Community

Trinath (B.1985) does finishing of items at Balipatna. His father Surjyamani Maharana,63 now, was a Kansari karigar (craftsman). Mukti Maharana, wife of Surjyamani also does polishing at their shala. They have set up a polishing machine at their shala. They use steel lihini and chuta to do the finishing and polishing.

Sukant Sahu, a 42-year-old master bell metal artisan from Balakati, has been crafting for over 30 years. He specializes in making tatiya, thaliya, ghanti, and ghanta with exceptional skill.Rooted in tradition, his work supports temple rituals and village festivals across Odisha.His dedication keeps the age-old legacy of Balakati’s metal craftsmanship alive and respected.

Born in 1967, Shyamasundar Sahu is primarily engaged in the beating process of Kansa before finishing and detailing. As an artisan, he prefers to work specifically on matha (process of beating the metal). His ancestors also belonged to the Kansari community. For years, Shyamasundar worked through different phases in the shalas of others, but now he has limited himself to the beating and finishing processes. Throughout his artisanal career, he has created specific objects such as Mugupuri Gahira , Kalkati Jinjira (musical instrument), Checha , and more. Notably, these Checha were exported to Pakistan from Balipatna before the Kargil War.

Born in 1970, Ramani Sahu has his shala in the Rengali cluster of Bell Metal. Along with Ramani, three other individuals assist him in crafting the Bell Metal objects. On average, they collectively produce 6-7 Tasko per day from the shala. Ramani works with Chandrasekhar.

Pramod(b.1979) is from Jagamohan village , makes almost 10 varieties of pakhala (par-boiled rice) kansa. He uses 1 kg copper mixed with 300 gm of tin to prepare the raw material . Koka Sahu(B.1982) works with Pramod at his shala. They also make belapodi, Tabhafaliya named after Tabha (pomelo) fruit, manda kansa, katra gina, katra kansa, Sara gina, baital tatiya, different sizes of ghanta thali . The old manda kansa is in high demand in Nepal , China and other Buddhist countries. Samuka is a feeder used for toddlers.

A veteran now in his 60s, Nityananda started working when he was a teen. He has deep ancestral roots in bell metal craftsmanship. Inheriting the skills and techniques passed down through generations. His father and forefathers were also kansa artisans, originally from Bahamari . His grandfather migrated to their current location i.e. Ganesh Nagar after marriage, establishing the family's legacy in the new settlement. For decades, Nityanand has been crafting kansa items such as Tasko/Tasanga (types of plates) and Gini ( a pair of clash cymbals), each reflecting the cultural and functional heritage of the region. His shala is almost 25 years old . 5 artisans work here. They currently focus on making tasko only. Tasko is commonly used by Harijan families in the area—who form a significant part of the local population—though other caste groups use it as well. Nityanand receives his orders mainly from a Sankar (intermediary), who supplies the products to a Sahukar (local merchant) based in Ganesh Nagar. The sahukar provides the necessary raw materials, including copper, tin, and sometimes old kansa for recycling. Shyamasundar Sahu (B.1975), Aditya Sahu (B.1975), Hemanta Sahu (B.1961),Gunanidhi Sahoo (B.1965) work with Nityananda.

Nandalal , 30 years old, is the son of Nityananda Sahu (from Ganesh Nagar) and used to work with his father at their shala. He made different types of taskos and of different sizes. He also made Baithi of different sizes. He has left this craft , and now works in an aluminium factory.

Mahendra (b.1982) cuts the edges of plates to finish up the shape of thalis. The cut edge pieces are reused again by melting .Sasmita Sahoo (B.1987) his wife helps Mahendra in designing detail etching on the thalis. Bankabihari Sahoo(B.1960) does polishing and finishing of products. They belong to Balipatna.

Judistira Sahoo, born in 1941, is an artisan from the Kantilo cluster. He started making bell metal objects at the age of 10. He has 5 sons and 3 daughters in his family. As part of the family legacy, all his sons and daughters work together at their workshop to continue the legacy of Bell Metal in their family. Judhistira Sahoo is known for his innovative new-age designs. Similarly, his passion and dedication in making Kansa were seen through his discipline in working for 12 hours every day during his practicing days.

Born in 1983 in Khalisahi bell metal craft cluster, Gyana Sahoo preeminently makes thalia(plate), jhanja(cymbals), gina, tatiya(bowl), sabu, and chatiki. His father, Giridhari Sahoo, was also a khanjari, and Gyana learned all techniques from him. Along with him, four other people are working with him in making crafts in his workshop. As part of the family legacy, his wife, Rasmita Sahoo, also helps him in different phases of making bell metal objects.

Gadadhar Sahu, a skilled bell metal artisan from Balakati, Odisha, crafts traditional items like madai bela, double bela, ganta, thaliya, and tatiya with cultural precision. With decades of experience, Gadadhar Sahu preserves Odisha’s rich heritage through his handcrafted ritual objects. His dedication to traditional techniques makes him a respected figure in the artisan community of Balakati.

Born in 1948, Bhagyadhar Sahoo has been crafting metal objects for various uses since his early teenage years. Bhagyadhar’s father migrated to Balipatna from Balakati much before the mid-1960s, and since then, he has worked as an artisan. Bell Metal has been his ancestral craft, which he believes will be passed on to the next generation, ensuring the art remains vibrant in the state of Odisha. In this endeavor, Umesh, Ramesh, and Subhas are the next generation of artisans from the family, continuing the age-old tradition and extending the cultural legacy of Bell Metal craft. Similarly, Narendra, Anirudh, Bharat, and Nirmal work alongside Bhagyadhar in the daily crafting process in his Shala.

Anjana Sahoo is the sister-in-law of Prabhasini Sahoo. Together, they create designs on thali, thaliya, and gina, having learned these techniques from their mothers. They have developed a sense of aesthetics that allows them to compose designs tailored to different objects while maintaining their unique identities. Through this process, they have gained the ability to design nearly 100 thalis (plates) in a single day. Their designs are inspired by nature motifs and include special commissions for weddings and other ceremonies. They belong to Katapalli cluster.

Born in 1971, Ajit Sahoo, an experienced Bell Metal artisan from the Katapalli cluster, continued working until 2017. As an artisan, he has created all major objects of Bell Metal such as thali (plates), thaliya (plates), baithi khuri , jhanja (cymbals), and more.

Basanti Nayak is a textile artisan and master craft person based in Nalamganj, Baleswar district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Basanti Nayak sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. The self-help group and its work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Anjali Sahu is a textile artisan and master crafter based in Pippalmadhab, Jagatsinghpur district, Odisha. She began learning the craft a couple of decades ago through self-learning, family apprenticeship and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needles, thread and sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Anjali Sahu sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. The work of the self-help group has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Binota Samala is a textile artisan and master crafter based in Gandikpur village, Jagatsinghpur district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needles, threads, sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Binota Samala sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. The self-help group and her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Minati is a textile artisan and master craft person based in Behrampur, Ganjam district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Minati sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Kalpana Rana is a 50-year-old textile artisan and master craft person based in Brajrajnagar, Jharsuguda district, Odisha. She began learning the craft at the age of 13 through self-learning and community mentorship, acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machine and needles, her practice reflects practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Kalpana Rana sustains her livelihood through local markets, collectives, intermediaries and institutional collaborations while negotiating challenges such as local availability of material, material scarcity, market pressures, or shifting customer preferences. Her work has been presented at exhibitions/fairs in Delhi, Banaras, Patna, Allahabad. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Geetanjali Maharana is a 50-year-old textile artisan and master crafter based in Phulbani, Kandhamal district, Odisha. She began learning the craft a decade ago through community mentorship, acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needle and thread, her practice reflects acquired knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Geetanjali Maharana sustains her livelihood through local markets, collectives while negotiating challenges such as material scarcity, market pressures, or lack of showcase opportunities. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Satyabhama Sahu is a 35-year-old pandal artisan based in Narsinghpur, Jajpur district, Odisha. She began learning the craft a couple of decades ago through family apprenticeship, self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Satyabhama Sahu sustains her livelihood through working for master artisan Pankaj Sahu. Their work has been presented at temples/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Arjun Meher is a 40-year-old textile applique artisan based in Ainthapalli, Boudh district, Odisha. He began learning the craft during childhood through family apprenticeship and self-learning, acquiring skills through observation and sustained engagement with materials. Working primarily with textile and mirrors and tools such as sewing machine and needles, his practice reflects inherited knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to temple ritual, ceremonial insignia, or everyday use, shaped by local resources and seasonal rhythms. Economically, Arjun Meher sustains his livelihood through local markets/collectives while negotiating challenges such as material scarcity, market pressures, or seasonal customer preferences. His work has been presented at exhibitions/fairs in the district. Committed to the continuity of the tradition, he emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Bhagwati Meher is a 35-year-old textile applique artisan based in Butupali, Boudh district, Odisha. She began learning the craft in her twenties through family apprenticeship with her mother-in-law, acquiring skills through observation and sustained engagement with materials. Working primarily with textiles, thread and tools such as scissors and needles, her practice reflects inherited knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to ritual, ceremonial, or everyday use, shaped by local resources and seasonal rhythms. Economically, Bhagwati Meher sustains her livelihood through local markets while negotiating challenges such as customer preference and rising prices. Her work has been presented at exhibitions/fairs. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Kamala Kumari Mishra is a 73-year-old appliqué artisan based in Mishrasahi, Puri district, Odisha. She began learning the craft at the age of 25 through close observation and long-term engagement with materials and processes within her neighbourhood environment. Unlike strictly hereditary transmission, her learning emerged through proximity and community-based exchange, particularly under the guidance of Purna Chandra Mishra, a State Design Awardee and her neighbour, whose practice played a formative role in shaping her understanding of appliqué work. Working primarily with textiles, thread, needles, and hand-stitching techniques, her practice reflects a deep familiarity with traditional chandua making and related appliqué forms associated with Puri’s craft traditions. Her work moves across decorative, domestic, and ritual contexts, sustaining the visual vocabulary and manual precision associated with older forms of appliqué production in the region. Over the course of her career, her contribution to the craft has been recognised through several honours, including the State Award Merit in 1999. Her practice reflects decades of sustained labour and engagement with appliqué traditions at a time when changing market structures, mechanisation, and shifting generational interests continue to reshape the craft landscape. Through her work, she remains part of a longer continuum of artisan knowledge sustained through neighbourhood networks, observation-based learning, and lived practice.

Kabindra Mohanty is a 52-year-old appliqué artisan based in Mishrasahi, Puri district, Odisha. He began learning the craft around the age of 24 while practicing at the Puri Handicrafts Society, developing his skills through observation, long-term engagement, and sustained experimentation with materials and design. Unlike strictly hereditary modes of learning, his entry into the craft reflects the role of institutional and community-based spaces in shaping contemporary artisan practices. His appliqué work is closely connected to everyday visual culture in Puri, with many motifs and forms emerging from scenes of daily life, local environments, and familiar social contexts. His practice extends into household and decorative applications such as home décor, screen doors, and bed mattresses, reflecting the movement of appliqué beyond ritual production into domestic and commercial spaces. Economically, his livelihood is sustained through local markets, exhibitions, and festivals, while his work continues to negotiate challenges related to material availability, competitive markets, and shifting generational engagement with craft labour. His contribution to the field has received significant recognition, including the National Merit Award and the State Designer Award in 1997, along with inclusion in the Limca Book of Records. His practice reflects a sustained commitment to both innovation and continuity within Odisha’s appliqué traditions.

Jagannath Moharana is a 35-year-old appliqué artisan based in Bhakarsahi, Banamalipur, Khordha district, Odisha. He learned the craft through family-based transmission, developing his skills through observation and long-term engagement within household production environments. His practice reflects inherited knowledge systems shaped through repetition, labour, and intergenerational learning. Working with textiles, thread, and hand-based stitching techniques, he produces appliqué objects intended for everyday domestic use, including decorative and functional household textiles. His work reflects the regional character of appliqué traditions in Khordha, where craft production often exists outside large ritual economies and remains closely tied to local forms of living and utility. His livelihood is sustained through local markets, Utkalika, and regional exhibitions and fairs. At the same time, his practice continues to negotiate challenges linked to material shortages, changing consumer demands, and the declining participation of younger generations in hereditary craft occupations. His work reflects the persistence of regional craft knowledge within shifting social and economic conditions.

Promodini Moharana is a 54-year-old appliqué artisan based in Bhakarsahi, Banamalipur, Khordha district, Odisha. She learned the craft through family-based transmission and long-term engagement within the domestic workspace, where making is integrated into everyday life and shared labour. Her practice reflects continuity within a generational craft tradition sustained through observation, repetition, and collective participation rather than formal instruction. Working primarily with textiles, thread, and hand stitching techniques, she contributes to the production of domestic appliqué objects such as decorative hangings, screen coverings, and padded household textiles. Within her practice, craft functions not only as livelihood but also as a form of continuity embedded within the rhythms of home and community life. Her work circulates through local markets, Utkalika, and regional exhibitions and fairs, forming part of a broader craft economy connected to Khordha district. At the same time, her practice remains shaped by challenges including fluctuating material costs, market competition, and changing aspirations among younger generations. Her sustained engagement reflects the important role women play in maintaining continuity within household-based craft systems.

Sanam Bibi is a 45-year-old appliqué artisan based in Pipili, Puri district, Odisha. She began learning the craft at the age of 20 through family-based learning. Her practice combines machine-based and hand processes, using fabric, thread, and basic tools. Her work is oriented more toward everyday and market contexts rather than strictly ritual production. Like others in the region, her practice is shaped by ongoing challenges including material availability, market competition, and infrastructural issues related to transport and tourism.

Laxmipriya Mahapatra is a 55-year-old appliqué artisan based in Pipili, Puri district, Odisha. She began learning the craft at the age of 25 through family-based learning. Her work continues within the framework of traditional appliqué, circulating through local markets and cooperative systems. Her participation in fairs such as Bali Jatra reflects engagement with regional craft economies beyond the village context. Her practice reflects continuity alongside constraint, shaped by market pressures, material availability, and infrastructural challenges affecting production and sales.

Khetra Mohan Mahapatra is a 58-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 20 within a family tradition. His practice operates across multiple channels, including local markets, cooperatives, and intermediary networks, reflecting a more layered engagement with the craft economy. Despite this wider circulation, his work continues to be shaped by recurring challenges such as raw material shortages, market competition, and declining generational interest. His participation in fairs like Sisira Saras Mela situates his practice within broader craft networks.

Nandini Nayak is a 33-year-old appliqué artisan based in Pipili, Puri district, Odisha. She began learning the craft at the age of 19 within a family-based context. Her practice differs slightly in its reliance on sewing machines, indicating a shift toward faster production methods within domestic and small-scale workshop settings. Working primarily with fabric, her engagement with appliqué is less tied to ritual production and more aligned with everyday or utilitarian outputs. Her work reflects a more recent entry into the craft, shaped by changing production tools and evolving market conditions, while still anchored in inherited knowledge systems.

Umesh Mahapatra is a 45-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 12 through family-based training, continuing a lineage rooted in traditional chandua making. His work involves the use of colourful appliqué fabrics, thread, and mirrors, executed through tools such as scissors, needles, and measuring instruments. His practice spans ritual, festival, and everyday contexts, reflecting the broad applicability of appliqué within both sacred and domestic spaces. Operating primarily through local markets, his work also circulates through regional exhibitions and fairs. However, his practice is shaped by ongoing challenges, including material shortages, market competition, and a visible generational shift where younger members show limited interest in continuing the craft. His participation in exhibitions across cities such as Bhubaneswar, Delhi, and Hyderabad reflects attempts to extend the reach of his work beyond local economies.

Krushna Chandra Meher is a 70-year-old appliqué artisan from Butupalli village in Boudh district, Odisha, and a senior member of the Meher family lineage that has practiced this craft for over a century. As part of an earlier generation of artisans, his work has contributed to sustaining the family’s involvement in the production of ritual objects associated with Danda Yatra. His knowledge of the craft has been transmitted within the family, forming the foundation for subsequent generations, including his son Keshav Meher. His continued engagement reflects the persistence of generational learning and the role of elders in maintaining continuity within the practice.

From Bhuban ,Sushant Sahoo is aged 38. His father, Bhagwat (Baidhar) Sahoo, 77 years old, was also in the same profession of crafting bell metal. Sushant has a team to work for him. In return he provides them with all facilities from raw material to marketing their products to wholesalers. His shala is 15 years old. Sushant and his men work on an agreement basis. The team mostly makes Bhuban bellas (containers) and Sushant sells them to Kundapatna , Kabatabandha Villages of Jajpur district. The working team of Sushant includes Ananda Sahoo (B.1983), Babuli Mohapatra (B.1980), and Bipin Sahoo (B.1980) for now.

Born in 1996, Subhas Sahu is an artisan from Katapalli who works with both Kansa and Pittal. He also has experience in making Gal metal and Neri. Gal is a mixture of Pittal (brass) and Kansa (Bell Metal), while Neri is a lighter metal than Pittal used for creating objects like deities’ beds and decorative items for household use. Subhas worked on various objects, including Bell Metal items, in his daily practice. Now Subhas runs a departmental store.

Sanjib Sahoo is an artisan from Katapalli who works with both Kansa (Bell Metal) and Pittal (brass). He specializes in making thali (plates) . Like many artisans, he believes that eating from Kansa utensils provides medicinal qualities and positivity to health and well-being.

Born in 1973, Ramakanta Sahu is an artisan from Katapalli who started working in Bell Metal craft during his childhood. He hasn't taken any formal training in the craft but has gained expertise through experience, becoming a master craftsman in the polishing phase of production. Notably, Ramakanta does not reuse or repurpose metal from older Kansa objects. He began making Kansa at an early age while learning techniques from his father, Krishnachandra Sahu. Together, they create unique objects such as Kunkhuri and Gutkia among others.

Pradeep has a team of 8 craftsmen working in his shala at Bijepur . He is 62 years old. His father was Jogeshwar Mehena who was a kansa craft practitioner. Dasarathi Mohapatra (B.1975), Chamra Sahu (B.1975), Bhagirathi Mohapatra (B.1979), Ashok Sahu (B.1976), Tarini Pradhan (B.1979), Premanand Mahapatra (B.1990), Ranjit Mahapatra (B1955) and Rabindra Mahapatra (B.1983) are all the members who work with Pradip . These craftsmen have been working together for 39 years. They use 16 kgs of kansa per day to make gini (a pair of clash cymbals) mostly. Their working hours start from 4 am till 10 am . Some of them continue to polish after 10 am as well.

Niranjan Sahoo, born in 1978, has been practicing the craft of Bell Metal for 26 years. His father, a Bell Metal artisan, trained him to continue the family legacy. Niranjan creates 80-90 pieces of thali and thaliya while collaborating with fellow artisans from his Balipatna village: Ramachandra Sahoo, Kartik Chandra Sahoo, Narahari Sahoo, Ganesh Sahoo, and Buddadeb Sahoo. As Niranjan shares, he pursued this craft out of necessity, having no other choice, and following in his father's footsteps was a natural path for him. Buddhadeb does finishing works for Niranjan.

Born in 1962, he closed his shala 20 years back. He sells Kansa utensils on his cycle from door to door. He covers 2-3 villages on a daily basis. His father was a kansa artisan at Bhuban. Murlidhar inherits the knowledge from his father but uses it to inspect, buy the refined products and sell them directly to customers.

Madhusudhan, now 72, has vast experience working in this craft. During his time, the society they formed at Balipatna used to provide material to the artisans and received the finished products to sell. With a proportion of 1kg copper and 280 gm of tin quality kansa products were achieved. Earlier parakala or bhanra was used to etch designs on utensils for which at least two people were required but now a times fulakata chheni is used to design them. The Kansari community used to mark their teeth using parakala to embrace their community.

Jayanta Sahoo, born in 1980, is engaged in both the production and finishing of Kansa objects at Balipatna . His wife, Mohini Sahoo, assists him in making Bell Metal. He shares that, historically, after marriage, the artisan community often moves from one village to another, and women from the mansard communities traditionally join their husbands in crafting Kansa. This exchange among clusters leads to the development of new patterns and stylistic approaches in the creation of their craft objects.

Born in 1970, Gopal Maharana manages a 40-year-old shala in the bell metal cluster of Luni Village. In this process, Suresha Sahu and Sudhakara Sahu collaborate with Gopal Maharana to create bell metal objects. In his shala, they primarily produce tatiyas (small bowl) in the current times.

Born in 1953, Chandan Kumar Sahoo is one of the oldest artisans from the bell metal cluster of Indipur Village. His father, Rabi Narayan Sahoo, was a pioneer in the art of bell metal. Historically, they have produced belas (bowls) and tatiya (small bowl). Rooted in their legacy, the family has a century-long history of dedicated work in developing this craft. Currently, some artisans support them in running their shala. Chandan and his family have also created new items while experimenting with the composition of bell metal utensils to make them affordable for everyone.

Banabihari Mahapatra is now an 80-year-old artisan from the Kontilo cluster. His father, Harekrushna Mahapatra, was also a Kansari who had transferred the knowledge to his son. Banabihari has made several bell metal objects throughout his artisanal journey, but he stopped making kansa work when he was 68 because of several health reasons.

Born in 1968, Ananda Sahoo has 30 years of experience and oversees four artisans assigned to various phases of production. He and his teammates work for Mahanjans at Bargarh and Katapalli. Collectively, they produce 20 thalis (Plates) and 12 thalias (Plates) daily. He is from Katapalli. Nilachal Sahoo, Rajendra Sahoo, Biswanath Sahoo work with Ananda in his shala.

Aditya, born in 1975, says there is the need of minimum 3-4 people ideally for making one tasko(types of bowl). The kansa work is not operated in the rainy season as the metal reacts with the moisture and becomes red, killing the shine of the metal. Per day they make 8 pieces of taskos with 3 craftsmen working. If they gather as 5 men, they can construct upto 20 pieces per day. Mostly 3 types of taskos are made. They are big, medium and small tasko gina. Baithi were also made up here in Ganesh Nagar.

Annapoorna Dei is a textile artisan based in Ganja Block, Baleswar district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Annapoorna Dei sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Sasmita Ojha is a textile artisan and master crafter based in Pippalmadhab, Jagatsinghpur district, Odisha. She began learning the craft a decade ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needles, threads, sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Sasmita Ojha sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Parvati Tarai is an artisan and master crafter based in Gandikpur village, Jagatsinghpur district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needle, thread, sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Parvati Tarai sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state through the self-help group. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Susmita Nayak is a 40-year-old textile artisan and master crafter based in Laikera Block, Jharsuguda district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Susmita Nayak sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Sarita Mallick is a 40-year-old textile artisan and master crafter based in Phulbani, Kandhamal, Odisha. She began learning the craft during adolescent years through self-learning and later through community mentorship, acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machine, her practice reflects self acquired knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Sarita Mallick sustains their livelihood through local markets, collectives, intermediaries and institutional collaborations while negotiating challenges such as material scarcity, market pressures, or showcase opportunities. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Rina Sahu is a 32-year-old pandal artisan based in Narsinghpur, Jajpur district, Odisha. She began learning the craft after her marriage through self-learning, family apprenticeship and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Rina Sahu sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at temples/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Santilatha Bora is a 35-year-old textile artisan based in Kabinpur, Jajpur district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needles, thread and sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Santilatha Bora sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Niranjan Meher is a 40-year-old textile applique artisan based in Butupali, Boudh district, Odisha. They began learning the craft at the age of seven through family apprenticeship, acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines and needles, his practice reflects inherited knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to ritual, ceremonial, or everyday use, shaped by local resources and seasonal rhythms. Economically, Niranjan Meher sustains his livelihood through local markets. Collectives, intermediaries while negotiating challenges such as material scarcity, market pressures, and customer preference. His work has been presented at exhibitions/fairs in the district. Committed to the continuity of the tradition, they emphasize the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Loknath Mohapatra is a 40-year-old appliqué artisan based in Puri, Odisha, belonging to the Darji Sevayat Nijog associated with the Jagannath Temple tradition. He began practicing the craft at the age of 15, continuing a generational lineage of artisans engaged in ritual service connected to Lord Jagannath and the annual Rath Yatra. His son has also recently begun participating in the practice, reflecting the continuation of hereditary knowledge within the family. Around fifteen related families from the same lineage are currently involved in this work in Puri. His practice is closely tied to ritual obligations rather than market production. Within the family, only male members participate in temple-related service traditions. The work involves the preparation of chandua and other ritual appliqué textiles used for different parts of the ratha, including batha, dwaraghoda, potol, and mandini, which are later assembled into a larger ceremonial structure. A large chandua is also prepared for the interior of the chariot. In addition to chandua, the family also produces ritual objects such as chhatri, bana, tarasa, and bimana used in temple processions and ceremonial adornment. Knowledge is transmitted within the household through observation and participation, gradually leading younger members into service. According to Loknath, the craft follows prescribed ritual conventions, leaving little room for alteration or experimentation in form and design. Earlier, many of these ritual textiles were produced using pure silk pattavastra. The family remains engaged throughout the year in a range of ritual occasions and festival cycles associated with the Jagannath tradition, including Snana Purnima, Akshaya Tritiya, Chandan Yatra, Dol Purnima, and various beshas such as Gajanana Besha, Raja Besha, and Padma Besha. Their work takes place across multiple locations depending on ritual requirements, including within the temple complex, temple offices, homes, and associated mathas. Unlike market-oriented appliqué production in places such as Pipili, Loknath’s practice remains almost entirely dedicated to ritual use for Jagannath temples and religious festivals across Odisha.

Kabita Das is a 50-year-old appliqué artisan based in Uaril, Cuttack district, Odisha. She began learning the craft at the age of 20 through generational transmission, acquiring her skills through observation, repetition, and sustained engagement with materials within the household and community environment. Her practice reflects inherited knowledge systems shaped through everyday labour while also adapting to changing market conditions and contemporary modes of production. Working primarily with textiles, thread, needles, and hand-based stitching techniques, her appliqué practice is closely connected to everyday domestic life. The objects produced within her workshop include home décor items, screen doors, bed mattresses, and other functional textile forms that move between utility and decoration. Unlike craft traditions tied directly to ritual economies, her work remains embedded within local systems of everyday use and regional circulation. Economically, her livelihood is sustained through local markets as well as exhibitions and craft fairs that extend the visibility of her work beyond the immediate community. At the same time, her practice continues to negotiate challenges linked to material scarcity, fluctuating demand, market competition, and shifting generational interest in craft-based livelihoods. Her sustained engagement with the craft reflects both continuity and adaptation, shaped by decades of labour and a commitment to transmitting knowledge to younger generations within changing social and economic conditions.

Gagan Moharana is a 70-year-old appliqué artisan based in Bhakarsahi, Banamalipur, Khordha district, Odisha. He learned the craft through hereditary transmission and has spent decades practicing and sustaining appliqué traditions rooted within the community’s domestic and social life. His knowledge reflects long-term engagement with materials, techniques, and local systems of production shaped through repetition and experience. Using textiles, thread, and hand-based stitching processes, his work focuses on appliqué objects intended for household and decorative use. Within the regional context of Khordha, the craft extends beyond ritual associations and remains closely connected to everyday forms of utility and domestic aesthetics. His work circulates through local markets, Utkalika, and regional exhibitions and fairs. Across his career, he has received recognition through various honours and presentations acknowledging his contribution to the craft tradition. His practice today reflects both continuity and endurance, sustained despite changing markets, material pressures, and growing uncertainty surrounding the future participation of younger generations in hereditary craft occupations.

Kailash Chandra Moharana is a 63-year-old appliqué artisan based in Bhakarsahi and Banamalipur in Khordha district, Odisha. He belongs to a long-standing artisan lineage and learned the craft through generational transmission within the family and community environment. His knowledge has been shaped through decades of practical engagement with materials, tools, and locally embedded production systems. His practice centres around hand-stitched appliqué work using textiles, thread, needles, and related tools to create household and decorative textile objects. The craft in this region functions within a domestic and social framework where appliqué is integrated into everyday life through objects such as screen coverings, bedding elements, and interior decorations. His work circulates through local markets, Utkalika, and various exhibitions and fairs, contributing to the regional visibility of the craft tradition. Across his career, he has received recognition through exhibitions and honours that acknowledge his contribution to sustaining the practice. His work today reflects the persistence of inherited knowledge amidst changing material conditions, economic pressures, and concerns regarding the future continuity of the craft among younger generations.

Bibhuthi Moharana is a 30-year-old appliqué artisan based in Bhakarsahi, Banamalipur, Khordha district, Odisha. He began learning the craft at the age of 18 through generational transmission, acquiring skills through observation, repetition, and sustained engagement with materials within the household environment. His practice is rooted in inherited knowledge systems while also reflecting gradual adaptations shaped by changing market demands and contemporary production conditions. Working primarily with textiles, thread, and hand tools such as needles and scissors, his appliqué practice extends beyond ritual contexts into everyday domestic use. Objects produced within the community include home décor elements, screen doors, bed mattresses, and other functional textile forms that remain embedded within local patterns of living. The craft in Bhakarsahi and Banamalipur differs from the highly ritual-oriented production associated with Pipili, functioning instead through a closer relationship with household utility and regional markets. Economically, his work circulates through local markets, Utkalika, exhibitions, and craft festivals. Like many younger artisans, he negotiates challenges related to raw material availability, competitive pricing, and shifting generational interest in continuing the practice. His work reflects an ongoing effort to sustain inherited craft knowledge while adapting to contemporary economic realities.

Jumna Khan is a 38-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 20 through family-based training in traditional chandua making, continuing a practice shaped through generational transmission and long-term engagement with appliqué production. His work combines hand and machine-assisted processes, using fabrics, scissors, needles, and sewing machines as part of a hybrid production system that responds to contemporary market demands. While rooted in the visual language of traditional appliqué, his practice extends beyond strictly ritual contexts into decorative and utilitarian objects intended for wider circulation. His products include appliqué lamps, decorative textiles, umbrellas, and customised craft objects designed for domestic and commercial use. Over the years, he has participated in workshops, seminars, and training programmes connected to craft development and artisan networks. His work has circulated through exhibitions and market platforms across Odisha, Delhi, and other regional craft events, reflecting an active engagement with broader handicraft economies. Through these networks, his products have reached both domestic and wider commercial audiences, including online and institutional platforms. His practice also reflects a broader shift within Pipili’s appliqué tradition, where artisans increasingly negotiate between hereditary craft knowledge and contemporary market expectations. Alongside ongoing challenges related to raw material costs, competition, tourism fluctuations, and infrastructural constraints, his work demonstrates an effort to sustain the craft through adaptation, diversification, and expanded modes of circulation.

Truptimayee Darjee is a 33-year-old appliqué artisan based in Pipili, Puri district, Odisha. She began learning the craft at the age of 25 through family-based training. Her practice incorporates both appliqué and jute, indicating a diversification of materials and products within contemporary craft production. Her work spans ritual, social, and everyday uses, reflecting adaptability within the craft. Engaged with local markets, cooperatives, and intermediaries, her practice is shaped by similar constraints faced across the region, including raw material shortages, competition, and infrastructural limitations.

Santosh Mohapatra is a 33-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 11 through family tradition. His work is primarily distributed through local markets and cooperative networks, reflecting a semi-structured production and sales system. His participation in fairs such as Toshali and Sisira Saras Mela indicates an engagement with state-supported platforms for craft circulation. His practice reflects the ongoing negotiation between traditional knowledge and contemporary market demands, shaped by infrastructural challenges and shifting economic conditions.

Trinath Mohapatra is a 63-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 10 through family-based training in traditional chandua making. His practice engages with ritual, festival, and daily-use objects, produced using appliqué fabrics, thread, and mirror work. The tools and techniques remain consistent with earlier generations, reflecting a continuity of manual processes within the craft. His work is primarily distributed through local markets, while also extending to platforms such as the Surajkund Mela. His practice continues to be shaped by material shortages, competitive pressures, and broader shifts in labour, including reduced participation from younger generations.

Madhusudan Meher is an appliqué artisan based in Butupalli village, Boudh district, Odisha. He learned the craft from a local master artisan belonging to the lineage of Khairu Meher, rather than through direct family inheritance, marking a slightly different mode of knowledge transmission within the village. Now approximately 70 years old, his practice reflects both continuity and variation within the craft tradition. He produces similar ritual objects as other artisans in the region, contributing to the collective production associated with Danda Yatra. Currently, his son and daughter-in-law are also engaged in the craft, continuing the lineage of practice. His work highlights the role of local masters and community-based learning in sustaining the craft beyond strictly familial lines.

Born in 1962, Surendra Sahoo from Katapalli specializes in crafting baithi khuri . He makes 4-5 varieties of baithi khuri in different sizes, with the lower part made using the lost wax technique. Dhirendra Sahoo, 55, is Surendra's brother, who assists in making these objects, and the two work together. Furthermore, they do not use the traditional pichoo (tar) technique for polishing, instead relying on an array of about 15 different tools designed specifically for polishing bell metal objects.

Sonakar Sahu, a renowned bell metal artisan from Balakati, hails from a long line of kansaris. Trained by his father, he is especially known for his intricate designs on thalis and kansa plates. His detailed craftsmanship reflects both devotion and heritage, making his work highly valued in rituals and homes alike.

Born in 1977, Sadhucharan runs a shala in Balipatna, where he is accompanied by five other artisans. Each phase of development in the crafting process is assigned to an individual. Prasant Prusty (age 32) handles only the polishing of the object, while Hamant Sahoo (age 30) is dedicated to the beating phase of the craft-making process. Similarly, Surendra Kumar Sahoo (age 47), Sadhucharan's cousin, specializes in the finishing stage of making Kansa. Now Sadhucharan is a Mahajan (local merchant).

Purna Chandra Sahoo, an 80-year-old artisan from Katapalli, migrated from Tarbha village in the Sonepur district with his family to become bell metal craft cutters. Although he has worked for a long time, Purna Chandra has been actively creating since 1995 due to various reasons.

Prabhakar uses a technique of 1kg copper mixed with 275 g of tin in his shala which is 25 years old. Prabhakar is 48 now. Ucchap Sahoo,(B.1960), Mahendra Behera (B.1986) Chturbhuja Sahoo,(B.1997),Parashuram Sahoo,(B.1992) work with Prusty here at Balipatna . On an average 42-54 thalis are made per day viable to the weight. They make thalia, gahariya kansa , thali, etc..

Born in 1963, Nandalal Sahu, an experienced artisan from the Katapalli cluster, handles both commission work and substantial orders. As an artisan, he creates a specific type of plates named after their size variations, including local names such as Seri, Gabru, and Majli. Additionally, he produces a typical thali that he calls Bengali Thali. Most of his work is sold to Bargarh, and he takes commissions accordingly. Nandalal is also retired school teacher and is the former president of kansari samaj in Katapalli.

Manika Sahoo is an artisan from the Balipatna craft cluster of Bell Metal. She has never received any formal training in drawing or detailing; instead, Manika is a dedicated artisan who draws designs on thalis and other items. She has learned her craft over the years and mastered her artistic skills, adding a personal touch that makes her work unique and individual. She has been working for the last four years and expects to continue learning and expanding her artistic abilities through drawing skills.

Born in 1971, Kailash Chandra Sahoo is an artisan from Balipatna, specializing in making thalis (plates) and thaliya (plates). He has been working in this field for more than 40 years. Throughout his artisanal journey, he has worked with both Pittal (Brass) and Kansa (Bell Metal). He is one of the artisans from the community who loves his work and is dedicated to it. As he says, Kailash aims to continue making Kansa in the coming years and to keep creating as long as his physical strength allows.

A 65-year-old artisan from Bhuban, Odisha, Ishwar is one of the last custodians of a 150-year-old family tradition of kansa (bell metal) craftsmanship. Son of Shankar Sahoo, he runs a small workshop with two assistants, producing traditional utensils like tatiya (small bowl) and thaliya (plate) using a copper and tin alloy. He makes 8-12 pieces of products every single day using 5 kgs of kansa. Pathani Prusty, 65, works with Ishwar at his shala. Chayakanta Sahoo and Rabi Narayan Sahoo also work for Ishwar Chandra.

Gangadhar Sahoo, born in 1970, Balipatna, specialized in intricate designs on Kansa objects. Initially a Kansari who crafted the objects, he later transitioned to focus on the final detailing of Kansa craft. Despite lacking formal training in art or design, Gangadhar's drawing skills have developed over time with precision and excellence. As he describes it, his hands are the tools, and his brain directs the creation of fine lines. In his art, he incorporates motifs like birds, fish, and flowers. As an artisan dedicated to the detailing phase, he employs specific tools, such as Samdani and Golonei, as part of his crafting process.

Bijay is 40 years old and has been working since he was 20. He makes thalis(plates). He had been working in others' shala and after gaining the knowledge he started his own shala at Bijepur. He also had inherited the techniques but still went out to experiment and gain more experiences which helped him create the marvels today.

Balakrishna (B.1992) has been working for the last 5 years , making thali, thaliya, kansa,. Balakati kansa also known as Mangala kansa and is used for mangal Arati of Lord. They use a small amount of aluminium to cast the kansa from the mould in Jagamohan Village.

Anand Sahu, a 55-year-old veteran bell metal artisan from Balakati, has devoted 45 years to the craft. He skillfully creates thali, ghanta, and gol kansa, essential to Odisha’s rituals and households. His decades of dedication preserve the traditional art form, inspiring younger generations to value and continue this cultural legacy.

Jharna Guru is a textile artisan based in Parbatipur village, Nimapada Block, Puri district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needles, thread, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Jharna Guru sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Pranati Das is a textile artisan and master crafter based in Kuruda, Baleswar district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Pranati Das sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Haripriya Sethy is a textile artisan and master crafter based in Ahana village, Jagatsinghpur district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as needles, thread, sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Haripriya Sethy sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. Her work has been presented at exhibitions/fairs across the state along with the self help group she is a part of. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Rajalakshmi Ranarahu is a textile artisan and master crafter based in Chhand village, Kendrapara district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, her practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Rajalakshmi Ranarahu sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. She and her Self-help group have been presented at exhibitions/fairs across the state. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Jyotsna Bhoi is a forty-four-year-old textile artisan and master crafter based in Kathabala, Jharsuguda district, Odisha. She began learning the craft a couple of decades ago through self-learning and community mentorship, acquiring skills through observation and sustained engagement with materials. Working primarily with locally available textiles and tools such as needle and thread, her practice reflects acquired knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Jyotsna Bhoi sustains her livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market preference. Her work has been presented at exhibitions/fairs across the country. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Susuma Maharatha is a 40-year-old textile artisan and master crafter based in Phulbani, Kandhamal district, Odisha. She began learning the craft a decade ago through community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machine, her practice reflects practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use shaped by local resources and seasonal rhythms. Economically, Susuma Maharatha sustains her livelihood through local markets and collectives as well as intermediaries and institutional collaborations while negotiating challenges such as material scarcity, market pressures, or customer preference. Committed to the continuity of the tradition, she emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Galak Sahu is a 45-year-old pandal artisan based in Narsinghpur, Jajpur district, Odisha. He began learning the craft during adolescent years through self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles, paper and tools such as sewing machines, his practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Galak Sahu sustains his livelihood through working for master artisan Pankaj Sahu. Their work has been presented at temples/fairs across the state. Committed to the continuity of the tradition, he emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Surender Meher is a 40-year-old textile artisan based in Butupali, Boudh district, Odisha. He began learning the craft a couple of decades ago through family apprenticeship, self-learning and community mentorship acquiring skills through observation and sustained engagement with materials. Working primarily with textiles and tools such as sewing machines, his practice reflects acquired and practiced knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to everyday use, shaped by local resources and seasonal rhythms. Economically, Surender Meher sustains his livelihood through local markets, collectives, intermediaries, institutional collaborations while negotiating challenges such as material scarcity, market pressures, or market demands. His work is sold primarily in Boudh and surrounding areas. Committed to the continuity of the tradition, he emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Bharat Meher is a forty-year-old textile applique artisan based in Botupali, Boudh district, Odisha. He began learning the craft during childhood through family apprenticeship, self-learning and community mentorship, acquiring skills through observation and sustained engagement with materials. Working primarily with textiles, thread and mirrors and tools such as sewing machine and needles, his practice reflects inherited knowledge alongside adaptations developed over time. The craft holds cultural and social significance within its community and is closely tied to ritual such as use of chandua, ceremonial use such as Danda yatra Chottri, or everyday use, shaped by local resources and seasonal rhythms. Economically, Bharat Meher sustains his livelihood through local markets, collectives, intermediaries while negotiating challenges such as material scarcity, market pressures, cost metrics or customer preference. His work has been presented at district level exhibitions/fairs. Committed to the continuity of the tradition, he emphasizes the importance of transmitting skills and knowledge to younger generations while responding to contemporary conditions.

Sanjukta Bishoyi is a 49-year-old appliqué artisan based in Phulbani, Kandhamal district, Odisha. She has been practicing the craft for nearly 25 years, developing her skills through long-term engagement with appliqué work and community-based learning systems. Her practice extends beyond production into training and skill transmission. Over the years, she has trained nearly ten batches of artisans, many of whom continue to work in appliqué today, including people from nearby villages and tribal communities. Her workshop, established in 2016, functions as both a training centre and production space, where learning and making take place simultaneously. Training programmes are usually conducted over a six-month period through government-supported initiatives, with raw materials often provided institutionally. Working primarily with textiles, needles, and thread, she produces appliqué-based household and utility objects such as pillow covers, sofa covers, tablecloths, patchwork items, and school uniforms. Much of the work continues to be hand-stitched rather than machine-made, reflecting the persistence of manual processes within the craft. Her products circulate through exhibitions and markets in places such as Cuttack, Bhubaneswar, and Kandhamal, alongside state-supported platforms connected to ORMAS and other government initiatives. Her practice also reflects the changing economic realities of regional craft production. Earlier dependent on dealers and middlemen, she gradually shifted toward more direct forms of sale after facing financial losses through intermediary networks. Raw materials are now sourced from Bhubaneswar, Cuttack, and Pipili. Her work represents a sustained engagement with appliqué as both livelihood and community-based practice, shaped by training, adaptation, and local networks of making.

Sujit Kumar Mahapatra is a 39-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 20 through family tradition and ancestral learning, continuing a lineage associated with traditional chandua making. His primary practice remains rooted in appliqué work, produced through hand-based processes using tools such as scissors, sewing needles, measuring tape, and pencils. Alongside his in-house appliqué production, he is also engaged with the sale and circulation of other craft forms, including jute-based products sourced from different regions and artisan networks. Operating through his shop, Sumit Appliques, he functions not only as a maker but also as an intermediary within a wider craft economy, where objects from multiple traditions circulate through a shared commercial space. This layered role reflects the changing structure of contemporary craft livelihoods in Pipili, where artisans increasingly combine production, retail, and aggregation practices to sustain income. His work moves across ritual, social, and everyday contexts, while circulating through local markets, cooperative societies, intermediaries, and institutional support systems. He has participated in exhibitions and fairs such as Toshali and Bali Jatra Mela, extending the reach of his practice beyond the village. Like many artisans in the region, his practice is shaped by infrastructural and economic pressures, including tourism-related challenges, transport constraints, and increasing market competition. His work reflects the ongoing negotiation between inherited craft knowledge, changing market structures, and the broader networks through which contemporary handicrafts circulate.

Anjana Moharana is a 68-year-old appliqué artisan based in Bhakarsahi, Banamalipur, Khordha district, Odisha. She learned the craft through generational transmission within the household, acquiring skills through observation, repetition, and everyday participation in shared making practices. Her decades-long engagement with the craft reflects the often under-recognised role of women in sustaining continuity within domestic craft traditions. Working with textiles, thread, and hand stitching techniques, her practice contributes to the making of household appliqué objects such as decorative hangings, screen coverings, and bed-related textiles. The craft remains deeply embedded within domestic rhythms, where making unfolds alongside caregiving, household responsibilities, and collective family labour. Her work circulates through local markets, Utkalika, and exhibitions and fairs across the region. In 2005, she received the State Award in recognition of her contribution to the appliqué tradition. Her practice reflects a lifetime of sustained labour and knowledge transmission, while also engaging with contemporary challenges such as market competition, material constraints, and changing generational aspirations.

Abhaya Kumar Moharana is a 62-year-old appliqué artisan based in Bhakarsahi, Banamalipur, Khordha district, Odisha. He began learning the craft within a hereditary framework, acquiring knowledge through continuous involvement in household production practices from an early age. His work reflects decades of experience shaped by repetition, manual precision, and close familiarity with materials and techniques. Using textiles, thread, needles, and hand-based stitching processes, his practice is centred around functional and decorative appliqué objects used within domestic spaces. Unlike temple-oriented craft systems tied directly to ritual economies, the appliqué traditions practiced in this region are closely linked to everyday life and local patterns of use. His livelihood depends on local markets, state-supported craft outlets such as Utkalika, and participation in exhibitions and fairs. Over the years, his work has received recognition through various honours and public presentations, reflecting his long-standing contribution to the craft tradition. His practice today stands at the intersection of continuity and uncertainty, shaped by market pressures, rising production costs, and concerns regarding generational continuity within the craft community.

Shekh Abdul Jahir is a 46-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 19 through family-based training. His practice is primarily machine-assisted, working with fabric to produce appliqué objects for everyday and market contexts. His work reflects a shift toward efficiency and speed within contemporary production systems. Operating within local markets and cooperative networks, his practice continues to be shaped by material constraints, competition, and infrastructural challenges affecting the circulation of craft objects.

Debasis Mahapatra is a 30-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 14 through family tradition. His work engages with traditional chandua making using appliqué fabrics, thread, and mirror elements. His practice spans ritual, social, and everyday contexts, reflecting the continued relevance of appliqué across multiple domains. He operates across a wider network that includes local markets, cooperatives, intermediaries, and institutional support systems. His practice reflects both continuity and transition, shaped by market competition, material shortages, and shifting generational engagement.

Tofan Swain is a 56-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 20 and identifies as largely self-taught. Working primarily with fabric and basic cutting tools, his practice reflects an alternative mode of learning within the craft, distinct from strictly hereditary transmission. His work circulates through local markets, cooperative structures, and intermediary networks. Like many artisans in the region, his practice is shaped by market pressures, material constraints, and broader infrastructural challenges affecting craft livelihoods.

Sworna Lata Nayak is a 22-year-old appliqué artisan based in Bhairpur, Khordha district, Odisha. She began learning the craft at the age of 19 through family-based learning. Her practice is primarily machine-assisted, using fabric as the main material. Like others of her generation, her work reflects a shift toward faster production processes, often detached from ritual-specific contexts. Her engagement with the craft is shaped by contemporary challenges, including limited market access and infrastructural issues such as transport and tourism-related constraints, which affect the visibility and sale of her work.

Harasmani Mohapatra is a 60-year-old appliqué artisan based in Pipili, Puri district, Odisha. He began learning the craft at the age of 10 within a family tradition centred on traditional chandua making. Working with appliqué fabrics, thread, and mirror elements, his practice is rooted in established methods of handwork using basic tools such as scissors and sewing needles. His work serves ritual, social, and everyday purposes, maintaining continuity with long-standing applications of the craft. His production is primarily oriented toward local markets, though he has also participated in institutional platforms such as NIFT and KIIT. Like many artisans in the region, he navigates constraints related to raw material availability, market pressures, and declining interest among younger generations.

Arjun Meher is an appliqué artisan based in Butupalli village, Boudh district, Odisha. While his family has been historically engaged in appliqué work, their practice has gradually shifted towards Sambalpuri saree weaving as a primary livelihood. In his current practice, appliqué work is largely seasonal and undertaken during the period of Danda Yatra. Raw materials for weaving are provided by a mahajan (trader), to whom the finished products are returned in exchange for labour charges, reflecting a different economic structure compared to independent production. His son is also involved in the craft, indicating a continued, though shifting, engagement across generations. Arjun’s practice highlights the changing economic conditions in the region, where artisans often move between crafts in response to market demands and livelihood needs.