Case Studies

Area of Operation- Chaksu Block, Jaipur District
History of Chaksu

Formerly known as name Champawati(as suggested in poems) this piece of land has been named as Chatsu in inscriptions. With a diverse history, this town is famous for its copper works with its antiquity being in existence since Sixth Century of Christ. With a river flowing towards east touching the heart line of this town, the flows tends to be the town’s heart beat.
In 1871-72, General Cunningham’s colleague Carlyle found a rare content that generated the new reports for this elegant land. Inscriptions on the stairs of the famous pillar or Guill Rao Talab were discovered which happened to tell a lot about the region’s ethnic background and it’s transitions. Later this information was published by Dr Bhandarkar in Epigraphic Indica. The inscription dates back from the rule of the Guill ruler Baladitya , and the inscription happens to mention that the Chauhan principality was implemented in the formation of the temple of Murari-Vishnu. The ruler of this dynasty, Shankargan, had defeated powerful Gods and expanded his state from Madhya Pradesh to Ajmer and surrounding area. But as shown by history previously the available evidences as well shows that in the 9th-10th century the political dominance of Chakusu ie Champawati was on its full fluctuation.
According to Vikram Samvat 1496’s Ranakpur inscription it is known that Maharana Kumbha of Mewar had expanded his kingdom by taking possession of Chakusa region.
Moreover according to an important inscription on Vikram Samvat 1640, available in Chakusu, the magnificent temple of Chaturbuji was built here under the reign of Aamer’s King Man Singh I. This temple was rebuilt by rennovating an ancient temple built in the 1st-10th century, which was disrupted by the invaders.

Historical Shitla Ashtami Festival of Chaksu
Shitla Ashtami is fondly celebrated in Chaksu region. The Shitla Ashtmi fair is held in the month of March-April or according to Hindu Calendar in the month of Chaitu, every year at Chaksu. Sheetla Mata, is the goddess of smallpox. In village the Seel-Ki-Doongri (Chaksu) people worship Band Shoe Dungri which is a hillock on top of which idol of Sheetla Mata stands. The fair is held every year in her honour.
Religious People and devotees believe that earlier. epidemics spread due to the wrath of Sheetla Mata and hence they started worshiping her and gave offerings so that she may be pacified. Devotees during the fair crowd the market and shrine of Shitla Mata. Shoes, food, utensils, clothes and agricultural implements are the main items on sale in the fair. Many people like to play religious music and dance during Sheetala Ashtami fair and a cattle fair is also organized during the fest.

Leather Craft & Community of Chaksu

The Artisans of this region are skilled in Leather craft and are totally dependent on their craft earnings. This skill is practised by gents and women belonging to Schedule Caste community (Raigar).Chamar, Dalit sub caste from India ,also called by the names of Chambar Boli, Chambari and Chamari and are generally involved with leather works here. The word Chamar is derived from the Sanskrit word `Charmakara` meaning tanner. They generally reside in certain parts of the northern states of India. Some are scattered around Himachal Pradesh, Delhi, Haryana, Bihar, and western Punjab, Uttar Pradesh and in Nepal. In fact, they are mostly found in Hindi speaking states of the country. 

Though the name of the Chamar suggest the meaning of hide workers, the people of this community are also engaged in some other occupations like agricultural activities, field work, weaving and much more. Sometimes they work as coolies and some are engaged in taking care of the hides and the animals
and some of them work for making hide materials. Being involved in other sectors as well the major earning of this section is through agricultural sector. It has been said that the Chamars residing in some parts of Nepal are of Indo-Aryan lineage. 300 years ago, this group migrated from Bihar and Uttar Pradesh. The Chamars residing in Punjab are ramified in groups like Ravidasis and Ad-dharmis. Most of the Chamars are concentrated in Punjab near the Doaba region. In this region, the Chamars have prop

er education and are affluent. Some of them are engaged in different services in India and some have migrated abroad. Thus the economic status of the Chamars of this region is better than other backward groups residing in different parts of India.

Report of Cluster (Chaksu, Jaipur)

The productivity of cluster area is very low and average inventory of the artisans is so low that they hardly earn Rs. 24000/- to 40,000/- annually. The marketing scenario is also very poor. Most of their products are picked up by neighboring state buyers. They place their orders for preparation of specific items with meager advance amount which generally place the artisans in very disadvantaged position of no barging opportunity which consequently brings very low price of the products. Some of the artisans sell the product in local neighboring markets or hats with small profitable margin. Thus the overall positions of the artisans are very weak in all respect which needs to be improved.
Our team had devised major skill development programmes that aim at providing hands on experience on technology so that the productivity expands in terms of quality and quantity exponentially which will increase their income.
In this survey we had the objective to collect information and necessary data for identification and selection of craft persons cluster. Our effort and thrust has been to form capable and efficient survey team having full knowledge and enough experience such that it can put its level best in collection of required authentic data as it has been our prime motto and for that we have select suitable, dedicated, devoted guys.

Analysing the data provided our team conducted a SWOT analysis so that major techniques can devised to promote development in this area.

Swot Analysis

Before preparing an action plan it is considered desirable to have an analysis of the (1) strengths (2) weaknesses (3) opportunities and (4) threats

in the totality of the situations at which we aim-



  • Raw material is locally available.
  • Skill of the artisans.
  • Reputation.
  • Established contacts with the trader community.
  • Young and educated generation.



  • Most of the artisans are just in a position to write their names in Hindi and do not have any formal education.
  • Poor marketing skills.
  • Lack of financial resources.
  • Poor facilities for washing leather.
  • Lack of quality assurance system.
  • Lack of new design inputs.
  • Lack of clear understanding about the market prospects in domestic

and export market.



  • Co-operative society can be formed.
  • Self help group can be formed
  • Easier access to the global market, market innovation etc. can be provided through internet.
  • Ample scope for the development.
  • Wide acceptance of the leather products.
  • Potential for leather garments.



  • Competition with synthetic / plastic shoes / foot wears which is comparatively cheaper.
  • Loss of traditional market.
  • Requirement of the market that values ethnic tastes.
  • Traditional designs.
  • Tendency of rising costs.

Present Scenario of Cluster & Craft
The crafts value chain is fragmented
The current crafts sector can be broadly categorized into five verticals. It aims to demonstrate the different stages in craft production from producers to markets and inputs required at each stage. It must be noted, however, that each craft will have a slightly different set of processes.
1. Organization: Artisans are usually structured into groups through informal contracts between traders, master artisans and low skilled artisans. More formal systems of artisan organization involve four main types of entities:
Self Help Groups (SHGs) are set up with the help of external technical Intermediaries such as non profits organisations or through government schemes, and typically comprise 10-20 artisans, usually women. SHGs serve as a form of social collateral, enabling artisans to establish linkages with input providers such as raw material suppliers, microfinance institutions and banks, and downstream players such as aggregators and retailers.

2. Procuring and processing raw materials: Traditionally, raw materials used by artisans were widely available due to the close linkages between demand of crafts and locally available materials. Further, the jajmani system, which consisted of a reciprocal relationship between artisanal castes and the wider village community for the supply of goods and services, provided artisans with access to community resources. However, with the breakdown of these traditional structures, along with competition from organized industry, artisans find it challenging to buy quality raw materials at affordable prices. In the absence of raw material banks, they are often forced to rely on local traders who provide them with raw materials against orders, albeit at high prices, or switch to non-traditional raw materials
3. Production: Although techniques and processes vary widely from one craft to the next, crafts production generally takes place in households, with multiple family members engaged in different aspects of the process. Even where organized artisan structures exist, artisans typically produce within community settings. Production is generally seasonal, with crafts activity being suspended during harvest season, as most artisans are also engaged in agriculture to supplement their livelihoods.
4. Aggregation and intermediary trade: Aggregation involves bringing together products from decentralized production units to enable their transportation, storage and retail. Due to the dismal status of infrastructure and communication in Chaksu, Rajasthan, aggregation of products is a challenging task, and leads to many of the bottlenecks in the crafts supply chain today. Buyers and retailers lack incentives to overcome upstream, supply-side issues, which results in a loss of opportunities for artisans to access markets.
5. Markets: The markets for the craft products can be broadly understood as local, retail shops – high-end as well as mainstream, exhibitions and exports. Among these, local markets are still the common markets for many artisans. The contemporary markets, domestically as well as internationally, have grown with an expanding demand for ethnic products that have a story linked to them. However, these products are in low supply due to supply chain inefficiencies.
6. Demand: With the advent of globalization and the availability of cheaper and more varied products, craft sector face severe competition in contemporary markets. Craft items are typically perceived as traditional, old fashioned and antithetical to modern tastes. There have been limited efforts to reposition the image of crafts and build consumer appreciation of the history and cultural identity associated with handmade products. In addition, there are few instances of traditional crafts being contemporized to fit with changing consumption patterns

About Hand-woven Panja Rugs/Durries, Banskho JAIPUR

A hand-woven Panja Rug is a flat, woven, light and usually reversible rug. Marked by excellent craftsmanship of Banskho village these durries come in various designs & dimensions and are used as flooring mats, sitting mats and even upholstery & wall Hangings as well with many other usages being marked by people’s experiences. This craft gets its name from a metallic claw-like tool called panja in the local dialect, used to beat and set the threads in the warp. Both cotton and wool are used in the making of panja durries.

Hailing from the skillful hands of the communities comprising about one third of the population that practices this art, these durries require an ample number of days of work from the life of a Banskho guy.
With a low literacy rate and much poverty this village’s destiny lie on occupations concerning agriculture, retailing and, art and craft sector. The thing is, most of the youth take the shoulder of the neighbouring city of Jaipur to feed themselves and their future families forgetting their roots to the village. To a relief, a government school and a college are working in the village to educate a child into a gentleman but what use is this for the village who gets deprived of its earning sections. After much thought and arguments our society finds that being rich in such a beautiful sector of arts and crafts, individuals can be trained in their initial years so that they can earn their living in the village itself thereby making the village stand on its own terms, and most importantly this is what we all had ever wanted, to see Make in India successful and today we find that what better can be given to such communities than providing them a enterprise to build upon and take the village to new heights thereby decreasing it’s poverty.
These Durries can be used a year round. The cotton Rugs is warm in winters and cool in summers. Rug / durries are lighter because it is mainly made of cotton. They have a variety of use depending on size, pattern and material. Rugs/durries are made 100 % manually by skilled artisans on a traditional horizontal loom or vertical loom.