Introduction
Craft bazaars serve as vital venues for the celebration of cultural heritage; in the consumer-driven urban life privileging fast fashion, such initiatives provide the audience with the opportunity to engage with an array of cultural expressions and gain insights into the narratives that inform various artistic forms. Many of these crafts have been preserved and transmitted through generations, including weaving, basket weaving, and metalworking.
The handicrafts scene in India has been increasingly facing a crisis in that they have moved from a position of cultural importance and value to a declining stage; the Dilli Haat bazaar was envisioned as a solution to this problem by showcasing a distinctive combination of traditional Indian craftsmanship, a variety of local and international flavors, and an enriching cultural experience.
Establishment
The Dilli Haat complex was first set up in 1994, opposite the INA market in South Delhi; its concept was spearheaded by Jaya Jaitly, a veteran crafts revivalist and the founding president of the Dastkari Haat Samiti, and was eventually established by the joint initiative of the Delhi Tourism Development Corporation and the Ministry of Textiles.
According to Sakshi Gambhir, the complex is an equalising stage where customers (mostly middle classes and foreign tourists) and craftspeople can interact on a similar emotional and aesthetic capability, without the interference of a middle agent. More importantly, it is a crucial way to support and recognise local artisanal communities; the primary objective of the crafts bazaar was to provide a platform for craftspeople and handloom creators to see their wares in the capital and allow for public recognition of their artistic abilities.
Craftspeople at Dilli Haat
The artist stalls are allotted on a rotational basis, with fresh bids invited by the Union Ministry of Textiles after a fixed period (about 15 days). According to Jaya Jaitly, “My discussion with a lot of architects and interior designers have shown that there is growing interest in the domain,” thus emphasising the keen interest of the crafts bazaar in visibilising the crucial skill involved in making crafts, and not just marketing the final product for commercial gain.
As one weaves through the bustling market, there are also various food stalls of different states from Kashmir, Maharashtra, West Bengal, Assam, Sikkim, Manipur, Tripura, and Rajasthan among others. Each stall presents a vivid set of seating arrangements and menu suited to display the authenticity of their state.
One of the most favoured and accessible events is the annual Dastkari Haat crafts bazaar hosted by the DHS organisation; each year, the Ministry of Textiles allots 164 stalls to showcase extensive range of crafts, including textiles, hand and block prints, jewellery, ceramics, terracotta, traditional art prints, embroidery and so on. Live shows such as Gond Painting from Madhya Pradesh and Madhubani from Bihar are also displayed to demonstrate the valuable nature of India’s traditional crafts.
Architectural motifs
The layout of the bazaar was designed by the architect Pradeep Sachdeva; he envisioned a spatial arrangement that accommodates shops, workshops, display areas, and exhibition halls for artisans. The use of local brick, stone, wood, and metal established a design vocabulary that spoke to both vernacular and rustic aesthetics, thus seamlessly integrating the traditional wares with the crafts business environment. This model continues to thrive and gain popularity, serving as a source of inspiration and reference for numerous similar projects across the nation.
Image Source: Architectural Review
A second bazaar was also set up in Pitampura and a third in Janakpuri; both of these also followed the innovative approach of blending the rural and urban designs, while also allowing for the complex to project its own unique identity.
In an interview given to Architectural Review, the designers elaborated, “A haat needs its own identity to attract people not only from its own neighbourhood, but from the city at large. It could not be an extension of the previous haats or imitations of villages in the city. It has to be progressive, in tune with today’s times and respecting the craft and cultural centricity of the project.”
Exhibitions
Since 2001, the complex has seen a variety of events and exhibitions hosted by the Ministry of Social Justice and Empowerment such as the India International Trade Fair (IITF), and Surajkund Craft Mela, with a focus on artisans and craftspeople from Scheduled Castes, Backward Classes, and Safai Karamcharis. Through various schemes administered by the Ministry’s Apex Corporations, beneficiaries receive complimentary stalls at these exhibitions.
Aside from the valuable visibility it provides to the artists from the marginalised communities, it also helps them to become accustomed to the urban market and international customers as well as city-based consumer behaviours.
Another popular festival was the Aadi Mahotsav, held in 2020 to commemorate the tribal crafts spirit. Shri Arjun Munda, Union Minister for Tribal Affairs referred to the aim of the event as shifting the focus to the diversity and richness of the tribes of India through a mainstream platform as Dilli Haat. Some of the exhibitions included tribal artforms such as the Warli style paintings, bead necklaces from the Northeast and the traditional Dongria shawls and Bodo weaves.
Recent Issues
In recent years, there has been an increasing encroachment on the artisanal space by traders and middlemen; Jaitly herself commented on the irregularities prevalent in the administration of the bazaar, as well as methods of forgery and bribes to ensure retention of stalls by some of the traders.
Several vendors at the bazaar lament on a lack of accountability by the authorities following the allotment of stalls; even though allocations only last for 15 days in a rotation, some artisans stay for months through multiple applications by different members, thus negating the central idea behind the complex. According to the official statement of the Dastkari Haat Samiti, “Thus, DTDC converted Dilli Haat from an internationally acclaimed crafts exhibition and bazaar to a shopping mall.”
A plea submitted to the Delhi High Court by Jaitly in 2019 requested an inquiry into the allegations against the DTDC; notices issued to both the DTDC and the Ministry of Textiles ordered investigations into the sale of authentic articles and background checks on the vendors being allocated stalls.