CRAFT DOCUMENTATION

BAGH OF MADHYA PRADESH

2019

Sagrika Das | Anirudh Nag

Dinesh Chhipa | Archana Kar
Anjali Dixit | Lamha Dhingra

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 INDEX

INTRODUCTION page 4

GEOGRAPHY page 4

A BRIEF HISTORY OF BAGH page 5

BAGH PRINT page 7

HISTORICAL BACKGROUND OF THE CRAFT page 8

ETHNOGRAPHY OF THE CRAFT MAKING COMMUNITY page 11

RAW MATERIAL ACCESSIBILITY page 13

PROCESS page 14

TOOLS page 20

MOTIFS AND THEIR INFLUENCES page 21

CHANGES IN MOTIFS AND RAW MATERIALS page 23

EMPLOYEES AND THEIR ECONOMIC STATUS page 24

PRODUCTS page 25

MARKETING page 26

CHALLENGES page 26

AWARDS AND ACCOLADES page 28

REFERENCE page 29

ACKNOWLEDGEMNTS page 30

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 INTRODUCTION

Bagh print is the geographical indicative product prepared in Bagh, a small tribal
village of Kukshi tehsil in Dhar district of Madhya Pradesh. Bagh is famous for “Maa
Bagheshwari” temple. Also famous for the Buddhist monuments known by the name
of “Bagh Caves”, 5-6 years ago it was in the news due to fossils of dinosaur eggs
found here. Years ago Khatri community, consisting of printers who called
themselves Khatri chhipas* came here from Larkana place in Sindh which was
famous for its hand block prints. Proximity to the river “Baghini” was a significant
reason for its choice since natural body of water is vital to the process of printing.
Four decades ago due to the arduous efforts of Ismail Sulemanji Khatri and his wife
Hazzani Jaitun B. Bagh Print flourished and grew to be as famous as it is today. The
prints were first applied on tribal clothes but it was Shri Ishmael Sulemanji Khatri who
initially started using new techniques of hand printing on sarees, bed sheets, mats,
cloth pieces and more. The collection of designs in Bagh prints is unique and the
techniques, mostly natural.

*chhipa=printers. Not to be confused with the Chhipa community of Rajasthan

Geography

Country: India

State: Madhya Pradesh

District: Dhar

Body: Gram panchayat

Elevation: 240 m (790 ft)

Population (2001): 7,415

Official Languages: Hindi

Time zone: UTC+5:30 (IST)

PIN: 454221

Telephone code: 07297

ISO 3166 code: IN-MP

Vehicle registration:MP-11

Spoken Languages: Hindi, Bhili, Bhilali, NimadI

A Brief History of Bagh:

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 Bagh was once known as Virat Nagar under
the reign of a king named Virat. It was famous
for a group of nine rock-cut monuments, now
known as the Bagh caves. The caves were
excavated by master craftsmen on
perpendicular sandstone rock face of a hill on
the far bank of a seasonal stream, the Baghini.
These caves are said to be established by a
Buddhist monk Dataka. With the degeneration
of Buddhism, the caves were abandoned by
the monks and according to local legends
tigers (bagh) roamed around these areas, thus acquiring the name “Bagh” caves. In
Mahabharata the Pandavs were said to have spent their 13th “Agyatavas” in one of
these caves.

BAGHESHWARI MATA

Another significant place in this area is the temple of Bagheshwari devi. According to
the priest of this temple, it is 5000 years old. She is the kul devi of 184 villages. In
her shrine she is sat on a lion surrounded by ancient columns beneath the ceiling
where the Navagraha is illustrated. The natives believe that Bagheshwari devi
protects the skin of those who worship her. It is one of the Shaktipiths in India where
the “choti” of Devi Sati fell during the outburst of Shiva. It is believed the idol changes
her appearance three times in a day (a trait also found in a deity of Rajasthan). In the
early morning, the devi’s face is said to look like that of an infant child, at the time of -
-noon, a young lady and by the time evening arrives her face imitates the features of

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an old woman. This temple is historically significant due to the accounts of
“Kichakvadh” mentioned in Mahabharata, where Bheem assassinated Kichak, the
brother-in-law and the lord commander of Raja Virat for the assault of Draupadi.
Women who have troubles conceiving and bearing children come here for prayers
and blessings. Navartri is a highly celebrated festival here.

Other than Bagheshwari temple, the village is also made holy by the presence of
eleven shivlings; Andhweshwar , Neelkantheshwar, Bhooteshwar , Badhkeswar ,
Jabhdeshwar , Yogeshwar , Thambakeshwar, who are all believed to have appeared
by themselves.

Nil kantheshwar mahadev mandir

BAGH PRINT
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Documentation Sheet No: CFT001/ Bagh Print/ Dhar District/ Mohammed Rafik Khatri
Date: 24th May, 2019

Name of the person/s and brief introduction: Mohammed Rafik Khatri ( 8th pass, 49
yrs.), son of late Ismail Sulemanji Khatri, the original founder of Bagh Print.

Profession: Printing and Dyeing

Religion: Islam
Caste: Khatri

Location: Village: Bagh

Panchayat: Bagh

Tehsil: Kukshi

District & Pin: Dhar, 454221

Geographical coordinates: 22°22'17.1"N+74°48'08.5"E

Nearest Town (distance and travelling time): Kukshi, 22 km, 45 mins.

Contact no: 9425948227

1. Photographs No:

• D:\CFT001 (Group- A, FD-IV)\Bagh Print\Photographs

2. Audio File No:

• D:\CFT001 (Group- A, FD-IV)\Bagh Print\Audios

3. Video file No:

• D:\CFT001 (Group- A, FD-IV)\Bagh Print\Videos

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Name and its origins

BAGH PRINT: The title is obtained from the village of Bagh which is said to be
named after either the tigers that roamed the area once or the river that floats
through its veins. However the village has earned its place of importance due to the
fame of Bagh print.

Alternate names

Alizarin Print/ Thappa Chapai: It was previously known as Alizarin print. In

common tongue some still refer to the craft as thappa chapai.

Historical background of the craft

According to the accounts of Mohammed

Rafik ji, the Muslim Khatris from Sindh
were a community primarily dependent on
agriculture even though they are said to
have been practicing the craft of block
print since 7th Century. After the division of
state, whilst on a long journey
southwards, the two brothers, the Khatris
of Kutch, and the Khatris of Bagh decided
to settle down at places best suited for
their respective crafts. Some of them
migrated to Gautampura and later on to
Manavar.

Mohammed Rafik Khatr jii and Kazeem Khatri.

However in 1962, due to the availability of better water bodies and in order to avoid
octroi taxes the community then went on to settle down in Bagh, where Ismail
Sulemanji Khatri became the original founder of Bagh Print. The river in this area
contained high levels of calcium and copper that would account for the rich and
beautiful shades of red and black in their fabrics. Blocks were made inspired from
the jaali of Taj Mahal and the painting and murals found in Bagh caves.

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 The Khatri Family Tree

Sindh to Bagh

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It is believed that the hand block prints from Bagh are approximately a thousand
years old traditional craft, carried from one generation to another within the family.
The exact date of the origin may be difficult to point out but some claim that the craft
has migrated from Jawad in Mansor district of Madhya Pradesh or Marwa in
Rajasthan at some point of time but the characteristic differs in the design pattern
and the usage of vegetable dyes with its extreme brightness proves that the prints
belong to Madhya Pradesh.

According to Mohammed Rafik Khatri their community which comprises of the

chhipas or printers is believed to have come to Bagh about 50 years ago from
Larkana in Sindh which is famous for its Ajrakh Prints. What motivated these families
to cross the capricious Indus and settle in the interiors of India is uncertain but it is
unquestionable that they carried a strong tradition of hand block printing with them.
They settled near water sources along the Bagh River where they set up centers of
hand block printing. Bagh’s proximity to the river was an important reason for the
printers to select the place since flowing river water is important for the process of
printing. However, since the river that flows through Bagh is dry several times during
the year, the material to be washed now has to be taken to the Maan River about 40
kms away.

The family believes that their ancestors settled down together in the Marwar region,
before moving to different directions, depending on avenues for economic
advancement. Khatris in good numbers, converted to Islam after coming under the
influence of a sufi saint. According to Ismail Khatri, an eminent printer and national
awardee, his ancestors moved out from Sindh due to the terrors of a Brahmin raja
there. They settled down in Pali (near Jodhpur, Rajasthan). A disastrous famine
forced them to move to Gautampur in Malwa region. His forefathers moved out from
Gautampur to Manawar in Nimar district of Madhya Pradesh because of Famine.The
quality of the water of the Bagh river further helped in their settlement in the Bagh
village. It appears that the Baghini River that flows nearby probably is responsible for
the settlement around. The vegetable pigments that require flowing water for
washing does extremely well due to this river. The chemical composition of this river
water has proved to be good for the vegetable dyes used for printing at Bagh. This
gives luminous tones to the colours, and enhances the quality of red and the black,

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making them very different from any other place in MP and Rajasthan. The two
hundred year old blocks seen here have a repetitive geometric pattern of fine quality.

Ethnography of the craft making community:

At the wake of its foundation Bagh Print was primarily designed as traditional attires
of the tribal citizens. Before the Khatris made their way to Bagh, they used to work
on Nandna in Manawar. Unlike the present day techniques, this one followed a
process called Dabu or resist printing. A thick layer of soil (data) was applied where
the motifs were to be placed on. It was then dyed in Indigo. This was done on hand-
woven cotton fabrics. However times changed and Alizarin became the forefront of
this craft. As Mohammed Rafik recalls, red is produced from the root of Al trees
which were once farmed and harvested by the Aliya community of Manawar. The
community is now possibly extinct and as an alternative a synthetic pigment called
Alizarin is bought from the markets of Indore.

After they arrived in Bagh the prints were done on garments such as lughra, ghagra
and odhni. Odhni was a piece of cloth, worn by every woman in that area. It was 5
hands long in size, a comfortable length for the women working in fields. It also had
great cultural significance to the adivasi Bhil and Bhilala community. These clothes
were also worn by the people of Sirvi and Maru community. In a ritual during their
marriage ceremony the families of both the bride and the groom had to exchange
Odhnis with each other as gifts. There also existed a kind of odhni that was to be
wrapped around a widow when she returned home. Lugda is a cloth that was much
longer and wider than an odhni, but served the same purpose. It was worn during
festivities. Ghagra is a voluminous skirt worn under the odhni. Ghagras were usually
dyed in indigo, since they were more likely to catch dirt and soil. The lughra and
odhni, on the other hand, were always dyed red with alizarin to enhance the appeal
of those who wore it. However, with recent inflation of price in the market (vegetable
dyes becoming more expensive and the people practicing the craft decreasing in
numbers) these communities now prefer to wear white lughras on their weddings.

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 Juwariya Lughra motifs used on the border and the body of a traditional Lughra

The Khatris once practiced the craft of tie and dye (bandhni) with Indigo, also known
as nilgari. When asked about the involvement of women in their community,
Mohammed Rafik Khatri replied that some of them think women may carry the
communities’ traditional techniques elsewhere after their marriage hence they are
usually kept away. Even though he has stated to hold no such beliefs as his mother
had worked immensely on this craft.

Ismail Sulemanji Khatri introduced some adivasi families and a few Harijjan families
in this area to the craft, some of whom later went on to have their own printing units.
The craft flourished due to the presence of copper and calcium in the rivers. Ismail
Sulemanji was later summoned by the Begum of Muzaffar Khan in Bhopal, who he
had worked for previously. He shifted his printing unit to Bhopal temporarily hoping to
earn more trading opportunities, but the colours refused to thrive as much as they
did in Bagh. However the craft was faced with the fear of extinction in the 60’s when
synthetic fabric took over the Indian market and some of the workers were drawn to
the production of mill-produced cloths. As Mohammed Rafik recalls, in a moment of
desolation, there were days that they went to bed hungry, having their primary
source of financial scope taken away by an artificial invader. Nevertheless, he
follows this with the accounts of how his father managed to rebuild the business by
reusing the traditional blocks that were 200 to 300 years old. Some of them were
carved with Nariyal Zaal and Ghevar jaal found in the design of Taj Mahal,. Others
were Saaj, Dakmandwa, chameli or jasmine, Maithir or mushroom, leheriya or
juwariya or small dots in the field. The use of primary colours of alum based red and
corroded fillings of iron for black were standardized, yellow and green was

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developed from vegetable dyes. But Ismail Khatri’s primary innovation was using
various kinds of cloths. His novelty design of a bed cover, which he printed with a
pattern consisting of 1200 different blocks won him a National Award in 1984.

Ghevar Jaal Indori Saaj Ahmedabadi Saaj

Raw Material Accessibility

The materials used to make the printed fabric, depending on the orders received for
the finished product, are a wide range of cloth such as cotton Maheshwari dress
material, Kosa silk, bamboo chicks, cotton rugs, chiffon, crepe, georgette tissue, and
mulberry silk. Printing blocks made of wood with the required patterns to create the
prints on the fabric are procured from Pethapur and Farakkabad. The specification
for the cotton fabrics consist of: fine cotton (Mulmul) with 100x120s count and 92x80
picks for making sarees, dupattas and salwar suits; cotton cambric of 40x40s count
and 92x80 picks for dress material; and yardage fabric of 20x20s count for bed
sheets or covers. The cottons, mulmul and cambrics are purchased from Bhivandi,
Mumbai, Cloths for bed sheet from Erode, Tamil Nadu and Indore, silk from delhi.
Other materials required are sanchora or rock salt, aarandi ka tel or castor oil,
grounded excreta of goat, fitkari or alum, hirakasish or iron sulphate, jaggery, outer
skin of pomegranate, and leaves of indigo, lime, Sajji, leaves of Dhawdi, mengni,
chiyan or tamarind seed powder or kachuka, dhavda ka phool (flower) for polishing
and fixing, and alizarin to fix colours.

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Process

Bagh print involves a complex, intricate and time consuming process that takes
years to master.

First the clothes are selected as per their purpose, be it a saree, dupatta or a dress
material. The fabric used is then boiled in hot water so it is of great importance that
the cloth is composed of natural fibers. It is then dipped in water for 8-12 hours after
which it is rigorously washed by knocking it repeatedly on the ground (Kutai). To
remove the starch (mandi) the fabric is then washed in clean running water within the
factory. It is then dried; the effectiveness of this process determines how well the dye
turns out.

Raw silk for sarees and jute for durries before preparation

Khara

In the early stages the cloth is thoroughly washed in water and dried in sunlight. A
solution of natural feces (Bakhri ki mengni)), castor oil (Arandi) and raw salt
(sanchora) is prepared. The raw salt is first dissolved in water; next the castor oil is
poured and stirred well. If the mixture is oilier than required, more soda is added.
The goat feces is then crushed and added to the mixture. The cloth is then dipped in
this solvent. After that the dried clothes are then tied into a bundle and kept on the
ground. The muck and the castor oil react to each other to create heat that helps the
colours and the solutions penetrate every single fiber. The natural heat of the soil
that it is kept on also prepares the clothes finely.

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In a river, there is a specific spot, known as Hodi in local language, where the bundle
is then dipped in. The clothes get soaked very slowly due to the presence of oil. After
that clothes are washed and crushed under feet around three to four times. The
clothes are dried after the percolation; this is known as Khara process. This process
varies depending on the fabric. The ones that contain substance like saccharine and
Fabian are washed in hot water to get rid of their smoothness after which the clothes
turn soft.

Peela

After being whirled in flowing water the fabrics are

kept in a tub of solution made out of harda powder
(tarminalia chebula). The cloth is squeezed and dried in
sunlight. If it is kept in the absence of sunlight the colour
turns to green. Using iron pots are also prohibited since
the iron reacts to harda and turns into black of colour.
This is known as making base or peela process.

Clothes being prepared with harda

Preparation of the colours

Red is prepared from Alum and black from pieces of rusted iron strips and jaggery.
Alum is boiled and the solution is kept in a plastic or earthen pot. For the colour
black, lime wheat flour is decomposed in an earthen pitcher which takes 8-10 days (
Recently they have been adding Heera Kashish to produce a darker shade of black).
Both of these colours are cooked like starch in the flour of tamarind seed or gum
(called kachuka). After cooking it is cleaned and filtered in a transparent thin cloth.
Then for Gad (background) blocks a slender solution of liquid and for rekh (finer
lines) a slightly thicker liquid is prepared.

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Gad block requires a wooden tray, called paliya, a wooden grate, called kartali. Two
layers of woolen clothes are then spread on the grates. For finer prints a thin piece of
muslin is kept on the woolen cloth.

Red colour prepared from Alum Black colour prepared from iron rust

Printing

The fabric is kept on a table, called adda in regional language, and printed with
blocks. Being made out of wood, printing with the blocks is a very sensitive process.
Pressure of hands on the blocks is put in a balanced manner otherwise whole cloth
may be ruined. It is also very important to make corners of this process; the more
finely the corner is printed the more finished the cloth looks. After printing the fabrics
are kept in preservation for 8-10 days, a process that is called padat khilana.

Outline (Rekh) being printed on fabric Finishing with tili

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Vichiliya

The printed cloth is spread on the flowing water of river and rinsed and then without
taking it out of water it is shaken and moved side to side for an hour so that the extra
colour present in the fabric is removed. Vichiliya depends on the flow of water;
clothes are washed against the course of the river and then dried in sunlight.

The fabrics are propelled against the tide of the river and then dried on the rocky shore

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Bhatti

The solution being poured into a copper cauldron and clothes being pulled out of the container at the
end of a 5-6 hour long process.

In a copper cauldron the powder of dhawadi flower (woodfordia fruiticosa) and

alizarin (100-200 gm), root of morinda tinctoria, is mixed together. It is then dissolved
in slightly hot water.The cloth is dipped in this solution. The powder of dhawadi
purifies the water and enhances the brightness of black and red . Next, without
taking the cloth out of the container (handi) the cloth is yanked and moved in a
sideways motion. During bhatti the cloth should stay completely submerged in the
water for two hour, being boiled from lower to higher temperature. The copper
container can hold up to 800 liters of liquid and 80-90 pieces of sarees at once. The
whole process of Bhatti is repeated three times in a row. It absorbs heat from the fire
underneath. Hence the extent of the solution determines the richness of the colours,
the black from iron and the red from alum becomes darker.

Tapai

After repeated washing, the clothes are dried on the stones at the shore. The sun
and stones provide heat and naturally bleached white is achieved. After tapai if the
clothes are required to be dyed in khaki, green or indigo colours, the ensuing
process is followed.

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Khaki

Khaki is made with the leaves of dhawda (anogeissus latifolia wall) or skin of
pomegranate . The leaves of dhawda are boiled in water. Then clothes are dipped in
this filtered hot water and dried in shadow. This process is repeated 3-4 times, after
which it’s put in a solution of alum and dried, then dipped in clean water and yanked
and pulled.

Indigo

Indigo is a plant found in the depths of Bagh. Leaves of indigo, with small nuts
around them, are the size of tamarind leaves. With decomposed leaves of this plant
saggi khar and other mixtures are prepare to achieve the colour of blue. It is dipped
4-5 times in the solution.

Green

Green is prepared with the skin of pomegranate and the leaves of dhawda. They are
boiled in water, the boiled water is filtered and the clothes are dipped and dried in
shadow. The cloths are then submerged in a solution of alum and dried in shadow,
after which it’s washed in clean water, then yanked and pulled.

Ukar

Ukar is produced by pieces of rusted iron strips and jaggery. Lime wheat flour is
decomposed in an earthen pitcher which takes 8 to 10 days. It is then cooked like
starch in the flour of tamarind seed or gum. After that it’s cooled and filtered in a
transparent thin cloth. Once printing is done clothes are dipped in clean water and
then in harda solution. Thus uker colour is obtained.

Bagh print is prominent for its use of all natural techniques and colours. Moreover,
the print is always done on natural fibers such as bamboo, leather, jute, khadi, crepe,
chiffon etc. making it absolutely harmless for the environment.

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Tools

The most essential tool for the process of printing is the collection of wooden blocks.
Craftsmen only use teak (Sagwan) wood. Teak provides the perfect base for carving
intricate motifs as it is dense and strong. It doesn’t absorb water or distort in shape
even after years of usage. For finer carving and finishes they use a variety of chisels
of varying shapes and sizes. These tools are also handmade by them according to
their requirements. Once prepared, the blocks are immersed in oil for a few days to
protect them against warping and insect attacks. This is important since the block is
going to be in constant touch with water-based dyes, which make them more
vulnerable to decay. Wooden blocks range from as small as an inch to as large as
sixteen inches in size. While a basic block (3’ to 4’ across) takes a day or two to be
made today, an intricate one may take almost a week’s work. For printing three types
of blocks are used, Gad for filling the bold backgrounds, Rekh for outlines and datta
for filling the outlines. The fabric to be printed is kept on a wooden table; a stone is
placed on top of the fabric to prevent it from slipping. The blocks are pressed down
on a wooden grate, called kartali. Two layers of woolen clothes soaked in colours are
then spread on the grates. For finer prints a thin piece of muslin is kept on the
woolen cloth. Apart from the printing tools, copper cauldrons are used for measuring,
preparing and storing various solvents.

Tarazu used to measure raw materials palia (Wool on top of wooden plate)

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 Adda or Printing Table Kartali or wooden grate

Motifs and their influences

The motifs used in Bagh print are inspired from various sources including the decade
old Bagh caves in this area. Some old blocks and their names that are being still
used are Nandana, Laheriya, Attha, Nandanakimirache, Nandanakabutta,
Aabotchabutta, Khedekabodh, Indoribodh, Indorisaaj, Indoriaddya, Ahmedabadisaaj,
Makhi, Palliwalizanjira, Zanjiri, Jodhpuri, Jawareya, Molya border,Molyabodh,
Khiralakaire, Mungphali, Chaukada, Nareyal, Teekoni and Thudd. Bagh printing
basically involved blocks that are carved onto motifs that represent flora such as
Jasmine, Mushroom, lehariya and so on. There are some prints that were inspired by
the jaali work that embellished the Taj Mahal and various other forts. Inspiration is
also drawn from the landscapes and geometrical figures. The motifs evoke various
moods in the serenity of the prints. Some of these motifs hold great significance to
the tribes living in this area.

Interiors of the Bagh caves

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Juwadiya Lugda, for example, is a form of printing that was done on the traditional
wrap arounds worn by the Bhilala community at the time of their wedding; the motif
consists of a dotted body and borders ornate with floral butas. Another one of these
examples would be Khirala Keri, a print that once only endowed the tribes of Khirala
( 250 kms from Bagh ).

Ankh Bhaat Saudagari motifs from Gujarat

Khirala Keri worn by the tribal community of Khirala Bhilala Keri worn by the Bhilala community of Bagh

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 Makkhi Genda

Changes in Motifs and Raw Materials

The fabric used originally was cotton; though now tussar, crepe, chanderi,
maheshwari, kosa and various types of silks are being used with excellent results.
Every process used is manual and though the techniques and designs are age-old
they have a contemporary appeal. Bagh print is known for their fine quality printing
and bright vegetables colors and may be recognized by their geometric repetitive
patterns in different variations and colors that are mainly red and black block printed
predominantly on white base. Khaki and mustard vegetables colors are used for
dyeing the fabric after printing. The block designs that have managed to survive with
time are nearly 200 years old and are still being used; some of them are 100 to 50
years old and on printing still find a market for themselves. New additions are done
every six months as per market demand s. At the same time it is made sure that the
new designs are a variation of the old one. Ismail Suleimanji moved to Bagh village
in the 1950s and began practicing and giving new dimensions to the block printing.
In the 1960s, due to the demand of synthetics and mill made products, many
artisans left the craft but Ismail Sulemanji began to redefine its concept, process and
look. He got 200 and 300-year-old blocks based on traditional motifs inspired by the
1,500-year-old paintings found in caves in the region. These motifs include chameli
or jasmine, maithir or mushroom, leheriya and jurwadia or small dots on the field. He
got blocks made based on the jaali work found in the Taj Mahal and local forts in
Mandu. He streamlined the processing of the two important colours red from Alizarin

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and black from iron filings. He also discovered new vegetable dyes such as yellow
and green. But his single biggest contribution was imprinting the Bagh print on bed
sheets, sarees and fabrics. In 1982 he won the National Award for a bed cover in
which he used 1,200 different blocks, many of them depicting his own reinvented
designs. During this time there were two blockmakers in Bagh who learned their craft
from Pethapur. Some of the Khatri family members are also learned at this.
However, lately all the blocks come from Pethapur and Farakkabad since the
craftsmen have changed profession.

Employees and their Economic Status

Bagh has about 15 to 20 printing units with nearly 1000 working labours. Mohammed Rafik
Khatri has around 150-200 people working at his printing unit who are paid weekly
depending on their work. A printer is usually paid 20-30 rupees per meter, for finer designer
however the rates are increased to 60-100. Other labours working in the unit earn about
300- 700 ruppes per week. Benefits include regular holidays like diwali, navaratri, holi etc.
The adivasi workers are primarily an agricultural community. They work on farms during
monsoons when printing cannot be done due to lack of sunlight.

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 Products

Print on Bamboo Mat Fabric dyed in Mustard

Bagh Printed cotton Sarees Bagh Printed silk scarves

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Marketing

Rural entrepreneurs of Bagh print handloom products are involved in direct

marketing to retailers of cloth markets in major cities like Bhopal, Ahmedabad,
Indore, Delhi, Kolkata and Mumbai. They get bulk orders from these retailers and
sometimes regular work. These works involve only hand block printing work on the
clothes/handloom provided by these retailers to entrepreneurs. Government
Supported Retail Chains: Selling in bulk quantity to the Government supported retail
chains like “Mrignayani” which is established by Government of M.P. and “Tribes
India” established by Central Government. These retail stores are present in all the
major cities of India but not operating in a professional way so unable to attract more
and more targeted customers. Retail selling: These rural entrepreneurs also sold
their products in retail quantity through their factory outlet cum retail
outlets.Exhibitions & Melas: Marketing Bagh print handloom products through
various exhibitions organized by KVIC (Khadi & Village Industries Commission) and
Government sponsored melas. They have also participated in exhibitions worldwide
to promote their work and to create network for exports. Apart from all these existing
marketing strategies still rural entrepreneurs of Bagh village involved in hand block
printing handloom products are facing problems and challenges. There is no
sustainable marketing support for them and also lacking in use of modern marketing
technique are some of the key issues

Challenges

There are various challenges and problems present in front of rural Entrepreneurs of
Bagh village that are dealing in production and marketing of Bagh print handloom
products. Despite of having copious amount of historical significance Bagh has failed
to attract the attention of tourists. It is 148 kilometers away from Indore and road
transport still remains the only means to reach the village, which affects the business
in many ways. On top of that the climate in this area is unforgiving in summer. The
business suffers from the lack of rain which initially dries the rivers and as a result
fabrics have to be carried to Maan river in Manawar (40 kms from Bagh) or Narmada

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river in Dharampur. During rainy seasons, the lack of sunlight also affects the
printers causing them huge losses.

Price is high as compared to power loom products. Bagh printing is an eco-friendly

process and colours used in printing are prepared by using rare “Dhawdi” flower and
other natural raw materials. It is a very cumbersome process and involves intense
labour which increases the cost of preparing it. Cost is the major factor behind the
increase in the competition with other products in the market. Another challenge or
problem in front of rural entrepreneurs is lack of promotional activities and no direct
communication with the customers and hence no feedback. Communication in terms
of branding and positioning is not done in a systematic and modern way which is a
major hurdle in marketing of the products.

Cheap imitations are also one of the major challenges in front of rural entrepreneurs
dealing with hand block print in Bagh. Some textile businesses in other major cities
(such as Kolkata) have been reported of selling cheaper alternatives of the products
by the name of Bagh Print. In 2009; Shri Mohammed Yusuf Khatri one of the pioneer
makers of Bagh print has helped Bagh print get the “Geographical Indication Patent”
but problem still persists. Moreover, the drastic change of society and economy
exists. Even though some younger members of the family still intend to carry on their
tradition, there are others who are still studying and would rather pursue different
paths of career.

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 Awards and Accolades

Mohammed Rafik Khatri receives national award from the President of India (2006) Prativa Patil

Mohammed Rafik Khatri participates in an exhibition in Jerusalem

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 REFERENCES

1. A research on Bagh Print by Barun Saha

2. https://www.thehindu.com/arts/crafts/the-bagh-story/article2554935.ece
3. https://www.thehindu.com/features/friday-review/art/The-beauty-of-
Bagh/article14564094.ece
4. New Trends in Bagh Print: A prospective study, Manik Samswatar Dange, 2015, Pg-
234-236

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 ACKNOWLEDGEMENTS

We sincerely thank the artisans involved in the process for being patient and providing
us with their hospitality. We are also grateful to Madan Meena sir for providing us with
their contacts and to our mentors Anu Jain and Swati jain for their constant guidance.
Moreover, we are grateful for the help that we received from our senior Shreeprada
Shrivastava regarding the subject matter. .

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