CHAPTER

CH-1 INTRODUCTION
1.1 Introduction
1.2 Background of the study
1.3 Literature review
1.4 Objectives
1.5 Methodology
1.6 Scope & limitations of the study
1.7 Study area
CH-2 DEMOGRAPHIC CHARACTERISTICS OF THE AREA
2.1 Distribution of population based on age & age-sex pyramid
2.2 Marital status of population
2.3 Educational status
CH-3 SOCIO-ECONOMIC & CULTURAL PROFILE OF CRAFTSMEN
CH-4 NATURE OF PRODUCTION
4.1 Making process of Dokra
4.2 Production scale, export & profit
4.3 Impact of GI tag
CH-5 YOUTH PERCEPTION ABOUT DOKRA HANDCRAFT INDUSTRY
CH-6 DATA ANALYSIS
CH-7 PROBLEMS OF CRAFTSMEN
CH-8 GOVERNMENT INITIATIVES
CH-9 FINDINGS AND RECOMMENDATIONS
CH-10 CONCLUSION
REFERENCE
 CH-1 INTRODUCTION
West Bengal, located in the eastern part of India, is internationally admired for its scenic
landscapes, pleasant climate, and the extraordinary craftsmanship of its artisans. Across its
many districts, the state showcases a rich tradition of handicrafts, each deeply rooted in the
region's culture, heritage, daily life, and worldview. These crafts are not just artistic
expressions but reflections of the artisans' skills and dedication.
Among the state's most renowned traditional art forms are terracotta sculptures, Bengal’s
Patachitra paintings, and the distinctive clay dolls made in Krishnanagar. Equally significant
is the Dokra craft of Dariapur in the Bardhaman district. Historically, the term "Dokra"
referred to a group of nomadic artisans from the Malhar community, famous for their
beautifully ornamented brass items. These communities are now dispersed across regions in
West Bengal, Odisha, and Madhya Pradesh. In Bengal, they primarily reside in tribal areas
rich in minerals, such as Purulia, Bankura, Birbhum, Bardhaman, and Medinipur. The Dokra
artisans are believed to have originally migrated from Chhattisgarh and Madhya Pradesh.
Dokra art has a long and ancient history in Bardhaman, tracing back nearly 5,000 years. The
iconic "Dancing Girl" figurine from the Indus Valley site of Mohenjo-daro is often
considered an early example of this tradition. Similar metal casting techniques were later seen
in Aztec art from the 14th to 16th centuries and in the Benin Kingdom of Nigeria between the
14th and 19th centuries. Many contemporary artists continue to draw on this timeless
technique. In Bengal, this craft seems to have been practiced continuously since the earliest
civilizations in the region.
Scholars have studied the lost-wax casting method central to Dokra art in detail. Ancient
Indian texts and folk stories also document its historical significance. Researchers such as
Krishnan (1976) and Pal (1978) have referred to classical Sanskrit treatises like Silparatna,
Manasara, and Somesvara, which contain detailed information about the technique. A more
modern study of the method was initiated by Ruth Reeves in 1962.
In recent times, Dokra items from Bardhaman have seen increasing demand in urban markets
throughout India. Despite this, the craft faces serious challenges due to limited financial
resources, poor marketing, and a lack of proper training among younger artisans. Several
government and non-government efforts have been launched to support the artisans and
safeguard this valuable heritage.
Encouragingly, the youth in these communities have shown a strong commitment to
preserving their Dokra legacy. For them, the craft is more than just a means of livelihood—it
represents their cultural roots. Traditional Dokra themes include depictions of Hindu and
tribal deities, musical figures, human and animal figurines, and scenes featuring horses,
elephants, and riders. Known for its rustic beauty and honesty in design, Dokra stands out as
one of the most creative expressions among West Bengal’s artisan groups, many of whom
live in poverty.
As Sen (1994) observed, “In recent years, under the pressure of all-embracing
industrialization and changing social values, they have been forced by the loss of their natural
rural market to diversify their products and are seeking, with the help of the government and
some voluntary agencies, to adapt.”
Background of the study
There are so many aspects to discuss regarding Dokra art, there are lack of adequate inquiry
and research study on this traditional craft. Ruth Reeves was first who initiated a detailed
study on Lost wax casting technique in 1962. Later, her work Cire Perdue Casting in India
(1962) has been the primary source for other study which give detailed overview of lost wax
casting technique, people of this community and their livelihood.
Various studies from geographical, anthropological, historical perspectives gives us wide
variety of information about the lost wax technique and associated people , such as “historical
background and migration”, “Craft making technique”, “basic problems of artisans” etc. But
most of te studies did not explain actual production scenario and market share of this craft,
youth generation’s perception about this traditional craft, strength an weakness of the
craftsmen and how this primitive craft can survive in the modern era of westernization and
technological supremacy.
Literature review
Sinha. S, et. al. (2015) in their study highlighted the history of Dokra artifacts. This artifacts
originated from Mohenjodaro civilization. At present this art can be seen in Bankura,
Barddhaman and Medinipur district in west bengal also in the central part of india. Dokra is
non–ferrous metal casting using the lost-wax casting technique. Dhokra’s metallurgical
process, figurine art, and symbolic representations in Indian tradition. The Dhokra craftsmen
often work with brass (copper + zinc) or bronze (copper + tin). But people of Bikan for
dhokra crafts use Dhuna (a mixture of resin of Sal tree and mustard oil).
Chatterjee. S (2015), in his analytical study focuses on various problem faced by dokra
artisans of Bikna and Dariyapur. The major problems highlighted is illiteracy,and poverty.
Also lack of finance, advertising and marketing strategies make it difficult to raise sell of this
craft. Though each dokra product are unique as they all are handmade but their production is
low and price of each product is very high as they did not use technology to manufacture
products.
Banerjee. A & Malakar. B (2021), in their sstudy provides information about Dariapur,
located at Dariapur 2 Panchayat under Ausgram-I block in the PurbaBarddhaman District of
West Benga. Then the study provides a socio-economic overview the dokra artisans living in
Dariapur. most of the artisans in Dariapur use the surname Karmakar which has been listed
under other backward classes (OBC) category. almost all the children in the community go
to school for education. The literacy rate among males & females is (90.05%) & (81.82%)
respectively.. The study then providesa description of the market and network through which
dokra items are sold. The middleman form the organization of production.They bring orders
and re-allocate among artisans. they keep a profit margin of rupees 50 to 100 for each
product, so the cost of individual item gets high. To improve the marketing status of this craft
Cottage and Small-Scale Industries Directorate, Government of West Bengal took the
initiative and established DariapurDokra Artisan Cooperative Society in 1962. Major
problem of this community is ‘absenteeism from work’, and ‘alcoholism’. Different NGOs
also looking forward to take dokra artisans out of this condition and improve their socio-
economic status.
Dr. Puthussry. J & Patel. A (2019), in their paper highlights the origin and distribution of
dokra craft culture. According to them Dokra craft is widespread in chattishgarh, majority of
dokra artisans belongs to tribal community of Ghadwa and Jharekha. In this region exsist
different oral folklore, folktale, idoms, proverbs, riddles which are essential for transmitting
tradition and technique to another generations.