Dhokra — The Endangered Art Form
If you can’t read this fully. Click on the friend link.
What is Dhokra Art?
Dhokra Art can be arguably referred to as the most Ancient Art form with its strong clasp in strength, shapeliness, symmetry and primitiveness of the designs. Dhokra art is made from a historic metal casting technique known as lost wax crafting or the ‘cire perdue’ process. The oldest known Dhokra (lost wax) artefacts are Mother Goddess (in Telugu: “Ammatalli”) and a statue of a dancing doll, which were found in the Mohenjadaro Excavations.
How was it named Dhokra?
Dhokra art derived its name from the Dhokra Damar Tribe, a nomadic Indian tribe residing in the central-eastern part of India. The tribe initially lived in the Bankura-Dariapur belt in West Bengal, parts of Madhya Pradesh, and Odisha. The art form is now widespread in the present West Bengal, Orissa, Chattisgarh and Telangana States of India. This popularity enabled the prized Indian art form to evolve into a legacy encompassing many local interpretations and aspects.
Dhokra art makes use of Bell Metal, an alloy of Brass, Nickel and Zinc oxide. It can be broadly characterised into two types.
- Hollow Casting and
- Solid Casting
The former is practised in Central and Eastern parts, while the latter is practised in the South India region.
Why do we need to encourage this artistic expression of creativity?
Dhokra Art form has been around for more than 4000 years with deep roots in Nature Worshipping that is evident in the Elephant and Cow artefacts excavated from Mohenjadaro, Hunting and Vedic age Gods like Ganapathi, Mother Goddess-Parvathi, Pashupathinadh, reflecting the simple and humble lifestyle of our ancestors. Many Ancient Indian Texts like the Uttarabhaga of Silparatna dating back to the Gupta’s Golden Age (250 BCE) and the Manasollasa from 12th century, Chalukya Dynasty respectively, have described this art form in detail. Dhokra Art also has close associations with Symmetrical designs similar to the ones known today, Rangoli. However, varied styles, modes of expression and quality of craftsmanship evolved slowly in different areas reflecting the changing needs and traditions around the world.
Unfortunately, owing to the lack of demand for Dokra products in the domestic market, artisans are left with no choice but to become half-time specialists (practising agriculture and making Dokra artefacts) from full-time specialists. Most of the Dhokra community members, due to the marginal incomes generated from the Dhokra art form and the pressure of all-embracing Industrialization, opt out of their legacy livelihoods to become local wage employees.
How can we save this legacy art?
Not only is a craftsman associated with a craft, but also craft is associated with a craftsman. Therefore the extinction of one can cause the extinction of the other.
Encouragement of this art form from the grass-root levels (individual) to community and Government(Top-level) levels is required. The Market for these products has to be diversified, and awareness has to be created among the consumers by advertising the exquisite and unique features in contrast to the current foreign imports by seeking the help of the local and central governments and Non-profit Organizations.
