:
   a) Export of crafts to foreign countries
   b) A system of monetary wages for artisans
   c) Reciprocal exchange of goods and services between different caste groups
   d) Government patronage for all craft forms

6. Which town in Uttar Pradesh is famous for its brassware industry?
   a) Firozabad
   b) Saharanpur
   c) Moradabad
   d) Varanasi

7. Which of the following is a major challenge faced by contemporary craft communities in India?
   a) Lack of traditional skills
   b) Excessive government funding
   c) Competition from mass-produced goods
   d) Oversupply of raw materials

8. Geographical Indication (GI) tags are important for crafts because they:
   a) Provide artisans with monthly salaries
   b) Help protect the uniqueness and origin of the craft
   c) Fund international travel for artisans
   d) Guarantee sales in government emporiums

9. In many traditional craft communities, tasks like operating the loom or heavy metalwork were often performed by:
   a) Children
   b) Women
   c) Men
   d) Village elders exclusively

10. Pattachitra, a traditional scroll painting depicting mythological narratives, is primarily associated with which Indian state?
    a) Tamil Nadu
    b) Rajasthan
    c) Kerala
    d) Odisha

Answer Key for MCQs:

1. c) Kumhar
2. b) Bastar, Chhattisgarh
3. c) Hereditary system and apprenticeship (Guru-Shishya)
4. c) Maharashtra
5. c) Reciprocal exchange of goods and services between different caste groups
6. c) Moradabad
7. c) Competition from mass-produced goods
8. b) Help protect the uniqueness and origin of the craft
9. c) Men
10. d) Odisha

Make sure you revise these notes thoroughly. Focus on the names of crafts, associated communities or regions, the materials used, the socio-economic context, and the challenges faced. Good luck with your preparation!