<p>Santoshkumar Chitragar has art running through his veins. The 31-year-old represents the latest<strong> </strong>of several generations of artisans in Koppal’s Kinnal village. His is a story of homecoming, unlike many artisans in his village, who migrated to cities for jobs due to lack of patronage. Santoshkumar quit a well-paying job in Bengaluru to return to Kinnal to revive a languishing native art form.</p>.<p>Over the years, from around 70 artisan families, the practitioners in Kinnal have reduced to 30. Santoshkumar attributes it to low demand. At Kinnal, “the only inheritors of Kinnal craft, a historical artisanal legacy, started seeking government support for livelihood opportunities. This disheartened me. So, I thought we should be able to make a sustainable livelihood using this craft itself,” he says. This proved to be a driving motivation for Santoshkumar. </p>.<p><strong><a href="https://www.deccanherald.com/changemakers-2024">Read more about other Changemakers</a></strong></p><p>Dating back to the Vijayanagara Empire, the craft has survived over centuries due to the support these families received from the Nawabs of Koppal. Traditionally, the artisans of Kinnal made idols of gods, goddesses, palanquins, wooden toys and other items. Today, to save this art form, with its rich legacy, Santoshkumar has added a contemporary touch to the traditional wooden craft. </p><p>He has diversified the products to include figurines of animals, birds and toys, which could be used as decor items. </p><p>“We have designed an agarbatti stand, a dry fruit box, octagonal-shaped wall hangings, etc. We also reduced the size of the fruit basket that Kinnal is famous for so that visitors can carry it back as a souvenir,” says Santoshkumar. Along with the bright primary colours that Kinnal craft is known for, Santoshkumar has incorporated silver foil and traditionally made gold colour to appeal to a modern audience. He also experiments with different colour schemes. </p><p>Santoshkumar has directly employed 10 artisans. Some others work from home when there is a high demand.</p>.<p>Saraswati, who works for Santoshkumar, explains where the demand is today. “Artefacts like wall hangings are in more demand these days and whenever there are orders for more pieces, we work together,” she says. </p><p><strong>Long process</strong></p><p>Making Kinnal craft is usually a family affair. Each member has expertise in one aspect of the craft. At Santoshkumar’s house, his parents and brother help him with their artistic skills. His wife is a government employee.</p><p>Making the craft is a painstaking process and all figurines are completely handmade. First, the lightweight wood of the local <em>polki</em> tree is acquired and seasoned for over a year. Once ready, the sketch of the figurine is drawn and the basic form is chiselled by a carpenter. Then, a paste called ‘kitta’, made of neem, jute rags and tamarind, is applied to etch raised parts such as the eyes, nose and mouth. This is followed by enveloping a thin layer of cloth on the figurine using 'sari', an adhesive made of tamarind seeds. The figurine is then painted and embossed. </p><p><strong>Skill set </strong></p><p>Santoshkumar’s education and vision have shaped his revival efforts. With a degree in fine arts from Vijay College of Fine Arts in Gadag, and a Master’s in visual arts from Kannada University, Hampi, Santoshkumar had a job in a Bengaluru-based company as a 2D character designer. </p><p>During this time, Kinnal craft remained in his thoughts. He shifted base to Kinnal five years ago and set up an art studio equipped with modern-day technology. Today, before an artefact goes into production, Santoshkumar makes the basic design on the computer and then executes the work.</p>.<p>When artisans were struggling to make ends meet during the pandemic, Santoshkumar used his education and network to promote Kinnal artefacts online. Post the pandemic, he participated in national and international art exhibitions to promote the craft. </p><p>He attended exhibitions in Delhi, Bengaluru, Hyderabad and Mumbai. Initially, there were few takers, but a trickle soon turned into a stream. These efforts helped create a brand for Kinnal craft online. </p><p>Santoshkumar<strong> </strong>has now sent his artwork to eight countries. He is also focused on expanding the market for art pieces by bringing in some new designs while keeping the essence of the craft intact. His art pieces titled ‘Symphony of Emotions’ and ‘Toys’ have found a place in Bengaluru’s airports. Nearly six to seven people worked for three months to complete these art pieces. Santoshkumar’s artwork can also be seen at the Indira Gandhi National Centre for Arts and Cubbon Park in Bengaluru. </p><p>“There are many artisans in Kinnal. But what makes Santoshkumar different is his approach. He customises the art pieces and employs his community members to deliver the orders on time,” says S M Chavan, in-charge Joint Director at the District Industry Centre. “What is special about Santoshkumar’s work is that he has ensured that the products, even the modern ones, are authentic,” he adds. </p><p><strong>A new generation </strong></p><p>As the demand for Kinnal handicrafts started growing, Santoshkumar encountered another challenge. The studio did not have enough skilled artisans to complete these orders. Many youngsters had migrated to cities, having left behind the craft due to want of consistent income, scarcity of wood and in pursuit of better opportunities. </p><p>To address this, Santoshkumar has started teaching a new generation of artisans under government schemes, says Pranesh, district skill development officer. </p><p>He has also conducted workshops for fine arts students in Bengaluru, Mumbai and Mysuru on Kinnal craft, and has opened the doors of his studio to students from the National Institute of Design and the National Institute of Fashion Technology. This has introduced the art form to a new cohort of interested creatives who can take it forward. </p><p>Inspired by Santoshkumar’s work, 17-year-old Samarth, a PU College student, is perfecting the craft and has decided to take it up full time after college. Pradeep Moonappa, who has done an ITI course, also undertook a three-month training programme and started working with Santoshkumar at the studio. </p><p>Santoshkumar’s next goal is to develop an art gallery and an art emporium in Kinnal.</p><p>From its humble beginnings, the craft is finding a global presence, with new generations of artisans choosing to continue an age-old tradition. In line with his belief that art forms can thrive only when there are people to appreciate them, Santoshkumar has succeeded in capturing a whole new world of patrons.</p>
<p>Santoshkumar Chitragar has art running through his veins. The 31-year-old represents the latest<strong> </strong>of several generations of artisans in Koppal’s Kinnal village. His is a story of homecoming, unlike many artisans in his village, who migrated to cities for jobs due to lack of patronage. Santoshkumar quit a well-paying job in Bengaluru to return to Kinnal to revive a languishing native art form.</p>.<p>Over the years, from around 70 artisan families, the practitioners in Kinnal have reduced to 30. Santoshkumar attributes it to low demand. At Kinnal, “the only inheritors of Kinnal craft, a historical artisanal legacy, started seeking government support for livelihood opportunities. This disheartened me. So, I thought we should be able to make a sustainable livelihood using this craft itself,” he says. This proved to be a driving motivation for Santoshkumar. </p>.<p><strong><a href="https://www.deccanherald.com/changemakers-2024">Read more about other Changemakers</a></strong></p><p>Dating back to the Vijayanagara Empire, the craft has survived over centuries due to the support these families received from the Nawabs of Koppal. Traditionally, the artisans of Kinnal made idols of gods, goddesses, palanquins, wooden toys and other items. Today, to save this art form, with its rich legacy, Santoshkumar has added a contemporary touch to the traditional wooden craft. </p><p>He has diversified the products to include figurines of animals, birds and toys, which could be used as decor items. </p><p>“We have designed an agarbatti stand, a dry fruit box, octagonal-shaped wall hangings, etc. We also reduced the size of the fruit basket that Kinnal is famous for so that visitors can carry it back as a souvenir,” says Santoshkumar. Along with the bright primary colours that Kinnal craft is known for, Santoshkumar has incorporated silver foil and traditionally made gold colour to appeal to a modern audience. He also experiments with different colour schemes. </p><p>Santoshkumar has directly employed 10 artisans. Some others work from home when there is a high demand.</p>.<p>Saraswati, who works for Santoshkumar, explains where the demand is today. “Artefacts like wall hangings are in more demand these days and whenever there are orders for more pieces, we work together,” she says. </p><p><strong>Long process</strong></p><p>Making Kinnal craft is usually a family affair. Each member has expertise in one aspect of the craft. At Santoshkumar’s house, his parents and brother help him with their artistic skills. His wife is a government employee.</p><p>Making the craft is a painstaking process and all figurines are completely handmade. First, the lightweight wood of the local <em>polki</em> tree is acquired and seasoned for over a year. Once ready, the sketch of the figurine is drawn and the basic form is chiselled by a carpenter. Then, a paste called ‘kitta’, made of neem, jute rags and tamarind, is applied to etch raised parts such as the eyes, nose and mouth. This is followed by enveloping a thin layer of cloth on the figurine using 'sari', an adhesive made of tamarind seeds. The figurine is then painted and embossed. </p><p><strong>Skill set </strong></p><p>Santoshkumar’s education and vision have shaped his revival efforts. With a degree in fine arts from Vijay College of Fine Arts in Gadag, and a Master’s in visual arts from Kannada University, Hampi, Santoshkumar had a job in a Bengaluru-based company as a 2D character designer. </p><p>During this time, Kinnal craft remained in his thoughts. He shifted base to Kinnal five years ago and set up an art studio equipped with modern-day technology. Today, before an artefact goes into production, Santoshkumar makes the basic design on the computer and then executes the work.</p>.<p>When artisans were struggling to make ends meet during the pandemic, Santoshkumar used his education and network to promote Kinnal artefacts online. Post the pandemic, he participated in national and international art exhibitions to promote the craft. </p><p>He attended exhibitions in Delhi, Bengaluru, Hyderabad and Mumbai. Initially, there were few takers, but a trickle soon turned into a stream. These efforts helped create a brand for Kinnal craft online. </p><p>Santoshkumar<strong> </strong>has now sent his artwork to eight countries. He is also focused on expanding the market for art pieces by bringing in some new designs while keeping the essence of the craft intact. His art pieces titled ‘Symphony of Emotions’ and ‘Toys’ have found a place in Bengaluru’s airports. Nearly six to seven people worked for three months to complete these art pieces. Santoshkumar’s artwork can also be seen at the Indira Gandhi National Centre for Arts and Cubbon Park in Bengaluru. </p><p>“There are many artisans in Kinnal. But what makes Santoshkumar different is his approach. He customises the art pieces and employs his community members to deliver the orders on time,” says S M Chavan, in-charge Joint Director at the District Industry Centre. “What is special about Santoshkumar’s work is that he has ensured that the products, even the modern ones, are authentic,” he adds. </p><p><strong>A new generation </strong></p><p>As the demand for Kinnal handicrafts started growing, Santoshkumar encountered another challenge. The studio did not have enough skilled artisans to complete these orders. Many youngsters had migrated to cities, having left behind the craft due to want of consistent income, scarcity of wood and in pursuit of better opportunities. </p><p>To address this, Santoshkumar has started teaching a new generation of artisans under government schemes, says Pranesh, district skill development officer. </p><p>He has also conducted workshops for fine arts students in Bengaluru, Mumbai and Mysuru on Kinnal craft, and has opened the doors of his studio to students from the National Institute of Design and the National Institute of Fashion Technology. This has introduced the art form to a new cohort of interested creatives who can take it forward. </p><p>Inspired by Santoshkumar’s work, 17-year-old Samarth, a PU College student, is perfecting the craft and has decided to take it up full time after college. Pradeep Moonappa, who has done an ITI course, also undertook a three-month training programme and started working with Santoshkumar at the studio. </p><p>Santoshkumar’s next goal is to develop an art gallery and an art emporium in Kinnal.</p><p>From its humble beginnings, the craft is finding a global presence, with new generations of artisans choosing to continue an age-old tradition. In line with his belief that art forms can thrive only when there are people to appreciate them, Santoshkumar has succeeded in capturing a whole new world of patrons.</p>
