Initiatives
CCDF's vision is to undertake projects for upskilling artisans by introducing new concepts and designs. Keeping intact the authenticity of the art and craft and connecting them to new markets is key to the mandate of the foundation.
We work to support artisans and communities by providing training and workshops to enhance their design skills with the aim of enhancing the quality of life.
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The Gondwana Art Project is currently ongoing and is focused on tribal artisans from the Gondwana Region in central India, i.e Madhya Pradesh, and Maharashtra, practicing Gond, Warli and Bhil art. CCDF has selected five artists from a list of hundreds for this project. These Gond, Warli and Bhil artists have been selected through an assessment of their quality of work, talent, and their current economic status.
Under this project, CCDF’s mission is to create a platform for tribal artists to present their work and their perspectives demonstrating their craftsmanship and creativity, introducing new methods and techniques that express both traditional and contemporary imagery and values.
All artists involved in The Gondwana Art project are creating artworks, under consultation and guidance of the CCDF designer Anmol Yadav. The artworks are being prepared over a period of 6 months starting from September 2019. The goal of this project is to ensure that the artworks are unique pieces of tribal art incorporating design elements keeping in mind a wide range of global audiences. During the project, the artisans get an assured stipend and they are allowed to freely express their skills and experiment with new techniques, design and colour palette, while keeping intact the authenticity of the art. The narratives focus on how the subject is created and details the cultural ethos of the paintings.
In this initiative, CCDF promotes artists and their art form that evolves from the dynamic living traditions. This project offers an invitation to the viewer to discover Gondwana region and artists that epitomise the incomparable diversity of contemporary tribal and popular Indian art.
Research on crafts of Barmer region in Rajasthan
The district of Barmer is situated in the central Thar Desert of south-west Rajasthan. It has been a focal point for its traditional art, culture, handicrafts, fairs, and festivals. Dyeing and hand-printing on textiles, embroidery, jute products, woven textiles, wood-carving, etc. are some of the unique handicrafts found in Barmer and have made Barmer achieve a rich reputation in the international market. Many of the crafts here have evolved to fulfill the personal needs and social customs rather than catering to the rural needs as is the case in other parts of the country. Now they are practiced as an economic need and livelihood option for the artisans and produced to fulfill the needs of far-flung markets and customers in India and abroad.
The study and documentation of the handicrafts of the Barmer region commissioned by Cairn India were carried out through primary field enquiries and secondary data search, over the period of 12 weeks, from January 2010 to March 2010. The study was commissioned to map and identify various crafts in the region and their current & potential value in the livelihoods and economic sustenance of the practicing artisans. The study was based on the premise that crafts practice and culture industry constitute a major part of the livelihood among the de-centralized & unorganized sector of Rajasthan. Predominantly confined to a family unit and often the key source of earnings, it is spread across the entire rural sector of the state. The Barmer region is replete with a rich pool of creative cultural expressions that form a substantive part of its means of livelihood and provides a distinctive dimension to its attraction to visitors.
While some of the crafts have been well established and known, some skills have not been explored for commerce though they form a part of local culture. These dimensions of inherent values among the local cultures are very significant in the emerging context of the larger issues of sustainability. Connecting craftspeople to the customer, as an effective and economically sustainable business process, will necessitate a multi-pronged and long-term development initiative focused largely on enhancing the performance potential of artisans at one end and market reach at the other.
The study focused at bringing this dimension of Barmer crafts with specific insights into their current status as practices, prevailing work scenario, products, processes, nature of trade & market opportunities, support & development needs, specialized inputs to enhance the practice at all levels for better value realizations, related issues of people and business processes that will enable sustainable community enterprises for the artisan communities. Such research educates about the heritage of the craft, appreciation of its subtle nuances and its preservation.
Scholarships for four Post Graduate (EWS) students of Geology at Mohan Lal Sukhadia University, Udaipur
CCDF established scholarships for 4 students for the post-graduate programme at the Geology department of Udaipur University from the academic year 2019-2020. The scholarship has been provided to the needy students, wherein their entire fee for the master’s programme will be funded by the CCDF. The scholarship programme is for an initial period of 5 years and will be extendable.
Installation of CCTV cameras at MDM Hospital Jodhpur
After repeated complaints from patients about the loss of valuables, the doctors of the MDM hospital expressed the need for better security and safety and requested the installation of CCTV cameras. This initiative was fully funded by CCDF where 6 CCTV cameras were installed in the CCU of the Hospital.
The doctors and staff of the MDM hospital were extremely grateful for this contribution and conveyed that now they are able to continuously keep a watch on ICU and people have been made aware of the constant watch through the CCTV which has been acting as a deterrent.
Puppetry Workshop for school children in Jodhpur
Puppetry is a languishing art and the number of people practicing the art is reducing each year. CCDF identified Puppetry artisans and supported them by arranging workshops for children in 3 schools in Jodhpur, Rajasthan.
Responding to the urgent water crisis, CCDF sponsored, a puppet show and workshop at a government school in Chowpasani Housing Board, Jodhpur. The event was attended by 110 students and 12 teachers, imparting knowledge on the need and methods of water conservation in a playful and interactive manner. A skill-sharing workshop was held to teach students how to play puppets.
Puppetry is a popular, but dying art form of Rajasthan. With this effort, the CCDF not only gave a platform to puppeteers to perform but also added new, contemporary stories to their repertoire. This effort opened up new avenues for the puppeteers with more job opportunities, monetary benefits, and better living conditions.
Production of Solar Lamps with waste plastic bottles by school children in Jodhpur
Several small villages in remote areas still have problems with 24 hours of electricity. The Solar lamp project aimed at eco-friendly and sustainable living was taken up by CCDF to teach school children and villagers how to make solar lamps from waste plastic bottles. CCDF has funded several solar light building workshops, organised and conducted by the Inner Wheel Club of Jodhpur. The workshops were held with residents of the refugee colony and students of government schools.
Collectively both the communities produced 250 lights with minimal material and extremely low cost, providing for their homes and becoming self-sufficient. To facilitate this, members of the Inner Wheel Club were trained to build circuits and lights and subsequently held workshops with diverse communities in several cities of India. This ongoing project aims to continue training the trainers and expand their reach.
Chikankari Workshop
Chikankari is a craft which probably started as whitework in the era of Harshvardhana (Dongerkery, cited by Manfredi 2007) in Gangetic land and reached its zenith under the Nawabs of Oudh. The Chikan artisans, heirs of time-honored processes and skills, have the power to promote their art through the objects they create, playing a key role in the communication and preservation through their artifacts.
In 2016-17, the CCDF took up The Chikankari Design course for chikankari artisans based in Lucknow. The research project involved administering design education to skilled chikankari artisans in Lucknow, through a customized training module developed under Project coordinator by PhD scholar Jaspal Kalra, who is an Educator and Design consultant in Fashion & Crafts. The training was delivered by the experienced design and marketing faculty and professionals. The artisans were trained for product development in this programme were supported by a series of exhibitions to develop a sustainable system for their livelihood enhancement.
The pilot study of this project was undertaken from May to September 2015 where fifteen artisans participated in the training programme and have thus been benefitted. The course has been reviewed by experts from the field of craft, design, and social development. These sets of artisans are presently working on orders on their outfits and also working towards participation in exhibitions in various parts of India. Most of these women artisans have started earning 3-5 thousand a month on an average since the completion of course which is at least on an average twice of what they could earn before undertaking the training. The Chikankari Artisans training and market support programme were successfully completed in 2018 wherein over 15 artisans and over 10 tailors were trained with design skills and market linkages were created for their products.
Integration of fashion and lost art forms through installations, an art and couture edit and limited-edition stoles.
“As we gradually start going back to our normal lives, albeit with a certain sense of self care and responsibility, it is also a time to be proud and responsible towards our art and craft heritage and play a role in ensuring its survival. With this collaboration, we are supporting an artist cluster and hope that our discerning customers, loyal followers and fans of the brand take back a message of art awareness and responsibility,” says Karishma Swali, co-founder of JADE.
Couture brand JADE by Monica & Karishma’s flagship store on Peddar Road always tells a story with its creative visual installations. The designers Monica Shah and Karishma Swali focus on creating an immersive art experience with their displays that showcases their firm support for Indian arts and crafts and also reflects the inspiration points for their couture.
JADE collaborated with us, Craft and Community Development Foundation (CCDF) to transform the brand’s storefront into a makeshift gallery with a craft and couture installation that put the spotlight on tribal art. For the display they have decided to showcase artworks from Gondwana Art Project alongside garments from the Ek Taar collection.
The pandemic is an ongoing battle now and the struggles of indigenous artists during these difficult times is well known, as art galleries shut down due to lack of financial assistance, Jade’s larger than life windows serve as an alternative medium to showcase the works of indigenous artists who need support, now more than ever.
Mr Sundeep Bhandari, our CCDF founder believes `The World must get to glimpse the beauty of our folk-art traditions as well.” And so we at Craft and Community Development Foundation (CCDF), encourage traditional artists to look at ways in which their art can be made more viable for the modern art enthusiasts, they are given an understanding of modern techniques and themes and through this little assistance that we provide, the artwork that emerges is worth marveling. The Gondwana Art Project is a flagship project for our not for profit organization and under this project Gond, Bhil and Warli tribal artists are provided design and financial assistance.
The designers have also shot a series of images, which juxtapose the art from the Gondwana project against couture. ‘Threads of love’ collection by JADE is an ode to the magic that can be created by bringing art in the space of couture. For designers Monica and Karishma, art is inseparable from couture, and are pretty much two sides of the same coin. This philosophy reflects in their designs too, particularly in this collection.
This one of a kind unique edit supports indigenous artists under the Crafts and community development foundation (CCDF), to keep the age-old crafts alive. The connection has always existed but both art and design worlds have been sleeping on the endless possibilities of a collaboration of this kind. For the edit, select paintings and couture pieces come together and explore the magic of craftsmanship of the traditional artisans through this, while also facilitating treasured heirlooms for modern brides. This love song for art is for the modern bride to also see her ensemble as nothing less than an art piece itself.
Nothing that words can say will do justice to the beauty created by the coming together of heritage art with couture, let the pictures from the collection do the talking.
Anita Shyam’s ’Vishnu on Garuda’ is a homage to Lord Vishnu, who is worshiped by the Gond community as the preserver of the universe. The image of Vishnu is representative of the culmination of creative energies and the superimposition of it on the beautiful green Ek taal lehenga is for the modern Indian brides to know that her wedding ensemble is not just a garment but an inimitable experience.
Gond artist Ram Bai Tekam’s ‘Vinayaka’ is projected on the multicolored Ek Taar lehenga, creating an effect that’s just kaleidoscopic. Vinayaka is the God of intellect, wisdom and a great patron of arts and this edit endeavored to evoke in brides the curiosity of our own heritage.
Suresh Kumar’s Gond painting ‘Story of Narmada’ depicts river Narmada in the form of a divine Goddess which was worshiped by the Gond tribe. Suresh Kumar’s interpretation embodies narmada as the nurturer of life of creatures around her. The Narmada is considered the mother and giver of peace and solace. This edit becomes a reminder to the modern Indian bride to embrace their strengths as well as their femininity and use their wedding as an opportunity to express themselves and their roots through their own bridal-wear.
Jyoti Uikey’s Gond painting, ‘Jungle Devi’ is another painting that represents powerful, strong yet feminine energies and so this becomes an obvious art piece to collaborate with a couture collection that hopes to make the modern Indian bride feel these emotions of power and beauty on her special day.
The installation and this special edit is a marvel to behold but in order to get a true insight on the thought process and the creative journey that brought the often independently existing artforms together, it will be imperative to hear from the designers themselves.
Here are snippets of the interview the designers gave to some leading fashion and art magazines. (Source: Vogue, Femina and Voice of fashion)
Do you think traditional crafts have impacted your journey as a designer?
Our love for crafts and craftsmanship flows through everything we do, we want to ensure that our label stands for an enduring, deep-rooted legacy.
What made you choose Gondwana Art Project by Craft and Community Development Foundation, specifically?
Designer Monica Saha says, “I have been practicing Warli and Madhubani for a while now, so the interest in these art forms has always been there. CCDF is predominantly from the central part of India and we really admire the work they did to support tribal arts.”
How were tribal motifs translated in the scarves?
We have chosen to bring the river Narmada, which is a consistent motif in these art works, to life through our scarves. Narmada symbolizes the source of life—all beings spring from her and are sustained by her. We felt this was deeply relevant as all of us need to be more mindful and sensitive towards nature that sustains us.
And finally, the installation, what was your creative vision for that?
The union of two crafts always leads to something beautiful. We wanted to merge our craft, ek taar, with this beautiful indigenous art form. Both, our arments and the paintings were lush with vibrant colors and intricate details which when combined together created a unique kind of kaleidoscopic magic. Every day, passersby of all age groups are drawn to the installations, they want to come in to take a closer look—and their wonder, awe and newfound appreciation for this art is just so inspiring!
