The Dhokra art of metal-casting is in prolific use in the rich tribal belt of Odisha, though it originated in the heart of what is today West Bengal. The practitioners of this age-old craft are tribals, the exquisite skill passed down to them through countless generations. The art itself was extremely modern for its time, using methods like the ‘Cire Perdue’, the French skill of wax casting, long before the French (or any other civilisation) had discovered such techniques.
This craft dates back 5000 years; one of its earliest known forms was actually the famous Dancing Girl artefact acquired from Mohenjo-Daro. And yet, this tried and tested art form is still in use by many tribes living across the states of Odisha and Jharkhand.
The art form has a rich and enduring history. The name ‘Dhokra’ is originated from the ancient metal smiths of West Bengal, the Dhokra Damar tribe, who migrated across India, spreading their craft with them. Today, the art has reached all the way down to Kerala, nestled in deep tribal pockets and endured for a long time.
The central focus of the form is the daily life that the tribals experience; their figures are of animals, and humans depicting some activity. Often, for instance, one will find bullock carts and women with pots among their depictions. The artisans thus record their lives in metal, moulding it as a form of history.
Dhokra’s uniqueness as a craft lies in the fact that the base of its figurine is actually made from wax, or clay. The shape is made from pliable materials, and then liquid metal is poured in directly through strategically placed holes in the cast, thus letting the metal take the cast’s shape. After the metal cools, the clay or the wax is chipped off, and then the metal is carefully carved for more detailed finishing. The entire process takes three to four months, for each figurine, and each technique differs for each are. For instance, clay is preferred in North India, and wax in South India.
The main problem that the Dhokra artisans face today is dying popularity, especially because of the trends shifting to electronics. The youth seems unable to relate to the tribal culture that Dhokra represents, dismissing it as ‘old’, and rapidly, these artisans are getting left behind because they cannot seem to find a place in the ‘modern’ world. What we fail to understand is that Dhokra art is a part of Indian history, a long enduring one. And we cannot forget such an integral, ancient craft.
We at IndiHands help these artisans by introducing new trends into their artwork, revolutionising it to contain elements of the old, and still appeal to the new. We attempt to merge the past and the present, combine tradition and culture with utility and the modern. We try to inject new life into this disintegrating art form, and thus seek help from you, who will support us to bring these artisans into the fold again.
Portraying Stories through Metal: The Tribal art of Dhokra
The Dhokra art of metal-casting is in prolific use in the rich tribal belt of Odisha, though it originated in the heart of what is today West Bengal. The practitioners of this age-old craft are tribals, the exquisite skill passed down to them through countless generations. The art itself was extremely modern for its time, using methods like the ‘Cire Perdue’, the French skill of wax casting, long before the French (or any other civilisation) had discovered such techniques.
This craft dates back 5000 years; one of its earliest known forms was actually the famous Dancing Girl artefact acquired from Mohenjo-Daro. And yet, this tried and tested art form is still in use by many tribes living across the states of Odisha and Jharkhand.
The art form has a rich and enduring history. The name ‘Dhokra’ is originated from the ancient metal smiths of West Bengal, the Dhokra Damar tribe, who migrated across India, spreading their craft with them. Today, the art has reached all the way down to Kerala, nestled in deep tribal pockets and endured for a long time.
The central focus of the form is the daily life that the tribals experience; their figures are of animals, and humans depicting some activity. Often, for instance, one will find bullock carts and women with pots among their depictions. The artisans thus record their lives in metal, moulding it as a form of history.
Dhokra’s uniqueness as a craft lies in the fact that the base of its figurine is actually made from wax, or clay. The shape is made from pliable materials, and then liquid metal is poured in directly through strategically placed holes in the cast, thus letting the metal take the cast’s shape. After the metal cools, the clay or the wax is chipped off, and then the metal is carefully carved for more detailed finishing. The entire process takes three to four months, for each figurine, and each technique differs for each are. For instance, clay is preferred in North India, and wax in South India.
The main problem that the Dhokra artisans face today is dying popularity, especially because of the trends shifting to electronics. The youth seems unable to relate to the tribal culture that Dhokra represents, dismissing it as ‘old’, and rapidly, these artisans are getting left behind because they cannot seem to find a place in the ‘modern’ world. What we fail to understand is that Dhokra art is a part of Indian history, a long enduring one. And we cannot forget such an integral, ancient craft.
We at IndiHands help these artisans by introducing new trends into their artwork, revolutionising it to contain elements of the old, and still appeal to the new. We attempt to merge the past and the present, combine tradition and culture with utility and the modern. We try to inject new life into this disintegrating art form, and thus seek help from you, who will support us to bring these artisans into the fold again.