The Government of India has listed the ‘Kashmir Willow Cricket Bat’ as part of the handicraft industry. This significant step, formalised through the Ministry of Textiles, will not only benefit bat manufacturers and artisans across the valley but will also contribute to the long-term growth of this traditional craft.

By including Kashmir Willow Cricket bats in the category of notified handicrafts, bat-makers can now benefit from schemes and welfare measures under the National Handicraft Development Programme (NHDP) and the Comprehensive Handicrafts Cluster Development Scheme (CHCDS). The revised list of handicrafts aims to enhance the coverage of all crafts practiced across India, thus addressing the challenges and difficulties faced by artisans. The order facilitates the issuance and renewal of Pahchan ID cards for artisans, improving access to government support, incentives, and training.

Also read:&nbsp;<a data-ved="2ahUKEwiOn9juiLaJAxVuTWcHHd_eLb4QxfQBKAB6BAgLEAE" href="https://www.wionews.com/india-news/india-tourism-unfazed-in-kashmir-even-as-areas-near-gulmarg-sonmarg-face-terror-attacks-771711" jsname="YKoRaf" ping="/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.wionews.com/india-news/india-tourism-unfazed-in-kashmir-even-as-areas-near-gulmarg-sonmarg-face-terror-attacks-771711&amp;ved=2ahUKEwiOn9juiLaJAxVuTWcHHd_eLb4QxfQBKAB6BAgLEAE">India: Tourism unfazed in Kashmir even as areas near Gulmarg, Sonmarg face terror attacks</a>

''Handicraft Department including Kashmir Willow bat as a handicraft item, since the international professional cricket bat is handmade only and made with hand tools, it has brought joy to the industry, and it will bring glory. We were taken care by industries and commerce department only but now since Kashmir Willow will be showcased on platforms where Kashmiri art is being displayed across exhibitions across the globe. The world knows Kashmir is an art place and now we will have stalls next to Kashmiri arts, the world will come to know about Kashmir cricket bats, and it will help the artisans,'' said Vice President and spokesperson of CBMAK, Fawzul Kabiir.

The Kashmir cricket bat industry, primarily based in Anantnag and Pulwama districts, is home to over 400 manufacturing units and supports the livelihood of thousands of skilled artisans. These artisans transform locally sourced Kashmir willow into premium quality bats, which have gained global recognition for their craftsmanship. The sector not only contributes to local employment but also helps preserve a centuries-old tradition, blending artistry with sport.

The inclusion of willow bats in the official handicrafts list will ease the implementation of development schemes for the cricket bat industry and ensure greater participation from local artisans in skill enhancement programs. This step is expected to boost exports, strengthen the ‘Make in India’ initiative, and provide recognition to Kashmir’s unique contribution to the cricketing world.

Also read:&nbsp;<a data-ved="2ahUKEwiOn9juiLaJAxVuTWcHHd_eLb4QxfQBKAB6BAgQEAE" href="https://www.wionews.com/india-news/huge-cache-of-arms-ammunition-recovered-from-akhnoor-operation-site-one-arrested-771808" jsname="YKoRaf" ping="/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.wionews.com/india-news/huge-cache-of-arms-ammunition-recovered-from-akhnoor-operation-site-one-arrested-771808&amp;ved=2ahUKEwiOn9juiLaJAxVuTWcHHd_eLb4QxfQBKAB6BAgQEAE">Jammu and Kashmir: Huge cache of arms, ammunition recovered from Akhnoor operation site; one arrested</a>

''Bat manufacturing has been going on since 100 years and traditionally we have been making the bat with hand tools and now with the opening of the avenues for the artisans, it will entitle them to all the schemes of the government of India and the schemes that are in vogue from handicrafts and that's how they will be benefitted. The Handicraft department realises the potential of Kashmir willow and In this regard, we have submitted a dossier for GI of Kashmir willow. We are expecting it to happen soon,'' said Mahmood Ahmad Shah, Director Handicrafts, Kashmir.

The step taken by the Government of India is expected to replace the English willow bats with the Kashmir willow ones.

The Government of India has listed the ‘Kashmir Willow Cricket Bat’ as part of the handicraft industry. This significant step, formalised through the Ministry of Textiles, will not only benefit bat manufacturers and artisans across the valley but will also contribute to the long-term growth of this traditional craft.

The Government of India has listed the ‘Kashmir Willow Cricket Bat’ as part of the handicraft industry. This significant step, formalised through the Ministry of Textiles, will not only benefit bat manufacturers and artisans across the valley but will also contribute to the long-term growth of this traditional craft. By including Kashmir Willow Cricket bats in the category of notified handicrafts, bat-makers can now benefit from schemes and welfare measures under the National Handicraft Development Programme (NHDP) and the Comprehensive Handicrafts Cluster Development Scheme (CHCDS). The revised list of handicrafts aims to enhance the coverage of all crafts practiced across India, thus addressing the challenges and difficulties faced by artisans. The order facilitates the issuance and renewal of Pahchan ID cards for artisans, improving access to government support, incentives, and training. Also read: India: Tourism unfazed in Kashmir even as areas near Gulmarg, Sonmarg face terror attacks ''Handicraft Department including Kashmir Willow bat as a handicraft item, since the international professional cricket bat is handmade only and made with hand tools, it has brought joy to the industry, and it will bring glory. We were taken care by industries and commerce department only but now since Kashmir Willow will be showcased on platforms where Kashmiri art is being displayed across exhibitions across the globe. The world knows Kashmir is an art place and now we will have stalls next to Kashmiri arts, the world will come to know about Kashmir cricket bats, and it will help the artisans,'' said Vice President and spokesperson of CBMAK, Fawzul Kabiir. The Kashmir cricket bat industry, primarily based in Anantnag and Pulwama districts, is home to over 400 manufacturing units and supports the livelihood of thousands of skilled artisans. These artisans transform locally sourced Kashmir willow into premium quality bats, which have gained global recognition for their craftsmanship. The sector not only contributes to local employment but also helps preserve a centuries-old tradition, blending artistry with sport. The inclusion of willow bats in the official handicrafts list will ease the implementation of development schemes for the cricket bat industry and ensure greater participation from local artisans in skill enhancement programs. This step is expected to boost exports, strengthen the ‘Make in India’ initiative, and provide recognition to Kashmir’s unique contribution to the cricketing world. Also read: Jammu and Kashmir: Huge cache of arms, ammunition recovered from Akhnoor operation site; one arrested ''Bat manufacturing has been going on since 100 years and traditionally we have been making the bat with hand tools and now with the opening of the avenues for the artisans, it will entitle them to all the schemes of the government of India and the schemes that are in vogue from handicrafts and that's how they will be benefitted. The Handicraft department realises the potential of Kashmir willow and In this regard, we have submitted a dossier for GI of Kashmir willow. We are expecting it to happen soon,'' said Mahmood Ahmad Shah, Director Handicrafts, Kashmir. The step taken by the Government of India is expected to replace the English willow bats with the Kashmir willow ones.

India lists ‘Kashmir Willow Cricket Bat’ as part of handicraft industry

A remarkable discovery has taken place in Kolkata, as a 44-foot-long Japanese-style handscroll, painted by the renowned Indian blind artist, Benodebehari Mukherjee nearly a century ago, has resurfaced and made its debut in the city of his birth.

Mukherjee, born in 1904, was blind in one eye and severely myopic in the other, eventually losing his sight completely at the age of 53.

Despite this, he left an indelible mark as a painter, sculptor, and muralist, and became a defining figure in 20th Century Indian modern art, reported the BBC.

<h2>Everything about the scroll</h2>

This captivating handscroll, measuring a mere six inches in width, bears the title "Scenes from Santiniketan" and is the longest scroll ever created by the artist.

In July, it will embark on a journey to Santiniketan, the prestigious university town founded by Nobel Laureate Rabindranath Tagore a century ago, where Mukherjee himself had studied and later taught.

The scroll, which changed hands multiple times before finding its way to Kolkata, is now proudly on display, offering a glimpse into Mukherjee's artistic vision and the landscapes of Santiniketan.

At the age of 20, Mukherjee skillfully crafted this captivating scroll using ink and watercolours on meticulously layered sheets of paper.

Also read |&nbsp;<a href="https://www.wionews.com/india-news/more-lifting-power-for-indian-rockets-isro-test-fires-indias-most-powerful-rocket-engine-611153">More lifting-power for Indian rockets, ISRO test fires India's most powerful rocket engine</a>

The scroll's initial frame features a figure sitting under a tree, believed to represent the artist himself, taking viewers on a journey through the enchanting Santiniketan.

As one moves from right to left along the scroll, a captivating voyage unfolds, depicting a passage through time and space. Mukherjee's masterful brushstrokes transport the viewer into a forest of sal trees, with the colors transitioning from black ink to touches of green that mirror the changing seasons.

The scroll comes alive with 22 human figures, 22 cattle, three chickens, one dog, and one bird. Mukherjee skillfully utilises stretches of emptiness to depict the vastness of land and sky.

Within the scroll, one can sense the artist's solitude and a subtle expression of isolation, depicting a state of his life without self-pity or bitterness, as noted by leading art historian Siva Kumar.&nbsp;

Prior to this astounding discovery, Mukherjee's longest-known work was a depiction of the khoai, a laterite soil terrain near Santiniketan, measuring just over 10 feet in length.

Notably, Mukherjee's teacher at Santiniketan was the esteemed artist Nandalal Bose, who headed the art school known as Kala Bhavan. Bose had initially expressed concern about Mukherjee's visual impairment to Tagore, but the poet and philosopher replied, "Is he sincere? Is he interested? Then let him be."

Mukherjee's fascination with the scroll format may have been influenced by Tagore and Bose, who had returned from their visit to Japan with prints of handscrolls. The scroll format offered unique possibilities, allowing the passage of&nbsp;time to be depicted in a fluid and dynamic manner.

Also watch |&nbsp;Parliamentary committee meeting on Uniform Civil Code sparks debate in India

<div class="videoWrapper trancodeVideo"><iframe allowfullscreen="" autoplay="1" class="includeVideo" frameborder="0" height="350" src="https://www.wionews.com/videos/parliamentary-committee-meeting-on-uniform-civil-code-sparks-debate-in-india-611213/embed" style="width:100%;max-width:560px;" width="560"></iframe></div>

<h2>Where did the scroll disappear?</h2>

After being acquired by Rakesh Sahni, the owner of Gallery Rasa in Kolkata, the handscroll finally resurfaced in 2017 from a collector. However, due to the unforeseen challenges posed by the pandemic, its public exhibition was delayed by three years.

Alongside the unveiling of this remarkable handscroll, the Kolkata exhibition also features reproductions of Mukherjee's other notable scrolls, including "The Khoai," "Village Scenes," and "Scenes in Jungle." Notably, "Scenes in Jungle" is painted on the semi-circular pith of a banana tree and is currently housed in the prestigious Victoria &amp; Albert Museum in London.

&nbsp;

WATCH WION LIVE HERE:

<iframe allowfullscreen="" autoplay="1" class="includeVideo" frameborder="0" height="350" src="https://www.wionews.com/live-tv/embed" style="width:100%;max-width:560px;" width="560"></iframe>

A remarkable discovery has taken place in Kolkata, as a 44-foot-long Japanese-style handscroll, painted by the renowned Indian blind artist, Benodebehari Mukherjee nearly a century ago, has resurfaced and made its debut in the city of his birth.

A remarkable discovery has taken place in Kolkata, as a 44-foot-long Japanese-style handscroll, painted by the renowned Indian blind artist, Benodebehari Mukherjee nearly a century ago, has resurfaced and made its debut in the city of his birth. Mukherjee, born in 1904, was blind in one eye and severely myopic in the other, eventually losing his sight completely at the age of 53. Despite this, he left an indelible mark as a painter, sculptor, and muralist, and became a defining figure in 20th Century Indian modern art, reported the BBC. Everything about the scroll This captivating handscroll, measuring a mere six inches in width, bears the title "Scenes from Santiniketan" and is the longest scroll ever created by the artist. In July, it will embark on a journey to Santiniketan, the prestigious university town founded by Nobel Laureate Rabindranath Tagore a century ago, where Mukherjee himself had studied and later taught. The scroll, which changed hands multiple times before finding its way to Kolkata, is now proudly on display, offering a glimpse into Mukherjee's artistic vision and the landscapes of Santiniketan. At the age of 20, Mukherjee skillfully crafted this captivating scroll using ink and watercolours on meticulously layered sheets of paper. Also read | More lifting-power for Indian rockets, ISRO test fires India's most powerful rocket engine The scroll's initial frame features a figure sitting under a tree, believed to represent the artist himself, taking viewers on a journey through the enchanting Santiniketan. As one moves from right to left along the scroll, a captivating voyage unfolds, depicting a passage through time and space. Mukherjee's masterful brushstrokes transport the viewer into a forest of sal trees, with the colors transitioning from black ink to touches of green that mirror the changing seasons. The scroll comes alive with 22 human figures, 22 cattle, three chickens, one dog, and one bird. Mukherjee skillfully utilises stretches of emptiness to depict the vastness of land and sky. Within the scroll, one can sense the artist's solitude and a subtle expression of isolation, depicting a state of his life without self-pity or bitterness, as noted by leading art historian Siva Kumar. Prior to this astounding discovery, Mukherjee's longest-known work was a depiction of the khoai, a laterite soil terrain near Santiniketan, measuring just over 10 feet in length. Notably, Mukherjee's teacher at Santiniketan was the esteemed artist Nandalal Bose, who headed the art school known as Kala Bhavan. Bose had initially expressed concern about Mukherjee's visual impairment to Tagore, but the poet and philosopher replied, "Is he sincere? Is he interested? Then let him be." Mukherjee's fascination with the scroll format may have been influenced by Tagore and Bose, who had returned from their visit to Japan with prints of handscrolls. The scroll format offered unique possibilities, allowing the passage of time to be depicted in a fluid and dynamic manner. Also watch | Parliamentary committee meeting on Uniform Civil Code sparks debate in India Where did the scroll disappear? After being acquired by Rakesh Sahni, the owner of Gallery Rasa in Kolkata, the handscroll finally resurfaced in 2017 from a collector. However, due to the unforeseen challenges posed by the pandemic, its public exhibition was delayed by three years. Alongside the unveiling of this remarkable handscroll, the Kolkata exhibition also features reproductions of Mukherjee's other notable scrolls, including "The Khoai," "Village Scenes," and "Scenes in Jungle." Notably, "Scenes in Jungle" is painted on the semi-circular pith of a banana tree and is currently housed in the prestigious Victoria & Albert Museum in London. WATCH WION LIVE HERE:

Lost for a century: Blind Indian painter's scroll resurfaces after 100 years

Do you know that global fashion brands Hermes, Christian Dior, and Louis Vuitton all share a special Indian connection? Well, all your favourite luxury brands bank on Indian ateliers to do intricate handiwork and embellishments for their catwalk and show-stopping products. In this episode of Beyond of Runway S2, we take you into the journey of how craft is the new couture.

How Indian craft is the new couture on world stage | Beyond the Runway

Last week, a coworker and I spent several days in Digoli, a remote village in Uttarakhand that is home to the Bora community, a small caste native to the Kumaon region. Nestled deep in the foothills of the Himalayas and accessible only via a two-hour trek, Digoli seems to have sprouted organically from the steep mountainside, with narrow, winding stone paths connecting each house and terraced rice fields stretching into the distance.

Renowned for their skills as spinners and weavers, the Bora people have long been known in the area for their prodigious skills in the cultivation and weaving of hemp.

I had travelled to this remote corner of the world to conduct interviews for an exhibit my organisation, Avani, is preparing for the Google Arts and Culture Institute. The exhibit was intended to be centred on traditional hemp weaving, with a focus on the ways in which the legal boundaries around the crop&rsquo;s cultivation have hampered local traditions.

Going in, I thought I knew what the story would be: A small, marginalised community had taken pride in their traditional craft, and felt angry and disempowered when the government robbed them of their ability to practice it. I imagined impassioned interviews with villagers, in which they would describe the deep emotional and cultural value of hemp cultivation and mourn the loss of their traditional heritage and skills. The exhibit, as I envisioned it, would be a fiery polemic against blanket policy prescriptions, and a celebration of the beauty of traditional crafts.

Of course, India always seems to have a way of upending my expectations. For the most part, the community members I met in Digoli weren&rsquo;t mourning the loss of their craft or yearning for a return to their traditional roots. True, some of the village elders expressed anger towards the government for its restrictive hemp laws, telling me that the ban on hemp cultivation in the mid-1980s was misguided. But most, particularly in the younger generations, met the entire subject with a shrug.

<div class="ui-state-default"><img alt="" src="http://s.wionews.com/photos/boracommunity01-copy-250x202-20171122063353.jpg" />
<div class="media-description">
Digoli, a remote village in Uttarakhand that is home to the Bora community (Others)
</div>
<a class="close-mark close-div" href="javascript:void(0)">&times;</a></div>

&ldquo;Hemp is old&rdquo;, Govinda, one Bora community member, told me matter-of-factly, &ldquo;People don&rsquo;t want to do it anymore. It takes too much time.&rdquo; Indeed, cultivating and weaving hemp is an extremely labour-intensive process. Many elderly women in the village who had woven hemp as young girls were missing their front teeth, as they spent so many hours pulling the fibres with their teeth to prepare them for weaving. Most of the pride village elders derived from their hemp cultivation seemed to centre less on its cultural value, and more on the sheer difficulty of producing it.

Given this, it seems entirely understandable that members of the younger generation would be reluctant to revive the craft. Even though hemp cultivation was legalised by the Uttarakhand government in 2015, few in the community believed that the traditions would be revived. Yet as I continued to hear the stories of the Bora community, I began wondering, &ldquo;Is that such a bad thing?&rdquo; Yes, hemp cultivation had largely disappeared in Digoli. But elders also told me that the girls today were getting married at 22 or 23, rather than at 14 or 15.

Women who had previously been unable to leave home without being accompanied by a male relative were now working independently and attending school. What I imagined seeing in Digoli was a community mourning the loss of its heritage and traditions. What I got instead was a community that was rapidly changing, modernising, and altogether disinclined to look back.

In the West, we have a tendency to fetishise and romanticise the &ldquo;traditional&rdquo; crafts of developing communities. As I continue to work with Avani, this feels increasingly problematic. After all, I don&rsquo;t particularly mourn the loss of traditional handicrafts in the U.S., and I would never wish to take up handicrafts as a profession (although to be fair, I am hopeless with crafts). So why should we impose these values upon developing communities, at the expense of encouraging them to pursue careers in other, less labour-intensive fields?

This is not to say that traditional cultures aren&rsquo;t valuable. Working with Avani&rsquo;s weavers, I am awestruck by the beauty and skill of this traditional craft. Yet after my time in Digoli, I am convinced that we must strike a careful balance between celebrating traditional cultures, while also respecting the desires of some community members to move on. There is beauty in preservation, to be sure. But there is equal beauty, sometimes, in letting go.

This <a href="http://aif.org/holding-on-letting-go-notes-from-the-field/" rel="nofollow">article</a> was originally published on 20/11/2017 on <a href="http://aif.org/" rel="nofollow">American India Foundation</a>

(Disclaimer: The author writes here in a personal capacity).

The spinners and weavers of Bora community from a village Digoli, Uttarakhand are experiencing rapid change, modernisation and are altogether reluctant to look back.

Last week, a coworker and I spent several days in Digoli, a remote village in Uttarakhand that is home to the Bora community, a small caste native to the Kumaon region. Nestled deep in the foothills of the Himalayas and accessible only via a two-hour trek, Digoli seems to have sprouted organically from the steep mountainside, with narrow, winding stone paths connecting each house and terraced rice fields stretching into the distance. Renowned for their skills as spinners and weavers, the Bora people have long been known in the area for their prodigious skills in the cultivation and weaving of hemp. I had travelled to this remote corner of the world to conduct interviews for an exhibit my organisation, Avani, is preparing for the Google Arts and Culture Institute. The exhibit was intended to be centred on traditional hemp weaving, with a focus on the ways in which the legal boundaries around the crop’s cultivation have hampered local traditions. Going in, I thought I knew what the story would be: A small, marginalised community had taken pride in their traditional craft, and felt angry and disempowered when the government robbed them of their ability to practice it. I imagined impassioned interviews with villagers, in which they would describe the deep emotional and cultural value of hemp cultivation and mourn the loss of their traditional heritage and skills. The exhibit, as I envisioned it, would be a fiery polemic against blanket policy prescriptions, and a celebration of the beauty of traditional crafts. Of course, India always seems to have a way of upending my expectations. For the most part, the community members I met in Digoli weren’t mourning the loss of their craft or yearning for a return to their traditional roots. True, some of the village elders expressed anger towards the government for its restrictive hemp laws, telling me that the ban on hemp cultivation in the mid-1980s was misguided. But most, particularly in the younger generations, met the entire subject with a shrug. Digoli, a remote village in Uttarakhand that is home to the Bora community (Others) × “Hemp is old”, Govinda, one Bora community member, told me matter-of-factly, “People don’t want to do it anymore. It takes too much time.” Indeed, cultivating and weaving hemp is an extremely labour-intensive process. Many elderly women in the village who had woven hemp as young girls were missing their front teeth, as they spent so many hours pulling the fibres with their teeth to prepare them for weaving. Most of the pride village elders derived from their hemp cultivation seemed to centre less on its cultural value, and more on the sheer difficulty of producing it. Given this, it seems entirely understandable that members of the younger generation would be reluctant to revive the craft. Even though hemp cultivation was legalised by the Uttarakhand government in 2015, few in the community believed that the traditions would be revived. Yet as I continued to hear the stories of the Bora community, I began wondering, “Is that such a bad thing?” Yes, hemp cultivation had largely disappeared in Digoli. But elders also told me that the girls today were getting married at 22 or 23, rather than at 14 or 15. Women who had previously been unable to leave home without being accompanied by a male relative were now working independently and attending school. What I imagined seeing in Digoli was a community mourning the loss of its heritage and traditions. What I got instead was a community that was rapidly changing, modernising, and altogether disinclined to look back. In the West, we have a tendency to fetishise and romanticise the “traditional” crafts of developing communities. As I continue to work with Avani, this feels increasingly problematic. After all, I don’t particularly mourn the loss of traditional handicrafts in the U.S., and I would never wish to take up handicrafts as a profession (although to be fair, I am hopeless with crafts). So why should we impose these values upon developing communities, at the expense of encouraging them to pursue careers in other, less labour-intensive fields? This is not to say that traditional cultures aren’t valuable. Working with Avani’s weavers, I am awestruck by the beauty and skill of this traditional craft. Yet after my time in Digoli, I am convinced that we must strike a careful balance between celebrating traditional cultures, while also respecting the desires of some community members to move on. There is beauty in preservation, to be sure. But there is equal beauty, sometimes, in letting go. This article was originally published on 20/11/2017 on American India Foundation (Disclaimer: The author writes here in a personal capacity).

Opinion: Is celebrating traditional culture always good?

handicraft

Handicraft, News on Handicraft, stories on Handicraft, articles on Handicraft, Handicraft stories at Wion, Handicraft news, Handicraft latest news