It is not perfect. Its beauty lies in its imperfection—its inability to foster an exact replication of its counterparts.
This quality is what sets ‘Dhokra’ apart from innumerable mass-produced, machine-made goods that flood the Indian market. Preserving these handcrafted treasures serves as a living testament to the diverse cultural landscape that define India.
Primarily practised by tribal artisans in Chhatisgarh and some belts of Jharkhand, Madhya Pradesh, West Bengal and Orissa, this bell metal craft uses the lost-wax casting technique, also called ‘cire perdue’. Its origins can be traced back to the Indus Valley Civilisation. A bronze sculpture of a dancing girl, which was excavated from Mohenjo Daro in 1926, is believed to be the earliest model of this technique.
More than 4000-years old, the Dhokra art of non-ferrous metal casting is not only a representation of the rich legacy of Indian crafts but also an important part of the identity of several tribes in India, like the ‘Ghadwas’ in Bastar. ‘Ghadna’ essentially means ‘creating or giving shape to something’, a reflection of what these artisans do as a part of their culture as well as livelihoods. This art form is characterised by folk motifs and imaginative designs.
Amidst rapid urbanisation and digitisation, we rarely pause to appreciate the rich heritage of indigenous crafts now facing the threat of extinction. As the pace of modernisation accelerates, these traditional art forms, once integral to India’s cultural identity, teeter on the brink of being lost forever.
What exactly is Dhokra? How do the products take shape? What does a day in the life of a Dhokra artisan look like? Is this art form dying? These questions lead us to a small village, Kondagaon, approximately 80 km away from Jagdalpur, the administrative headquarters of Bastar district.
As we make our way to the countryside, navigating through Sal tree-lined roads, the presence of the craft is fairly visible. Dogra elephants adorn the entrances of homes and shops selling these craft items can be seen. In the workshop, the artisans carry out their jobs without distraction, each skillfully completing their tasks in different stages of the production process.
The Dhokra process
Shabbir Nag, who runs the unit, takes us through the process that starts with black soil and ends with beautiful metal artefacts that range from animals, tribal figurines, Gods, objects of everyday use, Jhitku Mitki sculptures (important figures of Chhatisgarh and Jharkhand folklore), and more.
Three types of soils are used in the making of Dhokra artefacts – dry black soil (khet ki mitti), soil from river banks (nadi kinaare ki mitti) and mud from mounds made by termites (deemak mitti). The black soil, mixed with rice husk, is used to build the base, which is then covered with another layer of soil.
Once this is in place, natural wax is used to add the design and intricate details. Wax threads cover the base, after which it is evened out and finer detailing and intricate carvings in the design are done.
The design and detailing is done using wax (Pics: Special Arrangement)
The object is then covered with a thick layer of clay and heated at about 1300 degree Celsius so that the wax melts away. Molten metal (brass alloys) is then poured into the products.
Molten metal is poured into the moulds
The metal takes the shape of the mould, and the outer mud covering is broken, thus creating the final product. This whole method is called lost-wax casting.
The outer mud mould is broken and the metal artefact appears
Each product that lays in front of us has a unique design and finish. Some of these, we are informed, are specifically being made for Jaypore, an artisanal lifestyle brand that collaborates with tribal artisans to take their craft to the larger population.
Artistic skills passed through generations
When we bring Dhokra products home or gift them to someone, seldom do we think of the work that goes into making them. Metal casting is a tedious process that requires skill, precision and experience. A few hours standing around the burning furnace and we couldn’t stop our eyes from watering and our throats from coughing. These artisans experience this on a daily basis from 8 AM to 4 PM, and having mastered both the skill and the challenges that come with working in the workshop, they are unbothered by it all.
Nag was introduced to the craft as a child. However, his father had to leave the occupation due to several reasons. His elder brother then resumed the legacy, and Nag has been continuing it ever since. He informs, “I used to work at another unit and earn Rs. 5 per day. It gradually reached Rs. 28 per day. Over time, we saved some money and started this workshop.”
Nag reveals that 30-40 artisans are associated with him currently, and Dhokra is what helps them and their families sustain. Depending on the work, an artisan generally earns Rs. 8000–10,000 a month.
Shabbir Nag (top left) and a few people who work with him
“I have been working here for 20 years now, and through this, I have been able to fund my daughter’s higher education. She’s studying to be a lawyer,” shares Asha ji, a 60-year-old artisan at the workshop.
Nag stresses that women are integral contributors to the whole process. “From mixing mud, gobar, etc., to extracting wax strips to breaking the mud covering of the products, women are involved in various parts of the process,” he says.
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While Nag’s unit is able to sustain due to the scale of his operations and orders from urban brands, not all 200-250 tribal families that practise this craft in Kondagaon are thriving.
Is Dhokra a dying art form?
In August last year, this craft came into the spotlight when Prime Minister Narendra Modi gifted a Dhokra artefact to Greece officials on his visit to the country. This enchanting art form that tells stories of ancient tribal life attracts international attention and demand, but it finds itself in challenging waters on the ground level.
While several government schemes are in place for the advancement of the craft, seldom do the benefits truly reach the intended beneficiaries. Additionally, changing lifestyles and lucrative professions is pushing it to the brink of extinction. A dwindling interest in the craft from locals, a market gap between traditional designs and urban preferences, logistical challenges, competition from machine-made goods, etc., are leading to limited reach and fewer takers for these artefacts. Younger generation, drawn to more stable careers, is also leaving in pursuit of better opportunities and remuneration.
Dhokra is fighting for survival and yearning for revival. But all hope is not lost.
Perhaps the fact that two design students from a nearby university are at the workshop to observe and study the craft presents a glimmer of hope, a sign that people are interested in knowing more about its history and culture. Perhaps the fact that these products are reaching households across the country either directly or through brands serves as a starting point to tap into the potential of its growth.
However, a lot needs to be done. Better access to raw materials, safe working conditions, greater support from the government and social sector, better promotional strategies, and the creation of more marketplaces for the products can save this art form from dying.
Supporting ancient crafts is not only about preserving tradition but also creating a sustainable future for tribal artisans and craftsmen, who not only infuse their skills into these products but also their stories.