the presentation was prepared to promote the use of regional textiles which signature mark of Indian tradition and culture.

1. Promotion of Regional Textile Craft of India
for Employment Generation
Presented By:
Dr. Mona Verma
Assistant Professor
Deptt. of Textile and Apparel Designing,
I.C.COHS,CCSHAU, Hisar

2. Introduction
With 28 states, 18 languages and more than 1500
dialects, the country offers an enormous range of
handicrafts from different states and regions.
The epitome of India, lies in the art and craft, which
symbolizes the culture, tradition and societal values. Indian
handicraft industry is one of the oldest & biggest industries
of India.
It play important role in employment generation because
it has 3% growth rate within last five year. It provides
employment nearly sixty seven lakhs artisan and is one of
the important suppliers of Handicraft to the world
Markets.
This is one of the sectors which required very less
amount of money to start the business like raw material,
small instrument etc.

3. The roots of Indian art and crafts are entrenched
very deep and they are capable of influencing the
generations passing by.
The present status of craft in India owes much to the
rich craft traditions of the past. Most of the crafts from
the past continue to flourish due to their utilitarian
nature, their availability to the common people, and
popularity in domestic and foreign markets.
Indian Artifact industry takes a look of the
contribution of Indian handicraft industry in the Indian
Economy. The dilemma of the growth in handicraft
sector has become a thing of deep concern due to the
recessionary trend witnessed in the global economy.
The handicraft products have very large market in
the world due to its growing potential in the world.

4. A comprehensive range of handicrafts and gifts products is made all over India.
Although it is quite difficult to limit a particular place for a specific craft, the
following places are well known for their unique crafts.
Art Concentration Areas
Name of Textile based Craft State of Origin
Phulkari Punjab
Kasuti Karnataka
Chikankari Uttar Pradesh
Chamba rumal Himanchal Pradesh
Kanta West Bengal
Sujini Bihar
Kalamkari Andhra Pradesh
Madhubani Bihar
Sanganer block printing Rajasthan
Bagru Printing Rajasthan

5. Name of Textile based Craft State of Origin
Bandhani/Bandhej Rajasthan
Patchitra Orissa
Banarasi brocade Uttarpradesh
Kota Doria Sari Rajasthan
Gadwal Saris, Pochampally Ikat Saris,
Dharmavaram Saris, Mangalagiri Saris,
Narayanpet Saris
Andhra Pradesh
Kanjivaram Saris, Kornad Saris, Chettinad
Saris, Madurai Saris
Kanchipuram, Tamil Nadu
Patola sari Gujrat
Balarampuram Mundu-Veshti Saris Kerela
Ilkal Saris Karnataka
Baluchari Saris, Jamdani Saris West Bengal
Bomkai Saris Orissa
Muga Saris Assam
Paithani Saris Maharashtra
Chanderi Saris, Maheshwari Saris Madhya Pradesh

6. The Indian rural sector play very important
role in the Economy. The production of
Handicraft produce is maximum in the area
which gave numerous varieties but due lack of
technical and market knowledge, this sector is
far away from the main competition.
They have also lack of modern marketing
knowledge like quality delivery, schedule, and
packaging and after sales services etc.
The marketing of the rural products through
organized retail format is an important concept
to explore the hidden market in the rural
sectors.
Challenge Before Handicraft Industry

7. Web marketing has a significant impact on the selling of the craft
products. The marketing sectors need to invent new method to provide
update information the different regional products.
To provide technology based training and platform to the regional
artisans for easy access to the consumer.
To develop the interest of young generation towards their traditional
heritage and culture . This help in the conservation and preservation of
their local craft.

8. Present Status of Regional Textile Crafts
The textile sector in India accounts for
10% of the country's manufacturing production,
5% of India's GDP,
and 13% of India's exports earnings.
Textile and apparel sector is the second largest employment provider in the
country employing nearly 51 million people directly and 68 million people
indirectly.
The sector employs about 7 million people directly and indirectly, which
include a large number of women and people belonging to the weaker sections
of the society and over 67,000 exporters/export houses are involved in
promoting regional art and craftsmanship in the domestic and global markets.
It is estimated that out of the total number of persons employed in
Handlooms, Handicrafts, and Sericulture, about 50% are women.

9. Indian textile & Handicrafts industry constitutes an important segment of the
Indian economy as it is one of the largest employment generators after
agriculture.
Art Metalwares U.S.A., Germany, U.K. & Italy
Wood Wares U.S.A., U.K., Germany & France
Hand Printed & Textiles & Scarves U.S.A., U.K. , Germany & Canada
Embroidered & Crocheted Goods U.S.A., Saudi Arabia, U.K., Germany
Shawls as Artwares Saudi Arabia, U.S.A. Japan & U.K
Zari & Zari goods U.K. U.S.A., Japan & Saudi Arabia
Imitation Jewelry U.S.A., U.K., Saudi Arabia & Germany
Miscellaneous Handicrafts U.S.A., Germany, U.K. & France
Due to its uniqueness and quality, the number of Indian handicraft customers
are increased in present era.
Foreign Buyers of Indian handicrafts are:

10. Traditional Regional Textile Crafts of Bihar
Applique –Khatwa patch work of Bihar
Bhagalpur silk
Madhubani paintings
Sujini embroidery work of bihar
India has always been rich in handicrafts and the
woman of the country always had an interest in
these handicrafts. The scenario of Bihar is that, if
we check the list of art and handicrafts in the
state, maximum of them are practiced by a woman
who works as a homemaker. In old times, the men
from the state used to migrate to big cities for a
job, the woman of the house spent their time
stitching, painting, drawing and learning various
skills to keep themselves busy.

11. KHATWA
The applique and patchwork of Bihar is commonly found on wall hangings,
Shamianas (or decorative tents and canopies that are used on festive occasions, and
on religious and social ceremonies), and even on saris, dupattas, cushion covers,
table cloths, curtains, bedspreads, bolster covers etc.
The Khatwa design and marketing intervention has been in two fold. Development
of new products, including garments, accessories and soft furnishings will add
diversity and create an understanding of he basic concepts of product development in
order to give them touch of local aesthetic as well as sociological base.
The Khatwa craftswomen also have used hand woven silk and naturally dyed cloth.
The two principal items of this craft continue to be used today as modern utility
items such as cushion covers, curtains, tea-cozies, table-cloths, curtains, blouse
pieces and sari borders.
The canopies are made of thick background material, usually red or orange,
appliqued with geometric patterns cut from thin white cloth. The walls of the tents
bear designs of flowers, birds and trees. The vibrant colors used in the applique
reflect the joyous mood of the revellers.

14. Anavila Misra has been closely working with khatwa, an appliqué work that originated in
Bihar, and was locally used to create decorative tents, canopies, wall handguns and home
furnishings.
Fluid silhouettes, colour palette reminiscent of water colour paintings and an unconditional
belief in the power of functionality are at the core of Anavila Misra’s design universe.
From her debut runway collection to her most recent launch, the brand’s lightweight drapes
and separates are enhanced with the patch needlework. She walks us through her initiation
with the craft and process, with a glimpse at the season’s offerings of floral khatwa in pastel
tones.

16. History of the Bhagalpur weavers date back to a period more than 100
years. The industry is 200 years old, with skills passed on to the craftsman
over many generations. More than 35,000 handloom weavers, with 25,000
looms live in Bhagalpur.
Total trade of Bhagalpur is approximately 100 crores per annum, 50%
comprising domestic and 50% from the export market. Around 1,00,000
people are engaged in the work of separating silk threads from cocoons, and
spinning the yarn to weave into cloth.
Bhagalpur is a town with historical importance situated on the banks of the
river Ganga in the state of Eastern Bihar. Once considered as the biggest trade
centre of Eastern India, the city is famous for its unique silk fabrics called
'Tussah or Tusser'. Silk weaving is an age old tradition in the city.
Bhagalpuri Silk

17. Bhagalpuri silk or Tussar silk is a dyeing style
of silk sarees and other clothes
from Bhagalpur, Bihar in India. This material is used for
making sarees named as Bhagalpuri Sari. Bhagalpur is also
known as “silk city” of India.
Besides Sari, shawls, kurtis etc are also made from
Bhagalpuri silk.
Fabrics produced in the city are famous both at the
domestic and the international market.
Silk fabrics made in Bhagalpur are being exported to
countries like West Asia, Europe, U.S., and Japan. Home
furnishings are becoming increasingly famous in the
international market.
Outfits designed with this exclusive silk fabric have
gained immense popularity in ramp shows, and fashion
weeks.

18. Sujani (or Sujini) is one of the most popular form of conventional
art and craft prevailing in Bihar. It is a traditional quilt made in the
rural areas of that state. The word Sujani is a compound word of
‘su’ meaning "easy and facilitating" and ‘jani’ meaning "birth".
Traditionally, at the time of child birth, patches of different
colored cloth from old saris and dhotis were sewn together with a
simple running stitch and the outline of the motif was usually done
with a chain stitch in dark color to make a quilt called Sujani.
The purpose of using old cloth with sujani was very specific – to
wrap the newborn, to allow it to be enveloped in a soft embrace,
resembling that of its mother. Three or four sections of saris or
dhotis were laid on top of each other and quilted with the thread
that was unpicked from the used garments.
Sujani

19. The art has been preserved in the remote villages by the women who prepare articles of
great aesthetic value, primarily meant for household use. Created with the simplest of stitches,
with readily available fabrics and at times with well-worn pieces of clothes, the Sujani works
are generally crafted by women in their free time at home.
The craftswomen produce furnishings such as bedspreads, wall hangings, cushion and
bloster covers, as well as clothing items like saris, dupaattas, and kurtas.
Sun and cloud motifs signifying life-giving forces, fertility symbols, sacred animals,
fantastic winged creatures for protection against destructive forces, and other motifs to attract
blessings from the gods.
Different coloured threads were also symbolically used, such as red, signifying blood, a life
force, and yellow for the sun.

20. The pattern of making the Sujani product had almost become extinct
till it was revived in 1988 at the initiative of Nirmal Devi of the
Mahila Vikas Sahyog Samiti (MVSS), an autonomous society,
located in the village of Bhusra near Muzaffarpur. Now, there are
about 600 women of 22 villages around Bhusra who actively pursue
this craft work.

21. With the evolving times, the craftsmen
started embellishing Indian ethnic outfits like
sarees, kurtas, dupattas and other clothing
items with Sujani embroidery.
Home decor items such as cushion covers,
bedspreads, and wall hangings are some of the
popular items decorated with Sujani
embroidery. Winter wear clothing like Stoles
and Jackets with Sujani embroidery are made
using the Tussar silk fabric.

22. UNESCO Seal of Excellence 2019, which is also
called the Seal Award, was given to Sujani art (also
known as Sujini) but it is at the stage of obscurity.
To compete with the demand of the market the artists
started making patterns on the saris and on other fabrics.
Well in recent days, Sujani embroidery is also practised
in the southern part of Rajasthan for making patterns on
Sarees, dupattas and other clothing and home
furnishing.

23. The history of Madhubani paintings
A 2500-year-old folk art, the history
of Madhubani paintings is said to date back to
the time of Ramayana, when king Janaka asked
an artist to capture his daughter Sita’s wedding
to prince Rama.
These paintings were usually created by
women on walls and floors of homes during
festivals, ceremonies or special occasions.
Having originated in the Mithila region in
Bihar, this form of painting, also known as
Mithila art, has been in practice in areas around
Bihar and Nepal. income.
Madhubani Paintings
In 1960’s when draught hit Bihar, the
All India Handicrafts Board
encouraged upper caste women in
villages around Madhubani town to
make the ritualistic paintings on
paper to generate

24. Mithila or Madhubani paintings are done using
fingers and twigs as well as matchsticks and pen
nibs in the modern day. Usually bright colours are
used in these paintings with an outline made from
rice paste as its framework.
There are rarely any blank spaces in these
paintings. If there’s a border, it is embellished
with geometric and floral patterns.
Natural dyes are used for the paintings. For
example, charcoal and soot for black, turmeric
extract for yellow, red from sandalwood, blue
from indigo and so on.
Speciality of Madhubani paintings

25. Madhubani paintings are characterized by figures
that have prominently outlined, bulging fish-like
eyes and pointed noses. The themes of these
paintings usually include natural elements like
fish, parrot, elephant, turtle, sun, moon, bamboo
tree and lotus.
Geometric patterns can also be seen in these
pictures that often symbolize love, valour,
devotion, fertility and prosperity. This ancient art
form has also been known to depict scenes of
wedding rituals, religious rituals and different
cultural events such as festivals, from mythology
like Ramayana.

26. Madhubani remains ever popular on the home décor front in the form of prints
for table linens, napkin rings, and lamps and most importantly on wall
hangings. Slowly the style of painting found its way onto many articles from
greeting cards to salwar kameez materials. Mostly because Mithila art was
originally used for decorating walls and floors of homes.
The beautiful patterns of these paintings don’t seem to have been used by
Indian designers. But they have found their way onto silk sari borders,
dupattas, kurtis and more. Here’s to making our lives a bit richer by paying
tribute to our nation’s heritage and buying some authentic Madhubani art.

27. Adaptation of Madhubani motifs in Apparels and Accessories

29. In 2012, more than 100 trees were decorated using Madhubani painting. Shashthi
Nath Jha, who runs the Gram Vikas Parishad, an NGO, started the initiative as an
attempt to protect trees that were being cut down in the name of expanding roads
and development. This proved to be an effective way to make the villagers aware of
its consequences like climate change and global warming.
Ecological aspect of Madhubani paintings

30. While the campaign was an expensive
one (the villagers used synthetic paint
to make the artwork last longer), not a
single tree was cut down. The main
reason behind this was the trees being
adorned with forms of gods and other
religious and spiritual symbols like
Radha-Krishna, Rama-Sita, scenes
from Ramayana and Mahabarata and
other mythologies. This instilled
reverence and prevented the trees from
being cut.

31. Literally translated as honey from the forest, Madhubani got recognition
when Sita Devi, a painter received the state award in 1969 and Jagdamba
Devi was given a Padma Shri in 1975. The government also awarded Sita
Devi the National Award that year.
Another noted Madhubani painter is Bharati
Dayal. Her work finds a place of pride among
many collections, like the Ministry of External
Affairs; India, Minister of Commerce. Dayal
was awarded the National Award in 2006 and
the Indira Gandhi Priyadarshini Award in 2013.
Her works have also been displayed at Craft
Exchange Program of SAARC Countries Meet
at Delhi Hatt, Pritampura in 2008; Indiart
Gallery, Belgium in 2013 and at the Nehru
Centre, London in February 2011 among many
others.
Madhubani Artists

32. Madhubani painting is still practiced by many women in Ranti village of Bihar. In fact,
Karpuri Devi, sister-in-law of known artist Mahasundari Devi, Dulari, and Mahalaxmi
are women from three generations of the village who have made extensive efforts to
keep the art form alive by educating other women in the village and teaching them how
to make Mithila painting a way of life and take the legacy forward. Works of the three
women have been commissioned by the government of India and also found a place in
the Mithila museum of Japan.

33. Though the art form has become quite popular, it can be further promoted by laying
emphasis on its revival in different platforms, creating employment opportunities for
artisans so that the art form does not die out and artisans are keen to pass on the rich
legacy to their next generation.
Government bodies, public sector organisations, designers and manufacturers can
collaborate to play a vital role to promote the art form and take it out of rural confines
to a global platform.
The office of development commissioner (ODC) (handicrafts) under the union
ministry of textiles is working with the Bihar state government to provide an
opportunity for local artisans to showcase their art on different platforms.
The prime objective of the learning centres being established all over Bihar is to
inculcate the required skillsets among artisans, to provide financial assistance and
organising awareness-cum-training workshops and seminars for them.
A training centre, Upendra Maharathi Handicrafts Institute at Patna, has been set up
that offers short-term vocational courses on madhubani painting to encourage younger
generations to take up this skill as an employment generating avenue.
Government role in Revival & Promotion handicrafts

34. The ODC (Handicrafts) has different types of schemes for revival and
promotion of this rich folk art:
• Design and technology upgradation
• Training and extension
• Financial assistance to artisans
• Marketing support and service, Vikash Yojona, etc
• Upgradation of artisans’ skills
• Improvement and diversification of product
• Development of new designs and prototypes
• Supply of improved/modern equipment to the craft persons
• Revival of rare crafts to preserve the traditional heritage by conducting
fairs like Surajkund Handicrafts Mela
• Preservation of traditional art and crafts of high aesthetic value in
national museums and places like Delhi Haat, which reflect and boast of rich
Indian traditional culture of different states.
Apart from government efforts, fashion-conscious and heritage-loving Indians
can also play a key role in reviving and promoting this, as also the other art
forms that make this country so rich and diverse.

36. Export Promotion Council for Handicrafts (EPCH) was established under
Companies Act in the year 1986-87 and is a non-profit organisation, with an
object to promote, support, protect, maintain and increase the export of
handicrafts.
It is an apex body of handicrafts exporters for promotion of exports of
Handicrafts from country and projecting India's image abroad as a reliable
supplier of high quality of handicrafts goods & services and ensured various
measures keeping in view of observance of international standards and
specification.
The Council has created necessary infrastructure as well as marketing and
information facilities, which are availed both by the members exporters and
importers.
Export Promotion Council for Handicrafts (EPCH)

37. Providing commercially useful information and assistance to members in
developing and increasing exports.
Offering professional advice and services to members in areas of technology
upgradation, quality and design improvement, standards and specifications,
product development, innovation etc.
Organising visits of delegation of its members abroad to explore overseas
market opportunities.
Participating in specialized International Trade Fairs of handicrafts & gifts.
Organizing Indian Handicrafts and Gifts Fair at New Delhi.
EPCH Activities

38. Interaction between exporting community and Govt. both at the Central
and State level and representation in almost all the committees / panels of
Central and State and represents in almost all the committees / panels of
Central and State.
To create an environment of awareness through Workshops on "Export
Marketing, Procedures and Documentation", Packaging, Design
Development, Buyer Seller Meet, Open House etc. interaction with Central
and State Govt. and various other similar programmes.
Dissemination of government notification, orders, information on trade
and other relevant information to members.

39. Government Schemes and Policies for Regional Textile Craft
Workers
At present, the office of Development Commissioner (Handicraft) is
implementing the following seven schemes for promotion and development of
handicraft sector:
(i) Baba Saheb Hastshilp Vikas Yojana
(ii) Design and Technology Up-gradation
(iii) Marketing Support and Services
(iv)Research and development
(v) Human and Resource Development
(vi)Handicrafts Artisans Comprehensive Welfare Scheme
(vii)Infrastructure and Technology Development Scheme

40. The Office of the Development Commissioner for Handlooms,
Government of India has been implementing a number of
developmental schemes and programmes to protect the interest
and welfare of the weavers.
It is proposed to introduce the "Handloom Mark" which will
provide a collective identity to the handloom products and can be
used not only for popularizing the hand woven products but can
also serve as a guarantee for the buyer that the product being
purchased is genuinely hand woven. Besides, this would provide
a distinctive name in identifying the product or the manufacturer.
The Handloom Mark would, therefore, be a hallmark of
powerful creative work that defines the product with clarity,
distinguishing it from competition and connecting it with
customers.
Handloom Mark

41. Promote handloom products in Domestic as well as International
Market.
Provide assurance to the consumers about the genuineness of the
product origin.
Improve international marketing linkages to the handloom
weavers.
Strengthen supply chain for Handloom products
Improve price realization of the Handloom products in Domestic
as well as International Market
Improve the earnings of the handloom weaver community
Facilitate uninterrupted workflow throughout the year to the
handloom weavers.
Develop database on the handloom supplies and weavers that will
help in supporting the weavers through the existing schemes being
implemented by the Govt. of India and framing of the future plans.
Scope of Handloom Mark

45. Roles of Fashion Designers in promoting regional
crafts and artisans

46. Agnimitra Paul and Rohit-Abhishek
presented their collection on Day
Four of the Lakme Fashion Week.
The penultimate show on the Indian
Textile Day at the Lakme Fashion
Week saw Agnimitra Paul and
Rajasthan-based Rohit-
Abhishek show their collections.
Agnimitra's collection sought
inspiration from the Madhubani
paintings of Bihar. First up they
have Surelee Joseph sporting a pair of
beautiful palazzo pants with motifs
from the legendary paintings.

47. Using the Madhubani paintings of Bihar as her
inspiration, Agnimitra Paul’s Lakmé Fashion Week
Summer/Resort 2013 collection called “Mystic
Madhubani” was a dazzling blend of Indo-western
creations.
The colour story was in tune with the paintings for
the solid fabric offering, so that the textiles could
blend in perfect harmony.
The Madhubani prints were either strategically
placed on the garments or splashed all over to create
a striking vision of beauty and elegance.

48. Traditional saris, capes, wraps, jackets, lean pants,
elegant gowns, swirling flared long skirts, trendy dresses,
jumpsuits and kurtas came together in a colourful
melangé of garments.
The fabrics that set the
mood of the range, moved
from crêpe, linen, khadi to
georgette, matka silk,
Tussar, handlooms and net.
To highlight the theme,
Agnimitra used clever
texturing with machine
embroidery and Madhubani
paintings.

50. Manish Malhotra’s Autumn-winter collection Threads of Emotion was a
reinterpretation of Phulkari embroidery and he presented a beautiful lineup of
saris, anarkalis, floor length anarkalis and angarakhas in autumn colors like
rich mustard yellow, navy blue, deep rust, earthy olive and intense red.
A Manish Malhotra showed beautiful bandhgalas and kurtas. Grooms-to-be
might want to take notes.
Manish Malhotra’s ‘Phulkari’ collection at Wills India
Fashion Week

51. Fashion Designer, Manish Malhotra, showcased the versatility
of phulkari to an eclectic gathering at The Philadelphia Museum of Art

52. J&K govt signs MoU with Flipkart to promote
handloom, handicraft products
Initially this tie-up is supposed to cover dozens of products of lower and middle range
segments like paper-machie, walnut craft gift items, shawls and stoles, embroidery
made-ups and namda rugs, chain stitch wall hangings, willow wicker, gabba, etc. Many
more craft items shall be added subsequently.
Flipkart Samarth supports more than 6,50,000 artisans, weavers, and micro-
enterprises across India. In a statement, Walmart-owned Flipkart said its agreement
with Jammu & Kashmir Handloom and Handicrafts Corporation under the Flipkart
Samarth programme to enable local artisans, weavers and craftsmen showcase their
products on its platform.
In October, 2020

53. E-commerce giant Flipkart has signed an agreement with the Assam government to promote
the state's local artefacts and handloom products on its digital marketplace, an official said.
"The Assam government and Flipkart both will focus on creating avenues to increase
business and trade inclusion opportunities for these underserved segments of the society,
thereby adding further thrust to the government's initiative to build a self-reliant Bharat,"
the company said in a statement. The homegrown e-commerce firm has been expanding the
reach of its Flipkart Samarth programme to provide market access to the artisan and weaver
community across India.
Read more at:
https://economictimes.indiatimes.com/small-biz/sme-sector/flipkart-inks-pact-with-assam-govt-to-promote-handloom-handicraft-
sectors/articleshow/77781856.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst
Flipkart signed an Agreement with The Assam government

54. Amazon India had launched the Karigar programme in 2016 as part of its
efforts to bring all forms of Indian crafts online. Since then, Amazon. has
involved more than 3,000 master weavers, co-operatives, artisans and
government organisations under various ministries to help artisans sell
online.
Read more at:
https://economictimes.indiatimes.com/small-biz/sme-sector/amazon-india-to-host-handicrafts-mela-to-support-artisans-
weavers/articleshow/78332111.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

55. Amazon.in hosted a virtual 'Handicrafts Mela' from September 26-October 10, 2020
showcased more than 270 art and craft forms from various parts of the country. Over
eight lakh artisans and weavers associated with 1,500 Amazon Karigar sellers and 17
government emporiums including Tantuja, Harit Khadi, Tribes India and national-level
artisan organisations like Craftmark and Dastkari Haat Samiti got benefit from this
mela, Amazon India said in a statement.
Amazon's Handicrafts Mela - which helped in showcasing over 55,000 unique
products - helped customers discover and purchase products from artisans and weavers
from different parts of the country by visiting specific sections like handloom zone,
handicrafts home decor, kitchen items, handmade toys, handcrafted festive collection
and others, the statement said.
Read more at:
https://economictimes.indiatimes.com/small-biz/sme-sector/amazon-india-to-host-handicrafts-mela-to-support-artisans-
weavers/articleshow/78332111.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

56. Prime Minister Narendra Modi on Friday inaugurated 'Ekta Mall', a special
store constructed near the Statue of Unity here where tourists can buy
handloom and handicraft products belonging to different states under one
roof.
The mall, developed on the theme of Unity in Handicraft & Handloom
Diversity, is spread across 35,000 square feet near the 182-metre tall Statue of
Unity at Kevadiya in Gujarat's Narmada district.
Oct 30, 2020
Read more at:
https://economictimes.indiatimes.com/news/politics-and-nation/pm-narendra-modi-inaugurates-ekta-mall-visits-jk-north-east-
stalls/articleshow/78952730.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

57. The dynamism of handicrafts industry in India is unparalleled - be it the
traditional Indian arts and crafts or a customized version of an overseas art form.
Unlike in the past when the industry was battling to carve a niche in the market,
there is a great demand for Indian handicrafts today that is being nurtured by
different government and non-governmental organizations. The sector is
economically important from the point of view of low capital investment, high ratio
of value addition, and high potential for export and foreign exchange earnings for
the country.
The market is developing due to the huge demand of its products in terms of
utility, cost and aesthetics. To centralize and better organize the sector, the
government has also initiated the concept of 'Towns of Excellence' that are
providing recognition to production areas where the handicrafts have been
traditionally developed.
Today, there are 35 urban 'Haats' all across the country, that allow for the
allotment of built-up stalls to artisans on a fortnightly rotation basis at nominal
costs.
Conclusion

58. The industrial revolution and the increasing productivity had slowed down
the growth and the quality of arts and crafts, but for some decades now, the
scenario has changed and machine-made products no longer attract the
people.
Presently handicrafts are being considered as vocational media and it is
also opted for style statement and the leisure pursuit. Today, the crafts and
craftspeople have a vital role to play in modern India – not just as part of its
cultural and tradition, but as part of its economic future.