INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A TION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XII Issue XI November 2025

Fading Impressions: Documentation of Tribal Printed Textiles of

Tarapur and Umdephur, West Madhya Pradesh, India

Dr Anjali Karolia¹, Arooshi Mogha²

¹Retd Prof, Former Head & Dean, Department of Clothing & Textiles, Faculty of Family & Community

Sciences, The Maharaja Sayajirao University of Baroda, India.

²Research Scholar and Empanelled Designer, DC handicraft. Department of Clothing & Textiles,

Faculty of Family & Community Sciences, The Maharaja Sayajirao University of Baroda, India

DOI: https://dx.doi.org/10.51244/IJRSI.2025.12110048

Received: 20 November 2025; Accepted: 30 November 2025; Published: 05 November 2025

INTRODUCTION

India’s traditional textiles embody a profound synthesis of cultural diversity, regional practices, and artisanal

knowledge. Throughout the centuries, the country has nurtured a remarkable legacy of handicrafts produced

entirely by hand, including hand-block-printed textiles, blue pottery, gemstone carving, jewellery, sculpture,

screen printing, and woodcrafts. Among these, hand block printing is one of the most distinctive textile traditions,

practised across India but most prominently preserved in regions that continue to use hereditary techniques. The

desert belt of north-western India—comprising Jaipur, Pali, Chittorgarh,

Mandsaur, Jodhpur, Jaisalmer, Akola, Jawad, Barmer, Sanganer, and Bagru in Rajasthan are celebrated as centres

of vibrant dyed and printed textiles.

Madhya Pradesh, historically referred to as the “heart of India,” is equally significant in the history of hand

printing. Until the creation of Chhattisgarh in 2000, it was the country’s largest state and is renowned for its

architectural and cultural heritage, encompassing sites such as Khajuraho, Mandu, Ujjain, and Gwalior.

Alongside its monuments representing Hindu, Islamic, and Buddhist traditions, Madhya Pradesh is also

distinguished by its handicrafts, each bearing the state’s distinct cultural identity.

The Malwa region of western Madhya Pradesh, once a flourishing centre of cotton printing, has gradually

declined and is now almost forgotten in mainstream accounts of Indian textiles. Techniques such as direct dyeing,

resist printing, and discharge methods were widely practised in this region. Jawad gained international

recognition for exporting the renowned Jazams. Today, only a few villages—most notably Tarapur and

Umdephur in Neemuch district, continue to preserve this legacy of block printing. Historically under princely

rule, these settlements gained a reputation for their expertise in textile production. Geographical advantages,

such as proximity to the Gambhiri River, moderate climate, and extensive open plains for fabric drying,

contributed to the growth and prosperity of the craft. For generations, dyeing and printing remained the primary

occupations of the local population.

Among the most enduring traditions of this region are the Nandana and Jawariya Dana prints, practised for nearly

600 years. Produced by the Chhipa community, these textiles were traditionally worn by tribal groups as odhni,

lugda, ghaghra, pagdi, safa, and angochi. Their motifs, colours, and techniques symbolised the cultural identity

and social life of the tribal populations of the Nimar region. Once a standard part of tribal attire, the craft has

now dwindled to a few families in Tarapur, Umdephur, and Athana near Jawad.

In recent years, artisans have adapted to changing markets by introducing variations in raw materials and

expanding their production to include saris, bed covers, and other textiles. These innovations have given the craft

some renewed visibility. However, the practice continues to face serious challenges, including a lack of

recognition, declining numbers of skilled practitioners, and competition from faster, mechanised printing

techniques. Research on Indian printed textiles has mostly focused on well-known centres like Ajrakh, Bagru,

Sanganer, and Rajasthan’s traditional prints. In comparison, very little published work is available on the printing

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ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XII Issue XI November 2025

traditions of West Madhya Pradesh. Most sources mention Nandana and Jawariya only briefly, without detailed

documentation of their processes, motifs, or the communities that practise them.

Because of this gap, the textiles of Tarapur and Umdephur remain largely absent from mainstream craft literature.

This study helps fill that space by recording the craft directly from artisans and by documenting the steps, tools,

and cultural meanings that earlier studies have not covered in detail.

The present study documents and critically examines the traditional printed textiles of Madhya Pradesh, with a

particular focus on Nandana and Jawariya prints. It explores their origins, historical development, raw materials,

processes, motifs, and colour symbolism, while also analysing the socio-economic conditions of the artisans.

Placing these traditions within the broader narrative of Indian textile heritage, the research aims to support their

revival, generate awareness, and suggest pathways for sustainable continuity.

Limation of the study-This study has some basic limitations. Only three artisans were included, so the findings

are based on a small group. The research was carried out only in Tarapur and Umdephur, which limits how far

the results can be applied to other areas. The information shared by artisans depends on their personal

experiences and memory, which may not always be complete. Fieldwork was also done within a short time, so

seasonal changes in printing and dyeing could not be observed. These points should be considered while reading

the results.

THEORETICAL FRAMEWORK

This study is guided by three interconnected theoretical perspectives that help in understanding the cultural,

social, and material significance of Nandana and Jawariya Dana printing traditions.

UNESCO’s Intangible Cultural Heritage Perspective-UNESCO’s framework on intangible cultural heritage

emphasises safeguarding living traditions, protecting the knowledge of communities, and ensuring that skills are

passed down to future generations. The printing practices studied here fit within this understanding, as the craft

relies on inherited techniques, community participation, and long-standing cultural meanings. Viewing the craft

through this lens helps explain why documentation, awareness, and transmission are essential for its survival.

Craft Revival Theory-Craft revival theory focuses on how traditional practices can adapt to modern markets

without losing their identity. It recognises that revival depends on innovation, design interventions, fair market

opportunities, and support systems for artisans. This theory is relevant for the present study because the Chhipa

artisans are already experimenting with new fabrics, colours, and collaborations to keep the craft alive. It helps

frame the discussion on how traditional techniques can continue in changing economic and social conditions.

Material Culture Theory-Material culture theory views objects as carriers of cultural meaning, history, and

identity. In this context, Nandana and Jawariya textiles are not just products but expressions of community

memory, social customs, and regional identity. Their motifs, colours, and processes reflect cultural values and

everyday life. Using this perspective helps in understanding the deeper symbolic role of the textiles beyond their

functional use.

Together, these three theoretical approaches help situate the study within broader discussions on heritage,

tradition, cultural continuity, and the changing landscape of handmade crafts in India

RESEARCH METHODOLOGY

This study follows a qualitative research design with the primary aim of documenting the traditional craft

practices of Nandana and Jawariya Dana printing in the villages of Tarapur and Umdephur, situated in Jawad

tehsil of Neemuch district, Madhya Pradesh. The methodology was developed to record the craft's historical,

technical, and socio-cultural dimensions, while also examining its current condition and prospects.

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INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A TION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XII Issue XI November 2025

Fig. 1: Map of Madhya Pradesh showing the location of the study

Research Design-A descriptive and exploratory approach was used to document the craft within its natural

context. Table 1 illustrates the study's methodological design and documents the Nandana and Jawariya Dana

block-printing traditions in the Tarapur and Umdephur villages of Neemuch district, Madhya Pradesh. The

framework outlines a descriptive–exploratory research design, including purposive sampling of three artisans,

the data collection tools (case study, interviews, observation, and photography), and the thematic analysis of the

data. Documentation encompassed textual records, photographic evidence, transcribed interviews, and

structured reports to ensure preservation of the craft knowledge.

Table 1 -Research Methodology Framework

Stage

Details

Descriptive and Exploratory (Qualitative Study)

Tarapur and Umdephur (Jawad Tehsil, Neemuch District, Madhya Pradesh)

Purposive Sampling

Research Design

Study Area

Sampling Technique

• 3 Artisans – 1 Artisan from Tarapur (Nandana) – 2 Artisans from Umdephur

(Jawariya Dana)

• Case Study

Data Collection Tools

Profile Documentation

• Structured Interviews

• Direct Observation

• Photographic Documentation

• Historical Background and Process

• Significance of Colours and Motifs

• SWOC Analysis (Strengths, Weaknesses, Opportunities, Challenges)

& • Thematic Analysis

Data

Analysis

Presentation

• Comparative Case Studies

• Descriptive–Analytical Approach

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INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A TION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XII Issue XI November 2025

• Textual Records • Photographic Evidence

• Transcribed Interviews

Final Documentation

• Thematic Reports

RESULTS AND DISCUSSION

Case Studies of Three Artisans

Block printing is one of the most enduring handicraft traditions of India, sustained by hereditary communities

such as the Chhipas. Despite its cultural richness, the practice faces challenges in the contemporary context due

to fluctuating demand, declining interest among younger generations, and limited economic returns. This paper

presents three case studies of block printers from Tarapur and Umdephur villages in Madhya Pradesh,

purposively selected for their continued use of traditional methods. By examining their socio-economic profiles,

craft practices, and market strategies, the study highlights the current condition of the craft and identifies

pathways for its sustainability.

Craftsman 1: Pawan Gangwar, Tarapur Village

Pawan Gangwar, aged 49, belongs to the Chhipa community and practices Nandana printing. He studied up to

the 12th class and speaks Hindi and Marwari. His family has practised printing for seven generations, with Pawan

himself learning the craft at the age of eight. His family is actively engaged in craft-related work: his wife and

sister practice bandhani, while his two sons assist with printing alongside their studies. Despite this collective

effort, Pawan’s income from printing remains precarious, at about ₹4,000 per month, with a seasonal household

income of ₹10,000–12,000 during the 8–10 months of activity. He owns one printing table, about 4,000 blocks,

and a motorcycle for transport.

Pawan works almost independently, managing all stages from fabric procurement to washing. He prints only

traditional Nandana motifs on mulmul and cotton fabrics, supplying markets in Akola, Indore, and Bhopal, as

well as exhibitions organised by DC Handlooms and Hastashilp Melas. He notes a decline in demand since 2005,

with fewer families engaged in the craft. While deeply attached to the tradition, he hopes his children will pursue

education and alternative employment because of the economic uncertainty in the craft.

Fig 2- Pawan Gangwar (Nanadana Printer)

Craftsman 2: Pradeep Jhariya, Umdephur Village

Pradeep Jhariya, aged 51, also from the Chhipa community, specialises in Jawariya Dana and discharge prints

as shown in Fig. 3. He completed his schooling up to 12th class and lives in a joint family of 12. His wife and

sons support the craft, while four hired workers assist with washing and dyeing.

Pradeep owns a pakka house with modern amenities, travels by motorcycle and car, and rents open space for

washing and dyeing. Fabrics are procured from southern India through middlemen, while dyes are sourced from

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Jodhpur and Jaipur. He is renowned for his expertise in Jawariya Dana motifs, which he primarily prints on

cotton fabric. In recent years, he has expanded his repertoire to include premium materials such as Kota Doria,

Chanderi, and Maheshwari. He maintains about 8,000 blocks and continues to use natural dyes. His products—

bed sheets, yardages, tribal odhni, and saris—are supplied locally during festivals and wedding seasons, as well

as through the Madhya Pradesh Hastashilp Evam Hathkargha Vikas Nigam Limited. He also caters to designers

experimenting with newer collections. While committed to continuing the family tradition, he encourages his

children to seek education and secure additional employment opportunities.

Craftsmen 3: Banwari and Pawan Jhariya, Umdephur Village

Brothers Banwari and Pawan Jhariya, sons of National Award–winning printer Purshotam Jhariya, operate the

Geeta Hand Printing Unit in Umdephur. The Chhipa community has been settled in this village for over 400

years, and the brothers represent the fourth generation of printers.

They live in a pakka house with sufficient space for both residence and a dedicated printing unit. The family

speaks Marwari and owns two motorcycles. Their unit employs eight workers (six men and two women), who

are paid per meter (₹5–10, depending on design complexity). They maintain three printing tables and wash and

dye near the river.

Raw materials are sourced from Bhiwandi and Indore (fabrics) and from Bagh and Jodhpur (dyes, including

indigo, harda, dawada ke phool, alizarin, and pomegranate rind). With a stock of 8,000–10,000 blocks, they

supply both government agencies (e.g., Hastashilp Evam Hathkargha Vikas Nigam Limited) and private

designers, including those in Mumbai. They regularly participate in government-supported exhibitions. Unlike

smaller units, they integrate both natural and synthetic dyes and print on a wide range of fabrics, including cotton,

mulmul, Chanderi, Maheshwari, Khadi, silk, and Kota Doria. While optimistic about the market potential of

Nandana prints, they express concern about declining motivation among youth to engage in the labour-intensive

craft.

Comparative Analysis

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Community and Lineage

All three printers belonged to the Chhipa community, traditionally associated with hand block printing. Their

families have practiced the craft for four to seven generations, underscoring its profound cultural continuity.

Family Involvement

Each case reflects the family-based nature of craft practice. While wives, children, and siblings contribute to

different tasks, generational aspirations vary. Both Pawan Gangwar and Pradeep Jhariya wish for their children

to prioritise education and alternative jobs, while Banwari and Pawan Jhariya encourage continuity alongside

modern opportunities.

Economic Conditions



Pawan Gangwar operates at a small, household level with modest earnings (₹4,000 per month from

printing).



Pradeep Jhariya sustains a semi-commercial unit with better assets and moderate expansion into new fabrics.

Banwari and Pawan Jhariya manage a structured unit with hired workers, broader markets, and diversified

products, positioning them at the most stable end of the spectrum.

Infrastructure and Resources

Infrastructure ranges from Pawan’s single printing table to Pradeep’s rented workspace with 8,000 blocks, and

the brothers’ professionalized unit with three printing tables and 8,000–10,000 blocks.

Designs, Fabrics, and Markets

While tradition remains central, adaptation varies:



Pawan restricts himself to Nandana motifs on cotton and mulmul.

Pradeep is renowned for Jawariya Dana prints, expanding to Kota Doria, Chanderi, and Maheshwari.

Banwari and Pawan incorporate both natural and synthetic dyes, experimenting with multiple fabrics and

collaborating with designers for contemporary markets.

Government and Institutional Support

The Madhya Pradesh Hastashilp Evam Hathkargha Vikas Nigam Limited supports all three. However, smaller

artisans like Pawan remain dependent on limited orders, while larger units leverage institutional support to reach

exhibitions and designer collaborations.

CONCLUSION AND RECOMMENDATIONS

The case studies highlight both continuity and vulnerability within traditional block printing. Although artisans

remain dedicated to preserving their inherited skills, economic uncertainty and waning interest among younger

generations present serious challenges to their survival.

RECOMMENDATIONS

Policy and Institutional Support



Expand subsidies for raw materials, blocks, and equipment.

Introduce apprenticeship grants to encourage youth participation.

Strengthen artisan cooperatives to improve bargaining power and reduce middleman dependency.

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Design and Innovation



Foster collaborations with designers to reinterpret traditional motifs for contemporary markets.

Document and digitally archive rare motifs to ensure cultural preservation.

Promote eco-friendly natural dyes to align with global sustainability trends.

Market Expansion and Branding



Secure Geographical Indication (GI) status for Nandana prints.

Enhance artisans’ access to online marketplaces and international craft fairs.

Establish artisan-led retail platforms in urban centres.

Skill Development and Education



Integrate block printing into vocational training programs.

Encourage dual career paths that combine craft practice with professional skills such as design, marketing,

and entrepreneurship.

The future of Nandana and Jawariya Dana printing depends on finding the right balance between preserving

traditional knowledge and making thoughtful adaptations to meet current needs. With stronger institutional

support, new design ideas, and better market access, these crafts can move out of their declining state and

continue as living traditions with cultural and economic value.

To support this future, a few practical steps are important. Clear policy support can help artisans access raw

materials, tools, and proper workspaces at affordable costs. Training programmes for younger community

members can also encourage them to learn the craft and bring in fresh ideas. Securing GI tagging for Nandana

prints can give the craft a recognised identity and protect it from imitations. Using online platforms can help

artisans reach a wider market and reduce dependence on middlemen. Promoting sustainable practices—such as

the use of natural dyes and careful water management—will also benefit both artisans and the environment.

Together, these efforts can improve the livelihoods of artisans, increase the visibility of the craft, and help ensure

that the tradition continues in the years ahead.

History and Process of Nandana Printing

Historical Context

Nandana refers to a traditional printed fabric historically worn by tribal communities and widows of the Mahajan

community as ghagharas (skirts). The fabric was primarily produced in the Akola and Chittorgarh regions. At

the same time, other items, such as pagdis or saafas (turbans) and angochhas (cloths used for wrapping children),

were also made using similar techniques.

The tradition of Nandana printing dates back nearly 600 years and is attributed to the Chhipa community, who

are considered the custodians of this distinctive craft. Tarapur, a village in Madhya Pradesh, has been recognised

as a major centre of Nandana printing for over 600 years. The term Nandana is often associated with Kala

Ghaghara (black skirt), which denotes the deep indigo base characteristic of these textiles. By the early 1970s,

however, the craft witnessed a significant decline. The migration of tribal communities in search of employment

changed their lifestyles and attire, leading to a decrease in demand for traditional printed garments.

According to oral traditions shared by a master printer, Shri Pawan Gangwar, the Chhipa printers trace their

ancestry to Namdev, a Kshatriya who sought refuge in the temple of Goddess Jhinglamata when Parashuram

embarked on his mission to destroy the Kshatriyas. The goddess, it is believed, blessed Namdev and his

descendants by giving them a wooden printing block (chhapai), thus establishing their identity as printers and

giving rise to the term Chhipa.

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The present-day practitioners of Nandana printing are concentrated in the villages of Tarapur and Umedpura,

situated on either side of the river Gambhiri in Madhya Pradesh. The unique mineral content of the river water

contributes to the vibrancy and richness of the colours produced in this region.

Nandana prints are characterized by a limited colour palette and a repertoire of five primary motifs, each

requiring four blocks. The printing involves three to four distinct stages of dyeing and printing, depending on

the colours used. Traditionally, natural dyes such as alizarin, indigo, pomegranate rind and dhawda flowers were

employed. The base fabric—usually raw, coarse cotton—was first prepared and dyed in indigo (neela). The

motifs were then created using dutta or filter blocks to reserve white spaces, with denser block placement near

the border and more widely spaced patterns across the body of the fabric.

Before the final black dyeing, motifs were block printed with a wax resist (meend), a process exclusively

performed by men, while women carried out the remaining tasks. On average, it takes approximately ten days

to complete one piece of Nandana-printed fabric.

The shift toward cheaper machine-printed textiles has led to the near extinction of traditional Nandana printing

among tribal users. Historically, Javad in Neemuch district served as a major trade centre for both Nandana and

Jawariya prints and was home to around 150 families of printers until the 1960s. Currently, only a handful—

approximately three families—continue the practice in Tarapur and Umdephur. Closely related to Nandana is

the Jawariya Dana print, traditionally used for odhnis (head coverings) worn by the Bhil, Sahariya, and Mandla

tribal communities. The term Jawariya is derived from Jawar (sorghum), reflecting agrarian influences on the

motifs. Among unmarried tribal women, ghagharas featuring the Amba (mango) motif of Nandana were

considered auspicious and were often worn during marriage ceremonies.

Fig 5- Jawariya Dana

Fig 6- Nandana Print

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Process of Printing

The traditional Nandana printing process is elaborate and time-intensive, involving multiple stages to achieve

durable, aesthetically rich results. Historically, heavy, long-lasting cotton fabric was used. The fabric was first

treated with arandi (castor) oil, rubbed in two to three times to ensure complete penetration—earlier repeated up

to seven or eight times for enhanced colour fastness. However, this is no longer economically viable.

A mixture of resin, wax, and oil sourced from Hoshiarpur is applied with intricately carved teakwood blocks

about 4 inches deep. This wax-resist process, which prevents cracking, is used to define the motifs. The fabric

is then treated with harada (myrobalan) solution, serving as both a mordant and a base for a khaki tone.

Subsequent dips in indigo vats —traditionally four to five times —produce the characteristic deep blue-black

tone. In contemporary practice, natural indigo is often replaced by chemical substitutes, with minimal indigo

used to produce large quantities of fabric.

After indigo dyeing, the wax is removed by boiling, and the motifs are reprinted with alizarin to produce red and

pink hues. Finally, the fabric undergoes a series of washes, mordanting, and dye baths to reveal the final palette

of indigo blues, blacks, reds, and yellows.

Efforts are currently underway to revive natural indigo block printing in Tarapur and Umdephur, extending

traditional motifs such as amba (mango) and mirchi (chilli) onto new materials, including cotton and chiffon.

Most stages of the process—washing, printing, and dyeing—are carried out by women, while men perform the

wax application and boiling because of the physical strength and heat required. Each motif is printed multiple

times to achieve precise alignment and colour layering, demanding high concentration and skill.

Given the extensive water requirement and labour intensity, many tribal users and printers have abandoned the

craft in favour of cheaper printed textiles. Only a few artisans continue this traditional practice, while others

have shifted to related techniques such as dabu, batik, and alizarin printing

The sequence of operations may be as in Table 2:

Table 2-Printing Process

Step Process

Materials Used

Castor oil, soda ash

Water, sunlight

Purpose

1

2

3

Fabric Preparation

To soften the fabric and prepare it for printing.

To remove impurities and ensure a clean base.

wooden

To imprint motifs and define design outlines.

Washing and Drying

Initial Block Printing

Carved

blocks, alum, and

natural gum

4

5

First Washing

Water

To remove excess gum and fix motifs.

Alizarin,

flowers

Dhawda

To develop desired red tones in printed areas.

Dyeing for Red Shades

6

7

Starching

Natural gum solution To impart stiffness and prepare for resist work.

Wax, castor oil,

Wax Resist Printing

To preserve white areas in the design.

berja/rajan,

teak-

wood blocks

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Indigo vat (natural or To achieve varying shades of blue through multiple

chemical substitutes) dips.

8

Indigo Dyeing

9

Wax Removal

Soda solution

To remove wax and reveal resisted patterns.

To prepare motifs for subsequent dyeing.

10

11

Overprinting

Lime, gum paste

Boiled pomegranate To create black (with indigo) or yellow/green (with

peels other shades).

Pomegranate Dyeing

Alum solution, soda, To fix colours, finish the fabric, and enhance

12

Final Treatments

water, sunlight, and

iron

durability.

Each motif (butta) requires multiple impressions — often 4 per motif — to achieve the layered colouration. The

process is highly time-consuming and water-intensive, contributing to the decline of the craft as artisans moved

towards faster techniques such as dabu, batik, and alizarin printing.

Fig 7a &b Printing with blocks on tables by women and a Nandana jalam block

Significance of Motifs and Colours

Motifs Nandana traditionally employs five distinct motifs, arranged in a specific sequence according to printer

conventions. In contrast, Jawariya textiles are characterised by four borders with alternating thin and thick dana

patterns. Among the Bhil, Sahariya, and Mandla tribes, Jawariya odhini (veil) was a popular garment, especially

among unmarried women. Skirts with the Amba motif were considered auspicious for marriage ceremonies, as

shown in Figure 8.

Colours. The symbolic use of colours was integral to Nandana and Jawariya printing traditions. In Nandana,

black and blue were dominant background colours, while red and orange highlighted motifs. Jawariya prints

characteristically combined black and maroon. Colours were not merely aesthetic but also reflected cultural

associations and community identities.

Fig 8- Nandana and Jawariya dana motifs

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SWOC Analysis of Nandana Printing

Table 3 presents a structured SWOC (Strengths, Weaknesses, Opportunities, and Challenges) analysis of the

traditional textile printing practice, highlighting its current position, limitations, and potential for future

development.

Table 3-SWOC Analysis of Traditional Printing

Strengths

Weaknesses

Opportunities

Challenges

Unique and distinctive Highly skill-dependent Scope

for

product Restricted market reach,

and mainly confined to local

technique, different diversification

and labour-intensive.

from other textile

traditions.

adaptation to contemporary buyers and government

trends. outlets.

Raw materials are Limited popularity and Awareness creation through Intense competition from

readily available and minimal presence in workshops, exhibitions, faster and more popular

affordable. mainstream markets. and training initiatives. textile traditions.

Eco-friendly processes Restricted range of Collaboration with design Limited awareness among

with minimal use of motifs and lack of institutes

and

craft policymakers and craft

promotion agencies.

chemicals.

product diversification. organisations.

Informal

transmission

families

skill Younger

within show little interest due requirement,

generations Low

investment Long production cycles are

enabling dependent on abundant

water resources.

ensures

to low financial returns. entrepreneurship.

continuity.

Potential for culturally Limited innovation in Potential for integration Seasonal unemployment,

rich and distinctive

designs.

with

techniques to enhance monsoons, and inconsistent

value. quality.

other

printing particularly during the

design and technique.

CONCLUSIONS

The study shows that Nandana and Jawariya Dana printing are not just traditional textile techniques but an

important part of the cultural identity of the Chhipa community in Tarapur and Umdephur. These practices have

continued for almost six hundred years, and the craft has been passed down from one generation to the next.

Through the documentation of processes, motifs, colours, tools, and daily working conditions, the research

highlights how much skill, patience, and inherited knowledge these textiles carry.

However, the study also makes it clear that the craft is going through a difficult phase. Changing market

preferences, competition from machine-printed textiles, irregular income, water scarcity, and limited government

support have all contributed to its decline. Younger community members are less willing to join the craft because

it demands long hours of labour while offering very low financial returns. Despite this, artisans continue to work

with dedication and have made small changes to keep the craft relevant—such as introducing new fabrics,

collaborating with designers, and participating in exhibitions. The findings of this research add to the limited

academic work available on the printed textiles of West Madhya Pradesh. The case studies and field observations

offer insights into how the craft operates today and what challenges the artisans face. This documentation is

valuable for understanding how traditional crafts survive, change, and adapt in contemporary markets.

There is also a clear need for more structured support if the craft has to survive in the long term. Better access

to markets, financial assistance for raw materials, opportunities for training, and recognition through heritage

and policy frameworks can help artisans secure more stable livelihoods. If these measures are taken, Nandana

and Jawariya Dana printing have the potential not only to continue but also to find new relevance in modern

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INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A TION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XII Issue XI November 2025

design and craft sectors.Future research could look at how digital platforms, Geographical Indication (GI)

tagging, or sustainable dyeing methods may strengthen the craft further. More detailed studies on consumer

preferences, environmental impacts, and community-led revival efforts would also be useful.Overall, this

research highlights the importance of preserving these traditional printing practices and supporting the

communities that maintain them. With the right interventions, Nandana and Jawariya Dana printing can continue

as living traditions that reflect the cultural heritage of Madhya Pradesh.

REFERENCES

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Pradesh (Unpublished master’s thesis). The Maharaja Sayajirao University of Baroda, Vadodara, Gujarat.

2. Buch, H. (2007). Documentation on Ajarakh of Gujarat and designing kurtis exploring various

ornamentation styles with other textile crafts of the region (Unpublished master’s thesis). The Maharaja

Sayajirao University of Baroda, Vadodara, Gujarat.

3. Chattopadhaya, K. (1975). Handicrafts of India. New Delhi: New Age International Publishers Limited.

4. Chishti, R., & Jain, R. (2011). Handcrafted Indian textiles. New Delhi: Lustre Press & Roli Books.

5. Craft and Artisans. (n.d.). Hand-block printing of Javad, Madhya Pradesh. Retrieved September 24, 2025,

from http://www.craftandartisans.com/hand-block-printing-of-javad-madhya-pradesh.html

6. Craft Revival. (n.d.). Craft art of India. Retrieved September 24, 2025, from

http://www.craftrevival.org/CraftArt.asp?CountryCode=india&CraftCode=001113

7. Dure, S. (2015). Design expression: Interpretation and redesigning traditional motifs of Ajrakh textile

(Unpublished master’s thesis). The Maharaja Sayajirao University of Baroda, Vadodara, Gujarat.

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