In the remote tribal heartland of Chhattisgarh, the ancient art of Dokra, a 4,000-year-old metal-casting technique fights for the survival, writes GYANESHWAR DAYAL
The nondescript district of Kondagaon, about 80 kilometres from Jagdalpur, the capital of Chhattisgarh, is home to a population of around six lakhs and is renowned for its world-famous Dokra art, which is still practiced by a small tribal community of Ghadwa artisans here. As we approach the place we have no idea of their life and livelihood and do not know what we are going to see. All we know is that Dokra is an ancient metal casting that has been around for over 4,000 years. But in these modern times, it is finding tough to survive. It is a dying art form with the people who practice it reluctant to pursue it for the want of work and remuneration.
On the way we are told by Navaldeep Thareja, a friendly guy who works with this community and is into documenting these art forms, that Dokra art is one of the oldest known methods of metal casting, using the lost wax technique that has remained unchanged over millennia. The Ghadwa craftsmen, belong to 'Dokra nag' tribe, create detailed sculptures and figurines-depictions of gods, animals, tribal stories, and everyday objects-all shaped with remarkable precision. Each piece, made from an alloy of brass, is characterised by its rustic appeal and distinct style, marked by thin shapes and rich textural patterns. What sets Dokra apart is that no two pieces are ever identical, ensuring that each creation holds unique cultural value. Originating from the tribal communities of Kondagaon, this intricate craft has managed to survive centuries of change but now it is dying out, as the artisans struggle to maintain sustainable livelihood, facing competition from modern industries.
Though completely handcrafted and with intricate carvings, it has few takers as it now faces new challenges brought by changing tastes, modern lifestyles, competition from machine-made artifacts, and fading local interest. The biggest challenge is to sell it. It is a handcrafted piece that often takes days to make but may not fetch a good price.
The technique is simple yet demands skill and focus. The mud moulds are made with hands and then wrapped around with mud threads dyed in coaltar mixed with wax. then covered with mud and heated. As wax melts away, the hollow mould is ready to be filled with liquid brass which is then cooled and finished and painted.
This needs time and dexterity, skill and passion which many people would not understand. To them it is just an artifact, for Dokras it is life and means of livelihood. Many have switched to other professions. However things have changed as big brands have shown interest in its revival.
But now there is a glimmer of hope. ‘Jaypore’ a well known brand is stepping in to ensure that this craft does not disappear. It is collaborating with artisans to bring this traditional art form to a wider audience, while also ensuring its preservation.
They are providing these artisans work and logistic support and the market. Providing the much needed link between the buyer and the seller, they are taking it to metros to the people with a taste for art and deeper pockets. And that has led to a kind of resurgence of Dokra art, though there is a long long way to go. It also sets out to rectify the problems artisans have. While the art form itself is remarkable, Dokra faces significant challenges today. Artisans are often forced to compromise on quality to meet the lower price points demanded by the market, and younger generations are less interested in learning these intricate techniques due to their labour-intensive nature and uncertain economic returns. Shabbir Nag who runs a unit in Kondagaon started it early to support his family and used to get Rs 5 per day gradually he learnt the ropes as it was in his blood; his father and forefathers did this. He gradually worked his way up and the turning point came when he met the Jaypore team which not only gave him training but also orders to supply pieces. But even for the brands it is a challenge as the market for traditional handicrafts has shrunk with the influx of mass-produced goods that can replicate aesthetics at a fraction of the cost and time.
Dokra Nags is a rather a shy community. You have to understand them, their culture and values before you can work with them. Like all artists these artisans are creative people and cannot be forced to finish orders as is the practice. If there is a festival the whole village is celebrating and work comes to a standstill. people are generally shy and reluctant to talk. To get acquainted we talk to them about their craft and rituals like tatoos which we are told are given to girls by their parents as their identity.
We share food with them and indulge in small talk. The ice finally breaks and they chat with us and tell us about the issues, challenges they face in transporting their products and difficulties in getting the raw material. The raw materials required for Dokra-brass and wax-have become more expensive, adding further strain to the artisans. Middlemen in the supply chain also absorb much of the revenue, leaving the actual creators with minimal profit margins. Without intervention, this ancient craft runs the risk of fading away into oblivion, like many other traditional art forms.
Reflecting on the partnership, Radhika Chhabra, Creative Head, Jaypore, says, “Our collaboration with the Ghadwa artisans has been a remarkable journey of mutual growth. At Jaypore, we take pride in preserving and promoting traditional crafts, while also ensuring that the talented hands behind these creations receive the recognition and support, they deserve.”
Its initiative goes beyond just selling the products. It works with artisans to ensure they preserve the authenticity of the craft while adapting to contemporary designs that appeal to modern-day consumers. The shift is subtle but vital-preserving traditional techniques while offering innovative designs that make Dokra more commercially viable. By integrating traditional motifs with modern aesthetics, Jaypore helps bridge the gap between heritage and consumer demand.
Through workshops and training programs, they also invest in skill-building for artisans, encouraging younger generations to get involved in the craft. Dokra is more than just a decorative art form. It is a living testament to India's tribal history and a tangible connection to the country's ancient past. Preserving it is essential not just for the sake of cultural continuity but also for sustaining the livelihood of the tribal communities who depend on this craft. The tribal communities in Chhattisgarh do not have many sources of Income and with New forest laws in place, it is even more difficult to sustain themselves. “This is all we know and this is what we want to do” says one of the artisans who works as a caster in the unit.
In an era where fast fashion and mass production dominate the marketplace, Dokra offers an antidote: an artisanal, sustainable form of craftsmanship that emphasises individuality and heritage. Beyond the artistic value, Dokra contributes to the global movement towards slow fashion and conscious consumerism. Consumers are becoming more aware of the environmental and social impact of their purchases, and Dokra, with its handmade nature and use of sustainable materials, fits neatly into this narrative.
Moreover, preserving this art form allows for the continued passing down of skills and knowledge through generations. It fosters a sense of pride and identity within the tribal communities of Kondagaon. The loss of such a craft would mean not only the disappearance of an art form but also the erosion of a community's cultural identity.
While the newfound interest of big brands in the craft has led to a revival of the craft and poured in the survival money that sustains around 200 families in the village of Shabbir Nag, much more needs to be done to ensure the survival of Dokra art. Greater government support, better access to raw materials, and increased promotion on international platforms could help safeguard this tradition. The establishment of direct-to-consumer models that eliminate intermediaries and provide artisans with higher revenue shares is another potential solution.
Initiatives that encourage tourism to regions like Kondagaon, where tourists can witness the craft firsthand, could also contribute to its revival. The preservation of Dokra art is not just about protecting an ancient tradition; it is about creating a sustainable future for the artisans who keep this cultural legacy alive.
