The Prime Minister of India, Narendra Modi, gifted a couple of exquisite handcrafted Rogan paintings to the US president, Barack Obama, during his visit to the US in 2014.
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The word rogan means oil in Persian. In this art form, paint made from thick brightly coloured castor seed oil is used to paint on fabric. Castor is a crop commonly grown in the Kutch region of Gujarat and the artists source it from the local farmers. To prepare the paint, castor oil is heated in a vessel and continuously stirred for more than 12 hours till it catches fire. The paint-maker takes extreme care to ensure it doesn't get burnt.‘The residue is then mixed with cold water until it thickens into a sticky elastic paste called rogan.It is mixed with vibrant natural colours and immersed in water, before being stored in earthen pots. This helps the paint retain its malleable texture, which can be used for painting.
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Delicate and precisely painted, Rogan paintings are often created from the artist's own imagination. The artists, who prefer sitting on the floor while working, place a small amount of the paint paste on their palms. Next, they use oversized blunt needles or rods to gently stretch some strands, which they place on the fabric in elaborate patterns. The artists' fingers under the fabric help the paint spread and shape the design. As the design are mostly created towards one edge of the fabric, the cloth is then folded to create a mirror image on the other side.An extraordinary aspect about this technique is that during the entire process of the gummy paint being carefully twisted into motifs, the blunt needle never comes into contact with the cloth!
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After drying, the rogan painted cloth is used for making sarees, decorative wall hangings, pillow covers, tablecloths, and even file folders. The intricate motifs – geometric flowers, peacocks, the tree of life, etc. – are drawn from the history and folk culture of the Kutch region.Rogan art was traditionally used to embellish bridal trousseau and was the exclusive preserve of the male members of the Khatri family. Times have changed and, in the last few decades, the Khatris have started teaching this art form to other crafts people, including women.
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Gafoorbhai Khatri is the head of the Khatri family and he is keeping the art alive by ensuring his entire family learns and practices it (almost every artist in his family has won a national award). He is also the proud owner of a visitor’s book that is full of testimonials from appreciative people, all the way from Japan and the US to Spain and Australia.Gafoorbhai is currently in the process of opening a school that teaches Rogan art to children from different families.
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Rogan paintings now adorn the walls of the White House but, back home, these artists are finding it difficult to earn livelihoods from just practising the art. Though Gafoorbhai and his one-family-army have held on to Rogan art for eight generations, they lack the human capital and product diversity required to cater to the demands of the modern market. Artist Papiya Mitra, who is also the founder of the Maker’s Club India, works towards uplifting Indian traditional art forms. In an interview to Sakaal Times, she said:“Even though there is a huge market for Indian art and crafts abroad, the means to sell them are very limited. The Rogan artists have limited themselves to the Kutch region and the next generation is not willing to carry forward the legacy as there is no future in it. If they travel to different parts of the country and teach the techniques to others or if art enthusiasts go to them and learn it and help spread its richness, only then will the awareness about Rogan art increase.”To help Rogan art reach more people, the government has started incentivizing Rogan artists. Many startups and NGOs are also helping to create a market for them. Other than preserving traditional designs, the artists are being encouraged to experiment with new motifs and colour combinations. This will create products that have a different appeal, are affordable and have a wider reach. In an interview to Travel Knots, Gafoorbhai said:
“The Prime Minister buys our works to give them as gifts to dignitaries. Also, we now get a free stall in handicrafts exhibitions all over India to help us showcase our art to the world. Foreigners coming to Kutch today have Nirona on their itineraries and most of them are enchanted by this rare art.”For a long time, this rare craft was not well known even in India. But with a growing fan following that includes Amitabh Bachchan, Waheeda Rehman, Shabana Azmi and, of course, Narendra Modi, Rogan art is now getting the recognition it deserves.
Also Read : These 11 Rare Paintings of India Were Recently Released by the New York Public Library
Hampi[/caption]
Masilamani Nathar Koil temple[/caption]
Hampi[/caption]
Kizhthali Shiva temple in Muziris[/caption]
World's earliest dockyard at Lothal[/caption]
A vital and thriving trade centre of the Indus Valley civilization, Lothal had the world’s earliest known dockyard. Spanning an area of 37 meters from east to west and nearly 22 meters from north to south, the dock connected the city to an ancient course of the Sabarmati river, which was the trade route between Harappan cities in Sindh and the Saurashtra peninsula. In those days, the surrounding Kutch desert of today was a part of the Arabian Sea.
One of India's most important archaeological sites from the Indus Valley civilization, Lothal was discovered in the year 1954 and was excavated between 1955 and 1960 by the Archaeological Society of India (ASI).
Temple at Pattadakkal[/caption]
Fire Altars of Kalibangan[/caption]
Ruins of Vasai Fort[/caption]
Citadel Ruins at Dholavira[/caption]
A folk theatre artist getting ready for performance[/caption]
In the absence of urban theatre in most Indian cities (with the exception of metros like Kolkata, Delhi, Mumbai, Chennai and Bengaluru), folk theatre has kept the rural audiences entertained for centuries.
It has also played an important part in the growth of modern theatres in different languages. Bhartendu Harishchandra, the 19th-century drama writer who is also known as the father of Hindi theatre, used to combine folk conventions with Western theatrical formsthat were popular at that time. Rabindrabath Tagore's plays reflect the influence of baul singers and folk theatre too.
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Nautanki[/caption]
Koodiyattam[/caption]
Yakshagana[/caption]
Swang[/caption]
Bhand Pather[/caption]
Ankiya Naat Bhaona[/caption]
Tamasha[/caption]
Therukoothu[/caption]
Jatra[/caption]
Bhavai[/caption]
Dashavatar[/caption]
Karyala[/caption]
Ramman[/caption]
Engravings on a menhir at Vangchchia[/caption]
P Rohmingthanga and Rakesh Tiwari with the ASI team[/caption]
Engraved menhir at Vangchhia[/caption]
ASI teams at Vangchhia[/caption]
A pathway of monolithic menhirs[/caption]
Engraved menhirs of Vangchhia[/caption]
The entrance to Kawtchhuah Ropui[/caption]
“Up until then, I hadn’t seen many of the heritage buildings,” he says. “I had always loved history, so my interest in historical buildings was natural I suppose.” Architecture school introduced him to many of our city’s beautiful structures, but it also showed him how little they were appreciated.
Gaiety Theatre, Shimla[/caption]
Flora Fountain[/caption]
Lal Chimney Compound[/caption]
Tathagata on a walk at Park Street Cemetery, Kolkata[/caption]
“I grew up in Kolkata, and all of this time I wished that there were some opportunities to explore Kolkata’s rich tapestry of cultural heritage,” says Tathagata, a University of Exeter alumnus who has switched from teaching to pursuing this full-time. “The tours on offer were largely targeted at a foreign audience and were expensive beyond the reach of locals. This is when I thought about starting something on my own which — while of course welcoming tourists from across the world — is mainly targeted at the locals.”
The primary objective of Heritage Walk Calcutta is to offer well-researched, affordable walking tours and workshops in Kolkata to spread community awareness about the city’s cultural heritage. Tathagata’s archaeological background ensures that the walks and workshops are thoroughly researched and off the beaten track.
An old building in China Town, Kolkata[/caption]
You could also step back in time and retrace the steps of Lt Col Markwood, who drew the first (and earliest surviving) map of Calcutta’s European settlement in 1784. And there are more to come. “Watch out for the one on murder and mayhem in colonial Calcutta!” he quips.
A 19th-century British Salt Factory in Howrah[/caption]
“Community archaeology creates a way for experts in history, archaeology, heritage conservation, and even museum professionals, to share their knowledge with members of the community – who are then empowered to properly maintain and manage their local cultural heritage,” says Tathagata. “This is important because the people in the community, who live around aspects of local history and interact with it every day, are the ones who can really make significant contributions to how that history is treated and conserved. Therefore, it is essential for experts like us to come out of our comfort-zones, engage with the community and provide them with advanced knowledge and professional training so that they can properly interact with, and preserve various aspects of, cultural heritage in a time of rapid urban development.”
The key to imbibing this spirit of conservation lies in facilitating early exposure to archaeology, heritage and conservation. Along with curated walks, HWC aims to partner with educational institutions to offer interactive, practical and age-specific workshops to spread awareness for community participation in the recording, protection and conservation of heritage.
Chitpore Road[/caption]
There is little information available on these structures, even to locals. Tathagata highlights areas such as Chitpore Road and Bhowanipore that are in dire need of restoration, but also empathises with the government’s manpower and funding limitations. In such circumstances, empowerment and training can ensure that residents eagerly undertake the preservation of the cultural heritage of their own neighbourhoods. “While it is impossible to protect every old building, we can at least work towards recording them before some are destroyed,” he says.
In walks curated in preparation for HWC’s formal launch, Tathagata has received a favourable response from locals, especially youngsters. In the preliminary walks, organised in and around Kolkata, only two participants have been foreigners and the rest locals. Tathagata is currently seeking sponsors and collaborators for the walks. “We are also happy to hear from any early career researchers or academics in history, heritage, archaeology or related fields who are willing to lead research-based walking tours,” he says.
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Pragpur, India's first heritage village.[/caption]
Cobbled lanes of Pragpur[/caption]
The Judge's Court[/caption]
Pragpur's village tank[/caption]
The heritage houses of Pragpur[/caption]
The stunning Dada Siba shrine[/caption]
Masroor Rock Cut temples[/caption]
Beginning of the tale—soles for the Jodhpuri chappal. (Image: Project Kalayatra)[/caption]
A walk through the “Chappalon Wali Gali” behind the city’s Clock Tower leads to a narrow nondescript lane. Awaiting no second glances, the lane looks like any of the hundreds winding around Jodhpur, famous for its 15th century Mehrangarh Fort. “Chappalon wali gali” literally translates to “the Footwear Street”.
Myriad of colours. Jodhpuri chappals are some of the most vibrant footwear created in India. (Image: Project Kalayatra)[/caption]
The story of Jodhpuri chappals is incredibly romantic. The metamorphosis of plain leather into a completed colourful chappal is incredibly disciplined, as much as it’s beautiful. The process of making the chappal is an example of a well-oiled factory line, where the women and men share equal responsibilities to bring out the finished product. The leather received from various parts of the state is treated and then worked on by the men, who learn the art from their fathers, and have been doing so for generations.
Artisans, irrespective of their gender, contribute to the craft. (Image: Project Kalayatra)[/caption]
Now, the women take over with their nimble fingers, creating the beautiful embroidery which makes the Jodhpuri chappal so distinct from the various footwear coming out of other parts of India.
This intricate embroidery fetches them ₹30 a pair. (Image: Project Kalayatra)[/caption]
Jodhpuri chappals have adorned feet for years. Middlemen picked them from these streets, and send them in huge numbers to shops in bigger cities, especially to the metros. Suppliers provide them to the hawker at the pavement and dozens of e-commerce websites, alike. The cost of a Jodhpuri chappal ranges from ₹300-500 when bought from any of these sellers.
The artists usually receive as low as ₹30 to embroider one pair of Jodhpuris. For years, they have worked under clouds of economic disparity, and it’s not unknown to them. Quite contrary to the morose atmosphere one would expect, these artisans overwhelmingly display happiness, punctuating their everyday juggling of work with smiles.
The final step of creating this beautiful peace of art. (Image: Project Kalayatra)[/caption]
What sets this community apart is their pride in accepting themselves as heirs to a skill passed on to them for generations. The younger artists have migrated to cities (as is the story with many art forms in small cities and villages), yet many have returned to their community in recent times. Unknown to many, more often than not, economic support plays second fiddle to the appreciation and encouragement that the artist seeks.
In the last few years, some resident history guides have brought sets of tourists and visitors to the chappalon wali gali, and the difference is evident in the faces of these artists. There is no prominent support for financial independence from any individual, organization, or the government.
Finishing touches, before they head to the market. (Image: Project Kalayatra)[/caption]
A little effort can go a long way. Whether you are a tourist, visitor, volunteer, or shopper, one can script a significant role in this movement. Jodhpur is visited by tourists all year-round. Inculcating these artists and other existing art forms as a part of the tourist trail can be amply beneficial. A visitor to Jodhpur can contribute by taking half a day out of his/her schedule to spend time with the artists. After all, chappalon wali gali is central to Jodhpur, and easily accessible.
Volunteering to help or learn the trade, and buying directly from the artisans or organizations who support fair trade for the artists, is another positive. It is heartening to see the comeback of Indian indigenous art in the lives of many Indian shopping enthusiasts. India is a kaleidoscope of handicrafts.
Embracing an indigenous Indian art form means welcoming it into our lifestyle. (Image: Project Kalayatra)[/caption]
The city of Jodhpur owes as much of its glory to history as it does to the various art forms which have originated and thrived here. This includes the Jodhpuri chappals, the Bandhini sarees, leather bags, camel bone sculpting, and so much more. All it needs is an effort to explore and discover that little extra which is usually unheard of. This vibrant city welcomes explorers, connoisseurs, artists, story tellers, and wanderers,to experience art rarely found in books.
If you know any artisans/art forms that are little-known and in need of assistance, contact Project Kalayatra via 
The bowls used in Jalatarangam.[/caption]
Today, artists generally prefer china bowls, numbering around 16 in normal use. The number of cups depends on the melody. In order to play this instrument, the player arranges the cups in a half-circle in front of him/her to be able to reach them all easily.
He/she pours water into the cups, and changes the pitch by adjusting the volume of water in the cup. The player then softly hits the cups with a wooden stick on the border to get the sound. However, playing this instrument is not at all easy. It requires a lot of skill to produce music leading to trance.
Jalatarangam, the instrument.[/caption]
Poets of the Krishna cult have mentioned the wonders of Jalatarangam in their literature work. Many contemporary players of Carnatic music do attempt to produce Gamak (a fast meend or spanning 2-3 notes, normally deliberately forceful and vigorous, and repeating in an oscillatory manner), often in the face of skewed sounds and lack of required control.
Kottayam TS Ajith Kumar performing in a show[/caption]
Jalatarangam is a unique type of music, and the most soothing one as well. We must highlight and promote it to release it from obscurity, and once again leave its audience with ecstasy. The idea of water waves, when laid together with proper techniques, releasing sound that is so alluring, is truly transcendental.
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Lambani artwork (Source: 
Colourful handbags (Source: 
Sandur Kushala Kala Kendra (Source: 
The raw material provided to the artisans. (Source: 
Some other handicrafts. (Source: 
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