Wrought Iron ~Kidai chepda, Kondagaon

Introduction:

Usage:

Before any other metal came into the picture, iron played a vital role in the progress of human civilization. In today’s urban context, artisans create a wide variety of decorative objects, pieces that can be hung on walls or placed in corners. They often blend aesthetics with functionality, designing items like key holders, candle stands, and mirrors. Alongside these smaller products, artisans are also crafting large installations such as gates, wall partitions, and sculptures. These may appear to be modern decorative pieces, but when we look deeper, we realize how deeply rooted this craft is in cultural and functional traditions.

Master artisan Teju Ram explains how iron objects have been associated with the tribal community from birth to death. For every stage of life and every task, specific iron tools and objects play an important role. When a baby is born, a specially made knife is used to cut the umbilical cord. In farming, tools such as phaar (attached in front of the plough), goli (used to join two parts of the plough), hasiya (for cutting crops), bidna (to make holes in wood), and haskud or sumela (part of potiya, used for beating paddy) are essential.

In earlier days, Lohar or Agariya artisans also made kitchen tools such as bela (for carrying water), musal (for pounding grains into powder), knives, tawa, and many others. Some objects are made specifically for rituals and festivals, for instance, weddings are considered incomplete without sooth diya, laman diya, or sufli diya. Religious objects like the trishool are made for Devi Madiya (village shrines). Many musical instruments such as chitkoli, gujri barga, mandar, mandri, muhri, and tidbudi are also crafted from iron.

Even in death, iron continues to hold significance. When someone passes away, a kada (bracelet) called knadu or a ring known as mundi is offered to the body. So, this is not just a craft that looks visually interesting; it is a living tradition that remains at the core of countless activities and emotions in tribal life.

Some of the old and well-known iron products made by the Agariya artisans include:
Hiranoti – a beautifully crafted lampstand used during weddings and for worship at special shrines.
Kanta – an ox spud used for digging roots or making holes in the ground.
Hassia – a simple sickle used to harvest crops like rice and kodo, cut grass, weed fields, or slice meat.
Gaend – a large iron ring fixed around the pole at the center of the threshing floor, used to control the bullocks while threshing.
Axe – a common and very useful tool used for cutting wood.
Arrowheads – made in different shapes and sizes for hunting.
Khurpa – a sharp cutting tool used to chop meat, skin animals, or remove deep-rooted grass.
Jhumka – an iron cymbal used in traditional dances, sometimes attached to a stick for rhythmic sound.
Nakua Chimta – a small tweezer used for removing body hair.
Kmta Chimti – a multipurpose tool combining tweezers, a toothpick, and a small pick used for cleaning ears or removing dirt from nails.
Olaha – a large and heavy plough used for deep soil, though not suitable for very hard or muddy fields as it puts too much strain on the bullocks.

Significance:

The significance of wrought iron craft in Chhattisgarh is so deep that an entire community evolved around it. Among the many occupational castes of the region, the Agarias (the traditional iron workers) hold a special place. The word Agaria literally means “those who work with fire.” Local elders often say that before the industrial revolution, ironwork was so essential that every village had its own ironsmith, a person who played an important role not only in daily life but also in the local cultural fabric.

This community is widespread across Chhattisgarh. Today, most iron workers are commonly referred to as Lohar, yet when you talk to them closely, they often reveal their roots in the Agariya community. Within this group, there are also distinct gotras (lineages) such as Baghel, Netam, Ghoyam, Markam, Mangti, Koram, and Usedi, each carrying generations of inherited knowledge and tradition.

The community’s role goes far beyond craft,  it is woven into many local rituals and social customs. For instance, when a marriage is fixed, the boy’s family first visits the Lohar to order a diya. During the wedding ceremony, this diya is placed at the center of the mandap, symbolizing light and auspiciousness. In tribal belief, ancestors hold immense importance. Before beginning any significant task, families perform rituals to honor their ancestors, often placing a piece of iron and offering prayers to invoke their blessings.

Artisans also craft specific symbolic figures for village deities. For example, they make a two-legged horse or elephant for Rav Dev Ji, and a two-legged elephant for Maavli Devi, both representing divine protectors of the community.

Another festival that highlights the bond between the Lohar community and local life is Hareli, celebrated on the new moon day (Amavasya) of the month of Shravan. The festival marks the beginning of the agricultural season and involves rituals dedicated to tools, livestock, and the earth itself. On this day, villagers worship their agricultural tools, seeking good harvests and protection for their animals. A unique tradition is followed where members of the Lohar community visit every house and fix an iron nail on the main door frame, known as chokat. Villagers believe this act wards off evil spirits and brings good health and prosperity to the family. In return, people offer dakshina — which may include rice, money, clothes, or even liquor, as a gesture of gratitude.

Though today we have better access to transportation and ready-made goods, in earlier times the Lohars were the backbone of village life. Their skill in repairing farming tools could save crucial time and effort, making them essential for the community’s survival. This practice truly embodied sustainability, where every local need could be fulfilled by local skill.

With industrialization, the demand for handmade tools declined as factory-made alternatives became more accessible. Yet, the Lohar community adapted. They began creating artistic wrought iron products for newer markets, decorative pieces that still carry the essence of their tradition. Most artisans now repurpose scrap metal to make these products, reducing material costs while staying rooted in their craft.

This craft is deeply connected with the identity of the region. Anyone who sees these products can immediately recognize that the craft belongs to Chhattisgarh, though a few artisans in Madhya Pradesh also practice it. Owing to its strong cultural identity and distinctive style, the government has also granted it a GI tag. In this way, the community continues to evolve while preserving traditional knowledge. Their creativity not only sustains livelihoods but also keeps alive a legacy that has shaped human civilization since its earliest days.

Myths & Legends:

For the Agaria community, fire is full of mystery and beauty. When the iron melts, the red flames rise high and light up their huts at night. The glow of burning coal, the sparks flying from the hammer, all of this forms the rhythm and poetry of their lives.

There’s a saying among them: “Fire is the Agaria’s friend, he knows no other.”
They believe they were born from fire. Their ancestors could touch molten iron without fear , one of them, Kariya Kuar, was said to dip his fingers in hot liquid iron and lick it as if it were honey. For them, fire is both god and companion.

A popular proverb describes fire’s nature through the seasons:
In the rainy season, it makes us weep (because the smoke burns our eyes).
In the cold, it gives us warmth and comfort.
In the heat, it becomes fierce and burns the forests.
To the Agaria, fire is life itself ,  sometimes dangerous, but always sacred.

Story 1:  Long, long ago, when people still lived in caves and knew nothing about farming, life depended on what they could hunt in the forest. One day, a few men went hunting. As they walked through the woods, they saw a big rat darting between the trees. They chased it for a long time, but the clever rat ran into a hole beneath an old, dry tree trunk.

The hunters waited, but the rat did not come out. Then one of them said, “Let’s make some smoke inside the hole; the rat will come running out.” They gathered dry leaves and twigs from around and placed them near the trunk. To stop the leaves from flying, they covered them with a heavy stone. Soon, they lit the fire. The trunk was old and dry, so it caught fire too. After some time, when the flames died down, they saw something strange. The stone they had placed on the trunk was no longer there. Instead, there was a shining, melted piece on the ground.

Out of curiosity, one man threw it aside. The shiny disk fell near a plant, cutting it clean in half. Everyone gasped in surprise. They had never seen such power before. That night, the hunters could not sleep. They kept thinking about the strange stone that melted in the fire and became strong when it cooled. They started searching for similar heavy stones in the forest, and slowly, they learned which ones could turn into metal when heated.

This is how the Agariyas say their ancestors learned to make iron. From that day, they became the people who “play with fire.” At first, they made sharp tools for hunting. Later, when people began farming, they made ploughs and sickles. And as time went by, they crafted tools for every part of life. from farming to rituals to daily needs.

Even today, when an Agariya artisan holds the hammer and strikes hot iron, it is said that the memory of that ancient fire still burns in his hands.

Story 2: When Lohasur and Dhua Dharni were blowing their bellows, a child named Agar Sai was born from the furnace fire. After him came Sabar Sai, and then Kankalin Mata, who was born in Kalkapur and later married Sabar Sai. From them were born twelve Agaria brothers, thirteen Tamesur brothers, and fourteen Kansasur brothers.

The eldest among them, Logundi and Bhoirgundi, built a kingdom with seven forts. Each fort was made of a different material.  iron, mud, cow dung, brick, stone, wood  and at the center of the last fort, they hid a sacred sarai tree.

Then came Bhimsen and his brothers, searching for the flower of the sarai tree. They fought the Agaria, broke down their seven forts, and forced them to move south toward Mandla. It is said, “Where there are sarai trees, you’ll find Agaria; where there are none, there live the Lohar who make charcoal even from bamboo.”

In the early days, the twelve Agaria brothers made furnaces like brick kilns. They mixed coal and iron ore, covered it with mud, and set it on fire.  but without any air blast, much of the molten iron sank into the ground and was wasted. Whatever remained turned red, and people even ate it while it was still hot.

The Agaria believed their bodies carried the same fire they worked with, their waste was said to be fiery too, setting jungles ablaze. So, they decided to cover the ground around their city with iron sheets to stop the fires.

Logundi Raja treasured the flower of the sarai tree, but Bhimsen wanted it. The city was protected by red-hot iron floors, impossible to cross. So Bhimsen dug underground channels to bring in cool water, which cooled the iron floor. Then he entered the city and defeated the twelve brothers. Only one woman survived. When Bhimsen’s shadow fell upon her, she conceived a child  and that child, born with Bhimsen’s strength, was Kariya Kuar.

History:

Tribal communities have lived in this region for countless generations. Even today, large parts of the forests remain untouched, holding within them stories of people who have lived in close harmony with nature. It is difficult to trace exactly when these communities first began using iron, but what we do know is that Chhattisgarh is rich in iron ore. While traveling through the region, one often comes across heavy stones glinting with traces of iron, a quiet reminder of how deeply this land is tied to metal.

The region also holds a long history of human settlement. Archaeological and geological evidence suggests that the relationship between people and their environment here has evolved since prehistoric times.

The Paleolithic Age in central India is believed to date back to around 50,000–25,000 BCE. The earliest primitive settlers, often identified as Gandjivas of the Gondwana region, lived along the banks of the Narmada and its tributaries. Remains from this era, especially around Amarkantak, indicate that people lived in caves and rock shelters, surviving on roots and hunting animals for food.

By the Chalcolithic Age, life in this region had become more settled. Archaeological findings such as plain pottery, small refined stone tools, terracotta figurines, and early copper tools suggest a gradual shift toward organized communities. Civilizations contemporary to Mohenjo-Daro and Harappa flourished along riverbanks like the Narmada, Pench, Tapi, and Mahanadi. Agriculture became a primary occupation, and the use of metal for making tools began to take shape.

Excavations from Malhar and Ratanpur in the Bilaspur district of Chhattisgarh reveal continuous human habitation from around 1500 BCE to the medieval period. Artefacts from the Maurya, Shunga, and Satavahana periods have been found, showing how the people of this land developed and refined metalworking techniques over time. The names of animals such as Moor (peacock), Shunga (wild dog), and Sirisatva (parrot) found in these remains are linked to the Gond community’s ancient symbols and clans, known as Gandjeevs.

In nearby Eran in Sagar district, archaeologist Dr. K. D. Bajpai discovered artefacts dating from 2000 BCE to 1800 AD, and in the Nagpur region, several Iron Age sites such as Bhagi Mahari, Nayakund, Mahurjhari, Panwar, Pawani, and Mansar have yielded evidence of a thriving civilization from 1000 BCE to the Mauryan era.

References to iron also appear in ancient Indian texts. The early hymns of the Rig Veda (around 2000 BCE) mention the word Ayas (iron) as the third known metal after gold and silver. By around 1400 BCE, the art of smelting and using iron had developed significantly in various parts of India. Historical evidence shows that tribal artisans were among the earliest practitioners of iron smelting between 1300 and 1200 BCE, especially in regions rich in iron-bearing minerals.

The knowledge of iron extraction and use spread widely, from Madhya Pradesh to Chhattisgarh and Odisha. The anthropologist Verrier Elwin, in his writings, vividly described what he called the Agariya belt. He noted, “Just as rats live in their holes and come to the surface sometimes, so the Tohastir lives deep in the earth and comes burrowing his way to the surface, and we find the pit near the iron holes.”

He also observed how the Agariyas could identify iron-rich soil simply by its color, knowing instinctively where to dig. Their deep understanding of fire, ore, and transformation earned them respect as masters of metal.

Even today, the Agariyas remain skilled in handling iron. However, the ancient knowledge of extracting iron directly from ore is slowly fading. Most contemporary artisans now work with scrap metal sourced from local markets, creatively turning discarded material into functional and artistic forms. The spirit of innovation and resilience continues,  just as their ancestors once turned stone into metal, today’s artisans reshape old iron into new life.

Design:

When it comes to design, the artisans are true artists. They have a unique way of seeing the world, their imagination brings a distinct character to every creation. Most of their motifs are inspired by nature, such as animals, birds, trees, and scenes from tribal life. They combine these elements in creative ways, turning them into fascinating stories. The real charm lies in the frames and patterns they form with iron, giving the craft its raw and graceful appeal.

The entire design process is completely hands-on. It begins with a simple idea or a rough sketch on paper, followed by shaping each element individually. Most forms appear two-dimensional, almost like silhouettes, because artisans work with thin metal sheets. Thinner sheets are easier to cut, bend, and handle than thick ones. With great skill and imagination, they cut the sheets into different shapes, twist and turn them, and finally join the pieces together using rivets,  transforming simple iron sheets into expressive works of art.

Challenges:

When you travel through the region, you notice a sense of quiet satisfaction among the people. They live with limited needs and follow a sustainable way of life. Compared to the conditions of the Lohar community described in old records, their situation today is much improved. Though this may not apply to everyone, most still lead simple lives and can manage with very little.

However, times are changing. Urban influence is slowly reaching the interior regions, bringing with it a desire for a more modern lifestyle. The younger generation is increasingly drawn toward city life and is less inclined to continue the physically demanding traditional work of their elders. Still, the region has many talented artisans and active workshops.

At the same time, artisans face challenges from local manufacturers who produce machine-made items. These products may lack the handmade charm, but their lower prices attract many buyers.

The positive side of the iron craft is that it does not require heavy investment. A simple workshop setup is often enough for production. However, some artisans have mentioned difficulties in sourcing coal, which is the main fuel for their process. Due to new restrictions, it is no longer freely available.

Introduction Process:

The process of making may sound simple, just heating and beating, but it demands immense strength, imagination, and patience. Even to create a small animal form, the metal must be heated multiple times in the furnace, and hundreds of hammer strokes are needed. We often think these products are expensive, but once we understand the effort and energy that go into making them, we realize they are truly worth the price.

Raw Materials:

Iron – Artisans use different types of iron sheets, rods, and other scrap materials, which they buy from the local market.
Coal – Coal is an important material used for heating iron. In making any product, the use of fire is essential. Coal too is sourced locally.
Mobil Oil – It is used to give the iron a black finish and also helps protect it from rusting.
Oil Paint – Nowadays, some artisans use oil paint to add a decorative touch to their products. They mention that such painted pieces usually sell better in the local market.

Tools & Tech:

Traditional artisans use very simple tools to create intricate designs. Each tool has a specific purpose and is often handmade or repurposed from available materials.

Patri – A small piece of a railway track used as a base while beating iron. It provides a solid and steady surface for shaping.
Matheli (Hammer) – Different types of hammers are used depending on the purpose. Heavy hammers are used for strong beating and shaping, while smaller ones help in creating delicate patterns.
Cheni (Chisel) – A larger chisel is used for cutting iron sheets, and smaller ones are used for engraving patterns and textures on the flat iron surface, adding unique character to the piece.
Chimta (Tonga) – A traditional tool used to hold the metal when it is heated in the fire. It also helps artisans handle the hot iron safely while hammering or shaping.
Sumba – A reverse L-shaped iron base used for bending or giving circular forms to the metal.
Hand-cranked Blower – This simple mechanical blower helps maintain the fire’s heat. The artisan turns a handle, which spins a fan inside to create a strong blast of air. It is completely manual and does not require electricity.
Tagari – A traditional metal pot that holds mobil oil. Hot iron pieces are dipped into it to achieve a black finish and prevent rusting.

Only a few artisans use modern tools, mainly to speed up the process.
Metal Cutter – Used for cutting metal sheets into desired shapes quickly and precisely.
Welding Machine – Used to join two metal parts together firmly, replacing traditional riveting in some cases.

Rituals:

process:

Today, Agariya artisans mostly use scrap iron available in the local market.
– They begin by planning the design or form they want to create and select the metal accordingly.
– A simple workspace is set up, and the bhatti (furnace) is prepared.
– Once the furnace is hot, they place the iron pieces inside. When the metal turns red, it becomes soft enough to cut and shape.
– Using a hammer and chisel, they either cut the sheet or start forming the shape directly by beating the iron. During this process, the metal is repeatedly heated in the fire to keep it workable.
– The chimta (tong) is used to hold, turn, and twist the heated iron while shaping it.
– After the main form is ready, the surface is decorated with patterns using small chisels. If required, different parts are joined together by heating and fixing them with rivets.
– For larger objects, artisans first create several smaller components, which are later joined together to form the final structure or frame.
– To increase durability and achieve a clean finish, the completed piece is reheated and then dipped into motor oil. Once it cools down, the surface is wiped clean with a cloth — and the product is ready for the market.

Old iron extracting method – In earlier times, the Agariya artisans made their own iron from ore, while today most of the iron is sourced directly from the market. Their traditional furnace was one of the simplest in the world, made entirely from clay and sun-dried bricks. It stood about three feet high with a trench in front for air circulation and waste collection. The thick clay walls were strengthened with straw for insulation, while the thin front wall was replaced frequently as it bore most of the heat and pressure. The top was lightly covered with clay, leaving a small hole to feed the fire. Despite its simplicity, this handmade furnace could reach the high temperatures needed for iron smelting.

Air was supplied through a pair of foot-operated bellows called bhathi, made from wooden frames covered with deer or wild buffalo skin. The ore was collected from nearby deposits at Lohar Gano, where artisans carefully selected soft, cherry-red stones rich in iron. The process began with a ritual — a puja to the furnace — seeking success and safety. Charcoal was prepared from local wood and used as fuel. Layers of hot charcoal and preheated ore were alternately added to the furnace until it was full. Women from the community played an important role, especially in operating the bellows to maintain a steady air flow and temperature around 1150°C.

As the process continued, the iron ore melted and separated from the impurities, forming slag at the bottom. After about five to six hours of continuous blowing, the furnace was opened by breaking the front wall. The semi-molten mass of sponge iron mixed with slag was removed and hammered on an anvil to remove the remaining impurities. The quality of the iron was judged by how it responded to forging,  a successful batch yielded around one kilogram of usable iron. This age-old technique reflects the deep skill, ritual, and cooperation that once defined the Agariya way of life.

Waste:

There is almost no waste generated apart from ash. Artisans even use small leftover pieces of iron to make rivets.

Cluster Name: Kondagaon

Introduction:

Kondagaon, located about 70 kilometers from Jagdalpur, serves as the district headquarters of Kondagaon in Chhattisgarh. It is the third-largest city in the Bastar division and was carved out of the larger Bastar district on 24 January 2012, becoming the 27th district of Chhattisgarh. The town is most celebrated for its bell metal craft (Dhokra art) and other indigenous art forms rooted in the traditions of Bastar’s tribal communities. Thanks to its rich craft heritage, Kondagaon has earned the title of “Shilp Sheher” (Craft City) of Chhattisgarh, a place where artistry and tradition continue to thrive through generations of skilled artisans.

History:

The ancient name of Kondagaon was Kandanar or Kondanar. According to local legend, the settlement originated when the chief of the Marar community received a divine vision. Their carriage had become entangled in vines, forcing them to rest in the area. It is said that the goddess instructed them to settle there, and the fertile land encouraged the foundation of a village.

In the Gondi language, the word Kondanar translates to “village of horses,” a name that reflects both the tribal roots of the region and its rich local folklore.

Kondagaon’s development accelerated after the construction of the Keshakal Valley road in 1905, which connected it with Jagdalpur and surrounding areas, encouraging trade, migration, and new settlements.

The town’s importance was formally recognized in 2012, when Kondagaon was declared a district headquarters, highlighting its growing administrative and cultural prominence within Chhattisgarh.

Geography:

Kondagaon is set in the southern part of Chhattisgarh, within the heart of the Bastar plateau, where forests, hills, and rivers define both the landscape and the life of its people. Dense stands of sal, teak, bamboo, and other minor forest produce form a natural abundance that has long sustained local communities. Seasonal rivers like the Indravati and its tributaries nourish fertile plains, while the forests provide lac, honey, and raw materials that have historically supported craft-based livelihoods. This rich ecological setting is more than a backdrop, it actively inspires the artistry of Kondagaon’s famed bell-metal (dokra), terracotta, iron and wood carving traditions, where patterns and motifs often mirror the flora, fauna, and rhythms of the land.

Environment:

Kondagaon is a small town where the main road cuts through the center of the city. The atmosphere along this road is lively and bustling, lined with a variety of shops and businesses. As a district headquarters, people from surrounding villages frequently visit for official work, trade, or shopping.

However, once you step away from the main road, the town quickly transforms into a peaceful landscape filled with greenery. The air feels noticeably fresher and calmer in the inner areas, offering a stark contrast to the busy marketplace.

On the main road, small eateries and tea stalls are common, where people can be seen enjoying samosas and cups of chai. The locals are generally warm and welcoming, rarely interfering but always curious to know more about outsiders.

The town comes alive during the weekly haat bazaar on Sundays, when villagers from nearby areas gather to buy essentials and exchange news, filling the streets with energy and color.

By night, usually after 8 or 9 p.m., Kondagaon becomes quiet and serene. Most shops close down, with the exception of a few stalls near the bus stand, which remain open to serve late-night travelers.

Infrastructure:

Over time, Kondagaon has grown into a recognized craft hub of Bastar, with infrastructure that bridges its deep-rooted traditions and modern market demands. The town is located along National Highway 30, giving artisans access to Raipur and Jagdalpur, while retaining strong rural linkages. Craft-specific institutions form the backbone of the artisan ecosystem here: Shilpgram, a dedicated craft village, provides space for artisans to live, work, and showcase their creations; the Bastar Art Centre serves as a state-supported platform to train, innovate, and market crafts; and local cooperative societies help artisans pool resources, standardize production, and access wider markets. Organizations like Saathi Samaj Sevi Sanstha also play a vital role by supporting artisans with training, design development, and market linkages, helping them adapt their traditional skills to contemporary opportunities. Small-scale foundries and household workshops continue to dot the villages, while initiatives like the Kondagaon Craft Park and government training centers offer structured support for design, marketing, and entrepreneurship. Together, these nodes of infrastructure ensure that Kondagaon’s artisans remain connected to both tradition and opportunity, crafting objects that travel far beyond the forests that first inspired them.

Architecture:

Kondagaon is no longer a village; it has grown into a bustling town. Its architecture has changed with time, today it is difficult to spot the old houses with sloping roofs and clay tiles. Almost all houses have now been replaced with brick and cement structures, a change brought about by urban influence and improved financial conditions.

Unfortunately, most new constructions do not follow the local aesthetic. Buildings look almost identical, making Kondagaon visually uniform and less distinctive in terms of architecture. For those wishing to explore authentic traditional houses, one must take turns off the main road leading into the city, where older settlements still preserve the original styles.

Broadly, Kondagaon’s built environment can be divided into three categories:

Traditional Architecture: Tribal villages feature mud houses with thatched or tiled roofs, often decorated with local motifs and symbolic patterns.

Modern Infrastructure: The district now has educational institutions (some dating back to the 1930s), healthcare centers, government offices, and artisan clusters, reflecting its gradual urban growth.

Industrial Profile: Kondagaon is also home to timber mills, small-scale industries, and thriving handicraft clusters, particularly those centered on bell metal (Dhokra) and woodcraft.

Culture:

Kondagaon carries within it the vibrant pulse of Bastar’s living traditions, where festivals, rituals, and everyday practices reflect a seamless weave of community, art, and belief. The cultural calendar is alive with celebrations such as the Goncha Festival, Bastar Dussehra, Hareli, and Pola, among many others. In the local Halbi language, the words Jagar and Jatra describe these communal gatherings, where villages come together in color and rhythm. Men and women don their traditional tribal attire and join in dances that echo through the night, accompanied by a rich orchestra of indigenous instruments: the Mandar (double-headed drum), Dhapra and Nishan (large drums), Nagara, and Dholak, alongside wind instruments like the Tudburi, Mohri-Shehnai, Bansuri, and the Todi, a tribal trumpet. The soundscape extends to unique instruments rarely found elsewhere, the Surai Baja, an earthen pot instrument, and the Dhankul, crafted with a large pot, bow, and a frame, producing a distinctive resonance. Adding to the spectacle is the Tupki Barrel Gun, a harmless but loud instrument fired during festivities, mimicking the crack of a gun to heighten excitement.

Beyond the festivals, Kondagaon’s culture also speaks through its rituals of remembrance. In graveyards, families raise carved and painted memorial pillars to honor the departed, depicting scenes from the person’s life, their desires, passions, or objects they cherished most. These strikingly personal monuments stand as both markers of memory and vibrant expressions of the community’s philosophy, where life, art, and afterlife remain deeply intertwined. Together, such practices embody the unique cultural fabric of Kondagaon, a living heritage that nourishes and inspires its celebrated crafts.

People:

Kondagaon, as a town and district headquarters, is home to a diverse mix of communities. On the main streets, you’ll find Marwari families running food shops, Punjabis engaged in the automobile trade, and Jains managing hotels and businesses. At first glance, it is difficult to distinguish people by appearance, most residents dress in modern clothing similar to any other Indian town.

However, during the weekly haat bazaar, the diversity of the region becomes more visible. Kondagaon and its surroundings are home to several tribal communities, including the Gonds, Baigas, and Halbas, who have preserved their distinct traditions, languages, and vibrant cultural expressions for centuries. While clothing styles in town have become increasingly uniform, tribal identity can sometimes still be recognized through physical build, traditional tattoos, or ornaments.

Overall, Kondagaon has a mixed social fabric, shaped by traders, settlers, and tribal groups alike. The architecture and appearances may have modernized, but in conversations and interactions, one can still feel the true essence of the region, its warmth, resilience, and deep cultural roots.

Famous For:

The main occupation around Kondagaon is farming, with rice being the primary crop. While traveling through the region, one can easily spot numerous rice mills along the way. However, the town is best known for its Dhokra craft, a traditional lost-wax metal casting technique practiced by the Ghadwa community, and for its distinctive wrought iron work.

Rich in tribal culture, the region also nurtures other crafts such as wood carving, bamboo work, and terracotta. Together, these diverse traditions contribute to Kondagaon’s reputation as the “Craft City” of Chhattisgarh.

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Team Gaatha

Process Reference:

• The Agaria by Verrier Elwin
• Ancient Iron Making in Bastar Distric5 (B. Prakash and K. Igaki, 1984)

Cluster Reference: