Creative Arts in India

Creative arts
in India
Theater, dance
and crafts
industry
December 2016
1 Current state of the industry
1.1 Performing Arts (theater and dance) industry 9
1.2 Handicrafts industry 11
2 Investments and grants

provided to the industry
2.1 Investments and grants provided to
Performing Arts (theater and dance) industry 13
Handicrafts industry 19
3 Opportunities in the industry

3.1 Opportunities in the Performing Arts
(theater and dance) industry 21
3.2 Opportunities in the Handicrafts industry 22
4 Key challenges in the industry

4.1 Top challenges faced by the industry 27
4.2 Key challenges in the Performing Arts
(theater and dance) industry 28
4.3 Key challenges in the Handicrafts industry 31
Key recommendations 32
5 Annexure
5.1 Theater and Dance forms of India 35
5.2 Theater and Dance festivals in India 38
5.3 Institutions in the field of Performing Arts 40
5.4 Types of Handicrafts manufactured in India 42
Foreword
Mr. Utkarsh Dr. Jyotsna Mr.
Sanghvi Suri Sanjoy K
Partner, EY Chairperson,FICCI Art Roy
& Culture Committee
Co-Chairperson, FICCI Art
& Culture Committee
4
Performing arts and handicrafts have been the cornerstone of
Government, and other best practices adopted. Drawing on
the art and culture of India. However, in recent years, due to
both secondary research and primary data collected through
the advent of other forms of entertainment, performing arts and
interviews, the report aims to provide recommendations to the
handicrafts have taken a beating. Lack of funds and a dearth of
Government on how the current status of the industry can be
infrastructure have been hampering the growth. Despite this,
enhanced through adequate investment and funding measures.
the creative arts have been showing a healthy growth rate and
pose a multitude of opportunities for the artists and craftsmen The report also aims to showcase how the private sector can
as well as the Government. be involved in promoting the creative arts along with
business
This first ever report on the performing arts and handicrafts
advantages to propel corporates to imbibe such cultural
industry in India focuses on the current size of the industry,
activities with their regular businesses. Moreover, the report
funding mechanisms, key opportunities and challenges faced
aims to provide a direction on how the creative arts can play a
by the industry, along with best practices followed in other
prominent role in the recent Smart Cities Initiatives Program
countries and how they drive and fund creative arts. This
and, in turn, lead to substantial growth in other sectors, such as
report is a result of over 30 interviews conducted by FICCI and
tourism and hospitality.
EY of eminent theater, dance and craft personalities to
understand their perspective of the industry and its growth
opportunities/ aspects, key challenges faced, support needed
from the
Creative arts in India—Theater, dance and crafts industry

5
Executive
summary
Current state of
the industry Investments and
grants provided
The performing arts industry in India reached INR236
billion in 2012 and is expected to witness a CAGR of 2.5 The performing arts industry is funded through several
over 2012—2018 to reach INR275 billion in 2018. The mechanisms in the form of grants, donations by the Central
industry will and state Governments, private corporations, foundations,
primarily be driven by new and innovative forms of fund trusts, and developmental organizations. However, when
raising by theater and dance groups and a growing demand for compared to global nations, the state of the Indian industry
Indian culture at an international level. remains bleak.
During April-September 2016, handicraft exports from Several new initiatives have also been undertaken by the
India increased by 13.5 y-o-y to US$ 1.9 billion (~INR130 Government of India for promotion of the textiles
billion). Total export of handicrafts from India is expected industry, including handicrafts.
to grow by 10 to USS$ 3.5 billion (INR239.6 billion) in
FY16-17.
6 Creative arts in India—Theater, dance and crafts industry
Opportunities in Key challenges in
the industry the industry
Increasing national and international exposure across theater,
Raising funds/sponsorship; dearth of infrastructure spaces
dance and crafts industries; upgradation of new technology
to perform theater and dance; and inclination toward other
and settings; rising global demand; and emergence of varied
creative arts platforms are the major challenges faced by
performances being experimented as sources for performance
the
are providing opportunities for the industry to capitalize on.
industry. The Government needs to adopt certain measures to
Development of creative clusters within Smart Cities will
improve the current status of the industry as it is a means of
provide additional opportunity that the industry can leverage.
livelihood for a large section of society.
Creative arts in India—Theater, dance and crafts industry 7

1
Current state of
the industry
In this section, we cover the current and future market
size of the Indian performing arts (theater and dance)
industry along with the export trend of the handicrafts
industry in the country.
8
1.1 Performing Arts (theater and dance)
industry
The performing arts refers to art forms wherein artists use possibly, less visibly. It is one of the most powerful expressions
movements of their bodies, often in relation to other objects of contemporary India and the world. The growing number of
and their voices, to convey artistic expression. The performing reputable theater awards and festivals over the past few years
arts industry includes theater, dance, opera, musical theater, have enhanced the value of theater publicly. This is important,
magic, mime, spoken word, illusion, puppetry, circus arts, especially given the shrinking space in media for any serious
recitation and public speaking. There is also a specialized form coverage of the arts. Some production companies have also
of fine art, taken the responsibility to make theater commercially viable
performance art, wherein the artists perform their work live to and successful.
an audience. In this report, we will focus on theater and dance
forms within the performing arts.
Performing arts in India and its practitioners are referred to In a bid to restore theater’s glory
as being part of the “entertainment industry.” This indicates and Culture in India, Zee
a
paradigm shift in the manner in which the arts is being viewed Entertainment Enterprises Ltd. has
by society. The message apparent by the shift is that the launched a new vertical called Zee
audience now expects that the Arts must entertain in the
manner defined by the entertainment industry, and they must
Theater, to boost the art form in the
form part of an organised industry. country and also make it available
across platforms.
Theater 1
Theater is a branch of performing arts concerned with enacting Of late, the theater community is witnessing a new culture of
stories in front of a live audience, using a combination of speech, collaboration that is brewing — of creating and sharing new
music, gesture, dance and sound. Various forms of theater include and innovative pieces of work. Led by the younger generation,
plays, opera, musicals, ballet, mime, illusion, classical Indian this movement is opening up exciting possibilities for new
dance, mummers’ plays, kabuki, improvisational theater, forms of theater. The very language of theater is being
pantomime, stand-up comedy, and non-conventional or rediscovered and challenged. From The Tadpole Repertory in
contemporary forms like postmodern theater or performance art. Delhi, Patchwork Theater in Mumbai, Jyoti Dogra and her one-
woman pieces, Badungduppa Kalakendra in Assam to the Natak
Company in Pune, among others, there is exciting work
“Smart art/contemporary developing amongst younger theater groups/performers,
marked by a readiness to undertake more risks with form and
needs to be nurtured content.
and developed by the Dance 2
Government.”
In India, dance has a long tradition of over 2,000 years.
Eminent theater personality Different dance forms have originated in varied parts of India
and have developed according to the local traditions.
Indian theater has undergone several reforms in the post- Themes of dance are derived from legends, mythology, and
independence era. Today, theater is performed in 24 major classical literature and it is used as a form of audience
languages, including English and several tribal languages. While entertainment in a performance setting. There are three
Indian theater is still very niche, it has infinite varieties main dance forms: classical, folk and tribal, and
invigorated by individual talents, which is still attracting audiences contemporary.
in spite of the overwhelming popularity of its rivals.
Over the years, the visibility of Indian classical dance has been
With the emergence of all modern forms of entertainment, such diminishing. One of the reasons for this is that people have
as the Internet, specially social media and online gaming, theater stopped relating to them and are not willing to invest time and
may seem to have lost the place it once held in the minds of effort into it. On the contrary, a lot of new/western dance
people, but the form has been steadily growing and evolving all forms are emerging and are being seen in Bollywood as well.
these years, They are especially gaining traction among the younger
demographic.
1 and 2
For details, please refer to annexure.

“It’s very difficult to find out new and innovative forms of fund raising by theater and dance
groups, increasing demand for Indian Culture at an international
the organisations willing to level and growing support from Government in the form of grants
fund dance/performance/ and incentives to the industry.
event. There is no database

Figure 1: Performing arts industry in India revenue forecast4
or platform that may help (INR billion)
the dancer or event

manager to find sponsors for
dance/ performance/
event.”
275
Eminent dance personality 236
214
236 237
249
261
The highlight of most Bollywood movies are their elaborate

dance sequences. Over the past years, Bollywood movies have
created their own signature style of dance that combines the 2012 2013E 2014E 2015E 2016E 2017E 2018E
legacy of India’s varied classical and folk dances, along with
certain elements of Salsa, Hip–Hop, Rumba, Arabic, Jazz and
Latin dance forms. The international appeal of Bollywood Figure 2: Performing arts support activities in India
dancing is significantly rising in countries like the US, Canada revenue forecast5 (INR billion)
and Europe. Much of this is due to the growing Indian
diaspora abroad, along with a substantial population of non-
Indians who are fascinated by the massive production sets, or
lavish costumes. People coming from abroad and NRI’s seem
to demonstrate more interest in this Indian dance form.
1.1.1. Market size of the 107 125

performing arts industry 3
49
65 76 90
47
(INR billion)
2012 2013E 2014E 2015E 2016E 2017E 2018E
The performing arts industry in India reached INR236 billion in
2012. It is expected to witness a CAGR of 2.5 over 2012-2018
to reach INR275 billion in 2018. Key drivers of growth include
3
The Performing Arts industry has been sized based on SIC code 90.01 which includes live theatrical presentations, concerts and opera or dance
productions and other stage productions; activities of groups, circuses or companies, orchestras or bands; and activities of individual artists such as
actors, dancers, musicians, lecturers or speakers; All figures were in US$ and have been converted into INR using exchange rates as on
16 November 2016.
The Performing Arts supporting activities industry has been sized based on SIC code 90.02 which includes support activities to Performing Arts for
production of live theatrical presentations, concerts and opera or dance productions and other stage productions, activities of directors, producers,
stage-set designers and builders, scene shifters, lighting engineers etc., and activities of producers or entrepreneurs of arts live events, with or
without facilities; All figures were in US$ and have been converted into INR using exchange rates as on 16 November 2016.
4
“Revenue of Performing Arts (SIC 90.01) in India from 2008 to 2018 (in million US dollars),” Statista,
http://www.statista.com/forecasts/331221/ india-performing-arts-revenue-forecast-sic-9001, accessed 10 November 2016.
5
“Revenue of Performing Arts support activities (SIC 90.02) in India from 2008 to 2018 (in million US dollars),” Statista,
http://www.statista.com/ forecasts/331222/india-performing-arts-support-activities-revenue-forecast-sic-9002, accessed 10 November
2016.
10
1.2
Handicrafts industry
Handicrafts constitute an important segment of the Indian

France, Latin America, Italy, the Netherlands, Canada
economy as it is one of the largest employment generators. The
and Australia.
sector employs about 7 million people directly and indirectly,
which include a large number of women and people belonging Figure 3: Export of Indian handicrafts trend
to the weaker sections of the society. (INR billion)
It is a decentralized, highly labour intensive, cottage-based 214.6
industry, spread across the country. Originally, handicraft 191.0 200.8
started as a part time activity in the rural areas; however, it
has now transformed into a flourishing economic activity due 133.1
105.0
to a significant growing market demand over the years. While
78.7
most of the manufacturing units are located in rural and small 67.8
towns, there is huge market potential across all Indian cities as
well as outside the country.
2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16
In addition to the high potential for employment, the sector is
economically important from the point of low capital
• During April-September 2016, handicraft exports from
investment, high ratio of value addition, and high potential for
India increased by 13.5 y-o-y to US$ 1.9 billion
export and foreign exchange earnings for the country. In fact,
(~INR130 billion). Total export of handicrafts from India
the industry has seen a consistent growth of 15 over the last
is expected to grow by 10 to USS$ 3.5 billion
few years
(INR239.6 billion) in FY16-17.
and handicrafts has contributed significantly to the foreign
exchequer of the country through exports. Each state in the • During this period, the exports of various segments
country has been contributing through one or more crafts and registered a significant growth, such as Art metal
has made tremendous progress during the last decade. wares (28.2 ), Wood wares (9.5 ), Hand printed textiles
& Scarves (8.5 ), etc.
Handicrafts also have a big potential as they hold the key
for sustaining not only the existing set of artisans but also Export figure of handicrafts during the
for increasingly a large number of new entrants in the period April - September 2016-2017
crafts compared to the
activity. There are more than 67,000 Indian exporters/export corresponding period of April - September 2015-2016
houses promoting regional art and craftsmanship in the
2015-162016-17
domestic and global markets. Y-o-y increase in %
Export items April – September (in INR billion)
However, despite the large production base, the market at
an international level is still unexplored. There is a huge Art metal wares 19.40 25.92 33.62
demand for the Indian handicraft products in both national and
Wood wares 19.16 21.87 14.13
international markets and India is one of the important
suppliers
of handicrafts to the world market; however, India’s share in the
world handicraft exports is less than 2 . To match the demand Hand printed textiles
14.24 16.11 13.1
and supply with quality, there is a requirement for greater & scarves
technological support and innovation in the industry. Moreover,
Embroidered & 16.54 15.67
the handicraft sector suffers due to its unorganized nature along crocheted goods 14.30
with additional constraints like lack of education, capital, and
low exposure to new technologies, absence of market Shawls as art wares 0.03 0.03 8.52
intelligence and weak institutional framework. Zari & zari goods 0.62 0.56 -9.49
Imitation jewelry 10.74 11.02 2.62
1.2.1 Export trend and key
export markets 6 Misc. Handicrafts 31.43 37.97 20.78
Total 109.89 129.99 18.28
• Indian handicrafts are exported across geographies with
the top 10 markets being the US, the UK, UAE, Germany,
*Figures may slightly vary due to rounding off
6
Export Promotion Council for Handicrafts

2
Investments and
grants provided
to the industry
This section covers the funding organizations and various
programs/initiatives developed by the Government to
promote the creative arts industry in India. The section
also includes best practices examples across the globe.
12
Performing Arts (theater and dance)
industry
2.1.1 Funding organizations
Government
The performing arts industry comes under the aegis of the “Government support is
Ministry of Culture, which provides funding for infrastructure utmost necessary in setting
building, travel, awards, scholarships and fellowships. The
Ministry of Culture is responsible for preservation and up the infrastructure
conservation of the nation’s cultural heritage and promotion of required for training and
all forms of art and culture, both tangible and intangible. It is
also development of the skills.”
responsible for generating cultural awareness from the grassroots
level to an international level. In addition, autonomous bodies
Eminent theater personality
have been set up to support the performing arts industry in the
country:
• The Sangeet Natak Akademi provides fellowships, travel and
research grants to artists, and salary and production grants
to performing arts groups. It organizes regional and national
festivals and performances to promote young talent and
support playwrights in regional languages.
• The Indian Council for Cultural Relations (ICCR) supports
Indian artists to perform at various international festivals as
well as foreign artists to perform in India. ICCR also offers
fellowships and grants for students from other countries to
study the performing arts in India.
• Seven zonal cultural centers are also supported by the
Central Government, to promote the performing arts
within their respective zones.
However, the state’s support for the performing arts is often

inefficient. The largest chunk of public funding that has been
created to support the arts, goes toward supporting the state
infrastructure. In addition, the process of applying for funds and
disbursement is very cumbersome and tedious.

Some existing schemes run by the Ministry of Culture for the performing arts industry 7
Scheme Features and amount of grant
Under this scheme, financial assistance is provided to dramatic groups, theater groups, music ensembles,
children theater and for all genres of performing arts activities. The scheme will have the component of
repertory grant.
• Repertory grant: It is granted to not-for profit organizations for promotion of performing arts forms by
way of training artists and staging production of performing arts, such as dance, drama-theater and
music.
Assistance for each guru/director will be at the rate of INR10,000 per month, whereas in respect of each
Performing Arts shishya/artiste it is as under:
Grant Scheme
Amount of assistance/
Categories of shisya/artiste Age group
honorarium per month
a. Adult shishya/artiste (18 years age and above) INR6,000
b. A category child shishya/artiste (12—<18 years age) INR4,500
c. B category child shishya/artiste (6—<12 years age) INR2,000
d. C category child shishya/artiste (3—<6 years age) INR1,000
Financial assistance under this Scheme is granted to support voluntary and government-aided cultural
organizations to create appropriately equipped training, rehearsal and performance spaces for artists.
Cities Type of project Limit of assistance

Scheme of
Building Grants, Bangalore, Chennai, Delhi Projects involving new INR50 lacs
Including Studio construction or purchase
Theaters of built up space
Hyderabad, Kolkata, Mumbai All other projects INR25 lacs
All non-Metro cities/towns All projects INR25 lacs
Scheme for
• Financial assistance for travel is proposed for supporting artists to go abroad for cultural activities,
Promoting
seminars, research, workshops, festivals, exhibitions, etc. organized on different aspects of Indian
International
culture for performance/participation in countries abroad.
Cultural
Relations • Reimbursement shall be made only on economy class air ticket subject to a ceiling of INR75,000 or
actual air fare, whichever is less.
7
Ministry of Culture
Scheme Features and amount of grant
• The Scheme provides financial assistance to the state governments/UT Admin, bodies set up by
state/ Union Governments/UT Admin., universities, municipal corporations, not-for-profit
organizations for creating cultural spaces, renovation of existing cultural building etc.
Scheme for
• These cultural complexes will work as centers of excellence in all forms of art and culture, with
Tagore Cultural
facilities and infrastructure for stage performances (dance, drama and music), exhibitions, seminars,
Complexes
literary activities, film shows, etc.
• The quantum of financial assistance by Government of India will be limited to 60 of the project cost.
The recipient state government/UT will be required to contribute 40 of the project cost as matching
share.
• The Scheme covers all not-for-profit organizations, NGOs, societies, trusts, universities and individuals for
Cultural supporting the seminars, conference, research, workshops, festivals, exhibitions, symposia, production of
Function and dance, drama-theater, music etc. and small research projects on different aspects of Indian culture.
Production • Grant for specific projects shall be restricted to 75 of the expenditure, subject to a maximum of
Grant Scheme INR5 lacs per project.
• Under this Scheme, financial assistance is granted to indigent individuals — i.e., artists, writers and
scholars — for contribution to art and letters. Traditional scholars who have made significant
contribution in their fields are also assisted notwithstanding the absence of any published works.
Artists Pension
Scheme and • Assistance from the Government may be in the form of a monthly allowance. Such allowance given to
Welfare Fund the artists will be shared by the Center and state government/UT administration concerned, with the
latter paying a monthly allowance of at least INR500 per month per beneficiary. The monthly
allowance contributed by the Central Government in such cases shall not exceed INR3,500 per month
per beneficiary.
Best practices example of federal/state partnership
National Endowment for the Arts (NEA) drives the creative industry in the US
Arts infrastructure in the US is supported by a combination
of Government, business, foundation, and individual donors NEA supports artistic NEA invested US$268.7
and is critical to the nation’s well-being and economic communities and has million in dance programs
vitality. Art funded US$3 million in the and US$327.9 million in
and culture production is boosting the US creative economy and time span of 2010—15. It theater and musical theater
contributes 4.2 to the nation’s GDP. promotes numerous local art programs during 1966—2015.
agencies to provide services
The National Endowment for
the Arts (NEA) is the largest NEA awards more than and programs enabling art
annual national funder of 2,200 grants each year and culture at local level. NEA has awarded more than US$6
the arts in the US. NEA is and co-operative million to folk-life festivals across the nation by providing
an independent federal agreements exceeding learning programs such as workshops, craft demonstrations and
agency that funds, $130 million annually. facilitated conversations9.
promotes and strengthens
the creative
capacity of US communities by collaborating with Federal, state Economic contribution of the Australian Creative Arts industry10
and local governments and various state agencies. For over 50
years, the NEA has provided strategic leadership and investment Indicators 2013
in the arts through its core programs for dance, design, folk
Art and culture business
and traditional arts, literature, local arts agencies, media arts, contribution to GDP US$704.2 billion
multidisciplinary arts, music, theater, visual arts and others.
With the efforts of NEA, arts activity has grown in areas Performing arts contribution US$44.5 billion
of the nation that were previously underserved or not Theater contribution US$7.1 billion
served at all,
especially in rural and inner-city Number of jobs in arts 4.7 million earning
communities.
and culture sector US$339 billion11
The NEA distributes 40
of its program dollars Congress funded the NEA in
to the state arts FY16 at a level of US$148
agencies
(SAAs) and regional arts million, a US$2 million • The American consumers spent US$14.5 billion on attending
organizations (RAOs), increase from last year. performing art events in 2009.
which fund arts • On an average day, 1.4 million Americans attend art
educations
programs, regional touring projects and arts activities in performances.
underserved communities with these grants. In recent years,
more than 4,500 communities have been served each year • In 2011, US exports of craft products were US$5,190 million.
through these grants.
• Tax-exempt performing arts groups, museums and
The production of performing art services has grown at a fast schools of the fine arts together contributed $12.1
rate, contributing 6.3 to the total art and culture sector, billion to the US economy in 2012.
with consumer spending on performance events such as dance • 78 of all American leisure travelers participate in cultural
and theater witnessing 10 growth in 15 years.
and/ or heritage activities while traveling, contributing more
NEA’s funding also supports training and professional than US$192 billion annually to the US economy.
development of dance artists, development of dance schools • Arts occupations such as actors and musicians comprise
and companies. It offers grants to the non-profit theaters the largest number of workers employed by the
and supports learning opportunities for young people8. performing arts industry (56,370 workers in 2012).
“Dance Fact Sheet,” NEA, https://www.arts.gov/sites/default/files/Dance_Fact_Sheet_Feb16.pdf accessed 18 November 2016.

8
“Folk Fact Sheet,” NEA, https://www.arts.gov/sites/default/files/Folk_Fact_Sheet_Sept15.pdf accessed 18 November 2016.

9
10
NEA Guide to the U.S. Arts and Cultural Production Satellite Account,” NEA Arts, https://www.arts.gov/sites/default/files/nea_
guide_white_paper.pdf accessed 18 November 2016.
“Facts & Figures,” National Assembly of State Arts Agencies, http://www.nasaa-arts.org/Research/Key-Topics/Creative-Economic-
Development/Facts-&-Figures-on-the-Creative-Economy.php accessed 16 November 2016.
“Arts and Cultural Production Contributed $704.2 Billion to the U.S. Economy in 2013,” NEA, https://www.arts.gov/news/2016/
11
arts-and-cultural-production-contributed-7042-billion-us-economy-2013 accessed 16 November 2016.

Corporations Foundations and trusts
The private sector is also not generous in supporting cultural
There are a few national and international foundations that
causes. Corporations in India do not see it as their social
provide grants in the field of the performing arts in India.
responsibility to assist the arts, as it comes way down the list of
priorities of CSR funding. The National Culture Fund (NCF), set 1. The Japan Foundation: It provides Indian performing
up by the Government as a PPP funding mechanism, has had artists grants to undertake study tours and research in Japan
only a handful of donors from the private sector. The majority and to develop productions collaboratively with Japanese
of the contributions are made by public sector companies. artists.
The corporate sector draws on marketing budgets to sponsor 2. Hivos, a Dutch non-Governmental organization: It
performances with primary interest in reaching their target. funds performing arts institutions to strengthen pedagogy and
They do not generally support the rural performing arts or conduct outreach programs.
contemporary theater in various regional languages.
3. Tata Trusts: The Tata Trusts have made significant
• Although performing arts festivals find it easier to attract
investment in the performing arts field among Indian
corporate sponsorship because these attract audiences and
foundations. The group has established the National Centre for
media attention, companies favor or demand the inclusion
the Performing Arts in Mumbai, supported performing artists
of performances by popular artists and celebrities. Besides,
to undertake arts education programs, helped strengthen the
corporate sponsors have their own agenda and when
infrastructure for teaching and practice in certain performing
it comes to experimental ventures, funds are generally
arts institutions, and supported the creation of a forum for
scarce — unless the artists themselves have come forward
theater artists.
to collect funds, including well-established institutions.
Even large Indian corporates have started looking at culture The Tata Trusts have also established a Theater Infrastructure
through a developmental lens, leaving limited space for Cell (TIC) in association with India Foundation for the Arts to
creative, experimental, and risk-taking arts practices. support model projects for the creation of theater
infrastructure and dissemination of best practices.
Bilateral agencies
4. Bangalore-based India Foundation for the Arts
Bilateral agencies supported by foreign governments and (IFA) It is an independent grant-making agency in India
private funds are also gaining momentum in India. Some focused exclusively on the arts. It provides support for
examples of such agencies are the Indo-Korean Cultural and practice, research and grants to strengthen education in
Information Centre, the British Council and the Max Mueller performing arts.
Bhavan (supported by Government of Germany) and Pro
Helvetica of Switzerland and the Swedish Council (supported 5. Some educational foundations provide scholarships for
by foreign private funds). These agencies provid. facilities to study, research or training abroad, which are also available
conduct performances, meetings, workshops, and seminars. to performing artists and playwrights. The Inlaks Foundation,
Occasionally, they also support artists from their respective the Paul Foundation and the Charles Wallace India Trust are
three such foundations from which performing artists can
countries to work with performing artists and groups in India.
avail scholarships for such purposes.
Some of these agencies also fund performance-related projects
in India.
Developmental organizations
Additionally, bilateral agencies provide funding for cross-cultural
initiatives. Indian artists are also provided funds to travel to Many NGOs support the performing arts industry in India.
the bilateral agency’s home country for creating new works Organizations support theater and shadow puppetry groups
of art, either on their own or in collaboration with other to create performances that communicate social issues
artists. Support is also provided for workshops and dialogues such as dowry, family planning and civic messages to
with an intercultural emphasis. target audiences.

Best practices example of corporate funding
Tax incentives propel corporates to fund creative industry in Brazil
Brazil has established a national framework The Federal Law
In some areas, such as the performing arts, the supporter
for Culture Incentive, popularly known as Rouanet Law, to
can deduct up to 100 of the value they invested as
promote culture and support its performing arts sector through
sponsorship or donation; however, these amounts may not
tax incentives on a federal, state, and municipal level. The
be declared as operational expenses and may not exceed
Rouanet Law created the Programa Nacional de Apoio à Cultura
6 of deduction in income tax for individuals and 4 of
(PRONAC), a set of public policies that aim to stimulate the
deduction in corporate income tax for companies.
production, distribution and access to cultural products, the
protection and conservation of historical and artistic heritage
and promote the dissemination of Brazilian Culture and regional Economic contribution of the Brazil arts and culture
diversity. PRONAC includes: industry 12
• Fundo Nacional de Cultura

“Among the many Growth rate
(FNC) or Portuguese for 2004 2013
incentives that Brazil (2004—13)
National Fund of Culture:
Comprises funds for the gives to national cultural
production, the Rouanet Number of production
execution of cultural
Law is the most companies in 148,000 251,000 69.1
related actions, programs
important one, attracting the creative
or projects.
private initiative’s industry
donations/
• Fundos de Investimento sponsorships due to the
Cultural e Artístico or benefits it provides - Creative 2.6 of total
Portuguese for Cultural Companies can deduct industry 2.1of total (R$ 126
and Artistic Investment upto 4 of income tax production billion)
Funds: Consists of on projects and
gathering individuals
resources for implementing can deduct 6 .” Creative
469,800 892,500
cultural and artistic professionals
projects
that are profitable, with investors participating in
Employment
the profits made (It is yet to be implemented).
(share of total
• Patronage: Is a form of attracting private 1.51.8
Brazilian formal
initiative’s donations or sponsorship in the cultural sector employment)
sector.
Culture industry
43.6
Individuals such as artists, producers and corporations with growth
cultural ends such as autarchies and foundations or private profit • Heritage
or non- profit corporations in the cultural area, such as and arts
cooperatives and NGOs, are eligible to invest in cultural activities, 60.9
industry
including theater, dance and crafts. growth
• Music and
Amount eligible to be Maximum
performing
deducted from income tax tax relief 60.4
arts industry
• Up to 60 of the growth
value invested as 6 of
Individuals sponsorship income tax
• Up to 80 of the value
invested as donation
• Up to 30 of the 4 of
Corporates value invested as income tax
sponsorship
• Up to 40 of the value
invested as donation
“Mapping Brazil – The Cultural Field, “ Dutch Culture, http://brazil.dutchCulture.nl/en/mapping/mapping-brazil-cultural-field, accessed 18
12
November 2016; “Mapping Brazil – The Cultural Field, “Dutch Culture, http://brazil.dutchCulture.nl/en/mapping/mapping-brazil-cultural-field-ministry-
Culture, accessed 18 November 2016.
18
2.2 Investments and grants provided
to the Handicrafts industry
The handicrafts sector comes under the purview of the Ministry 2. Development of design and training
of Textiles, Government of India. The Export Promotion Council
for Handicrafts (EPCH) is an apex body of handicrafts exporters • Linking craft products to market demand, design and
for promotion of exports of handicrafts from country and product development depending upon market need.
operates under the administrative control of the Ministry of
• Organizations dealing with ethnic handmade items are
Textiles, Government of India. The other major regulatory
being encouraged to develop new design as per market
bodies and government departments involved in the
demand and adopt artisan groups for production with new
development
designs along with marketing facility.
and promotion of this sector include the Ministry of Culture,
Ministry of Small and Medium Enterprises, Khadi and Village • In addition to organizing training by master artisans,
Industries Corporation and Development Commissioner for services of firms dealing with bulk sale/exports of
Handlooms. Additionally, there is the All India Handicrafts handicrafts are being mobilized for design requirement and
Board, which advises the Government on problems related to training.
handicraft sector and suggests measures for improvement and
development. 3. Direct assistance to artisans
Several new initiatives have been undertaken by the • Action is being taken to provide Government assistance
Government of India for promotion of the textiles industry, directly into the bank accounts of artisans through online
including handicrafts. The Government has revised handicrafts funds transfer.
schemes and formulated a new strategy, which has four broad
• The Ministry has initiated action for supporting start-up
components:
entrepreneurs in taking up handicraft production on a
commercial scale and in availing credit from MUDRA Bank.
1. Infrastructure development
• Cluster-level development, providing common facility 4. Linking up with market with
centers at cluster level, and restructuring participation of private
implementation modalities of a mega cluster scheme to
make it more market oriented. sector
• An action plan has been prepared jointly by the Ministry of • An online location-wise directory of handicrafts products
Tourism and Ministry of Textiles, for exploiting the is being made, with contact details of artisans from
potential of tourism in marketing handicrafts products. It each cluster to facilitate buyers to get in touch with
covers the setting up of: them.
• Artisan villages as tourist destinations: Under this • E-commerce is being used to market handicrafts as it has
initiative, Raghurajpur in Odisha has been taken up the potential to substantially enhance the wages of
for over-all development as a tourist destination. primary producers by eliminating intermediaries on the
one hand, and by passing on market information
• Way-side amenities.
continually and easily on the other.
• Mega showrooms in metros.
• Sales counters in major places of tourist attraction.

3
Opportunities in
the industry
In this section, we include the key opportunities in the
creative arts industry. The section also captures the
importance of developing creative clusters within Smart
Cities to promote the sector.
20
3.1 Opportunities in the Performing Arts
(theater and dance) industry
National and international exposure: There is an of play creation, recognizing promising young talent, to creating
increased circulation of performances within India because and bringing new works from across the country and globe to
of the presence of varied cultures and corresponding local audiences.
festivals. The Indian performing arts have also become
more prominent on the global stage, with artists gaining Privately set up awards such as the Vinod Doshi Fellowship
access to a number of opportunities for participation in and Mahindra Excellence in Theater Award impact theater
foreign festivals and practice across the country in myriad ways. Among the
international collaborative projects. Some of these opportunities festivals, the Government-run Bharangam in Delhi has grown
may be attributed to the economic growth in the country, significantly
which has produced widespread international interest in in stature and influence over the last years, along with the
promoting partnerships with Indian arts groups and showing how younger International Theater Festival of Kerala in Thrissur.
India expresses itself in visuals and performance. Other privately-run young festivals, including the Rang Vinayak
Rangmandal in Bareilly, Jairangam in Jaipur, and the more
recent Aadyam - Birla Group festival, have made a considerable
impact as well. They serve as platforms to showcase talent and
“Currently lots of plays develop a keen audience. A lot of young theater practitioners
are travelling abroad and audiences head to these festivals annually.
but to serve only the Other arts forms that also draw in a large audience are the
annual Ishara Puppet Festival, Assitej’s TIFLI — festival of
Indian diaspora living theater for young people — Gati Dance Festival, Jaipur
abroad.” Literature Festival, Tata Literature Festival, Times Literary
Festival and the Kochi Biennale to celebrate theater and the
Eminent theater personality performing arts from across India and the world.
Another remarkable development is the increasing opportunity

The growing Indian diaspora is also a source of foreign for theater practitioners to train at fine-quality international
assignments for Indian performers. To foster belonging and schools and national workshops. Even aspects of theater such
strengthen a sense of cultural identity, many cultural bodies in as theater management are growing in prominence. India’s
foreign countries invite Indian performing artists, particularly very first theater management training program SMART
local language theater companies, classical dancers and (Strategic Management in the Art of Theater) has attracted a
musicians, for performances and workshops. magnificent array of young theater groups that are keen to
learn and add value to their operations.
New technology and settings: Performance groups are

“We should take our rich experimenting with new settings and alternative non-
natak such as Shakuntala traditional spaces, such as parks, basements, old studios,
terraces, backyards, cafes, bookshops, gymnasiums, restaurants
and others to the global and offices. Also, there is a growing tendency to explore the
platform. Children and many ways in which multimedia can be used in performances.
Many young directors are also using audio-visual projections to
comedy plays are highly explore new realities or create scenic effects.
profitable.. Varied performances: Short stories, biographies, historical

documents and poetry are all being experimented as sources
Eminent theater personality for performances. Indian directors and actors are increasingly
Increasing recognition for performing arts13: A large devising performances through dialogue and workshops, using
number of awards and festivals have emerged to recognize personal experience, topical issues or recent public events as the
the contribution by the theater, dance and other performing starting point. Also, despite the spurt in playwriting in languages
arts forms. These initiatives strive to nurture theater and art such as Marathi and English, not enough plays are being written
forms for the expanding field of theater.
in several ways, ranging from awarding excellence in all aspects
13
“Indian theater’s young Indian brigade,” The Hindu Business Line,
http:// www.thehindubusinessline.com/blink/cover/indian-theaters-young-
indian- brigade/article8194113.ece, accessed 29 November 2016.
3.2 Opportunities in the Handicrafts
industry
Government intervention to step up growth: Despite the Availability of local raw materials: As one of the
liberalization of policies, the crafts sector witnesses intervention world’s top most producers of cotton, jute, silk and
from the Government to strengthen productivity. Under the wool, India has a strong and diverse raw material base.
Indian Constitution, the responsibility of development and Availability of unique local raw materials will be the
promotion of crafts lies with the State Governments. The major growth driver of the
Central Government, via developmental schemes, plays the role industry. However, with rapid depletion of natural resources, it
of supplementing their efforts. is important to deploy them judiciously. Additionally,
availability of abundant and cheap labor, low capital
Along with the implementation of a few generic schemes, the investment and high value addition ratio gives the sector an
Government is also encouraging the development of various edge over other countries.
e-marketing platforms on the lines set up by the Central
Cottage Industries Corporation and the Handicrafts and Design and technology upgradation: The supply of modern
Handlooms Export Corporation. tools, upgrading the skills of artisans, and revival of rare crafts
by offering training along with outsourcing are the key growth
Marketing support and service: The Government aims drivers of the industry.
to create awareness about the Indian craft products
through marketing events, providing services in the form of Rising global demand: There is strong international interest in
entrepreneurship and providing financial assistance to state the Indian crafts industry and it is witnessing increasing
handicrafts corporations for setting up new shops. demand for crafts from developing countries unlike from
developed nations previously. The US and Europe together
account for about 60 of the country’s total handicraft exports.
However, hit by slowdown in the US and Europe, handicraft
“Corporates should help in exporters
reducing the use of land are exploring African, Chinese and South American markets
to boost shipments. The major product categories that can
and improve ways of be sold in these countries include house-ware, home
sponsoring research in textiles,
furniture, glassware, bamboo goods, fashion jewelry, and lamp
promoting natural products and lighting.
for the crafts sector.”

Eminent crafts personality
22
Best practices example of Government support
Federal Government has created several programs to boost creative industry in Australia
The Australian Council for the Arts is the principal arts funding
Some of the funding that they have been able to achieve (as
and advisory body of the Government of Australia focused on
shown in table below) is indicative of their success and continued
supporting and promoting the Arts. The Government initiated
growth in investments.
a
national framework in 2011 to support the creative arts sector
and has created several programs to provide grants to Funding to drive performing arts (2013) AU$ billion
both
individual artists and arts organizations14:
• Creative Partnerships Australia (CPA): It drives private Government funding (Total) 7.1
sponsorships, social investment and philanthropy for
the arts in Australia. It also encourages sponsorship and Australian Government funding 2.4
corporate support, and builds partnerships between artists,
business, private donors and the community to support the State and territories funding 3.3
arts. The program is structured across the following layers:
• Arts partnership advice: Government state managers Local governments 1.4
provide advice to corporates on how to select the
right AU$ million
arts partnerships, based on their business goals and
objectives.
Private sector (Total) 225.8
• Australia Culture Fund (ACF): The donations made
at this fund are tax deductible and are used to support • Annual private sector
artists or art projects that is of interest to corporates. 221
support raised by art
• Arts Access Australia: It runs a professional development organizations
fund program titled “Cultivate” for artists suffering with 4.8
disability. The program provides seed funding of up to • Annual crowd funding revenue
to Australian arts projects
AU$8,000 for the costs associated with developing a
professional practice as an artist including professional
development opportunities.
• Coaching/mentoring program: This program
provides Economic contribution of the Australian Creative Arts industry
one-on-one advice to artists and arts organizations on how
to drive funding through increased private sector revenue Employment and consumption indicators 2013
or developing business partnerships.
• Innovative crowd funding programs: Number of students undertaking formal
109,000
Creative Arts qualifications at tertiary
• Plus1: The program supports 160
cultural level
organizations every year and drive Employment provided by the industry 600,000
fundraising
campaigns to match their funding requirements and
investors business interests. Number of practicing
44,000
• MATCH: The program supports Australian artists to professional artists in Australia
create new work by providing dollar-for-dollar
matched funding for their fundraising campaigns. Ticket to performing
Average cost of arts purchases
arts events: 11
as a share of weekly
Gallery ticket: 2
disposable household income
Book: 2
14
“The Australian Cultural Fund,” Creative Partnerships Australia, https://www.creativepartnershipsaustralia.
org.au/how-we-can-help/australia-cultural-fund/, accessed 12 November 2016.
Smart Cities Mission
A significant opportunity to promote creative industries in India
The Government of India in 2015 launched the Smart Cities

A key ingredient to this is the access to art and cultural
Mission, an urban renewal and retrofitting program with a
institutions which define the liveability of a city. Hence arises
mission to develop 100 smart cities (the target has been revised
the need to establish creative clusters/art and cultural districts
to 109 cities) across the country over five years (FY15—16
within Smart Cities that are designed to attract, retain and
to FY19—20). The objective of the Smart Cities Mission is to
nurture the creative workforce that our cities need to succeed
promote cities that provide core infrastructure and improve
in the new economy. Creative clusters/cultural districts are
the quality of living of citizens, develop a clean and
defined as well-recognized, labelled areas of a city in which a
sustainable environment, and facilitate application of “Smart”
high concentration of art and cultural facilities and programs
Solutions, thereby driving economic growth.
serve as the main attraction for tourists. They help in
The Union Ministry of Urban Development is responsible strengthening local economies, deepening local cultural
for implementing the mission in collaboration with the capacity, and creating an enhanced sense of the place.
state
Creative clusters can create a critical mass of activities available
governments of the respective cities. The Smart Cities Mission
24/7, such as art and craft galleries, public squares for theater
will be operated as a Centrally Sponsored Scheme with the
and dance performances, cinemas and music venues, among
Central Government providing financial support to the extent of
others to showcase and leverage the city’s culture. Cultural
INR48,000 crores over five years — i.e., on an average INR100
districts may also combine specific visitor services (boutique
crore per city per year. An equal amount, on a matching basis
hotels and locally sourced restaurants) or include venues
will have to be contributed by the state; therefore, nearly INR1
(performing arts and convention centers, in particular) as a way
lakh crore of Government/state funds will be available for
to attract key groups to the area. The availability of cultural
Smart Cities development.
districts may also facilitate a convention, business meeting, a
A Smart City’s architecture should reflect the culture and group tour, or special event to be hosted in a destination due to
tradition of that place. Among all the key aspects—such as the creative environment.
climate or location, leading industries, local cuisine and
heritage
—that distinguish a Smart City from all other cities, culture.
Key characteristics of creative clusters
Unique to the character, resources, community available locally
Assist in the support and marketing of local non-profit cultural organizations
24
Serve as a focal point to brand a city’s unique cultural identity and embrace its historic significance May attract economic tax incentives, providing a further
Help revitalize neighborhoods and increase the quality of life for its residents Have a significant economic impact on cities,
businesses, tourists, and local residents
For effective implementation of creative clusters in the Smart
City mission, participation of the private sector would be Benefits of investing in creative arts:
crucial. Private players can be involved in establishing creative
• Boost to tourism: Creative arts can create additional
clusters/ creative districts in the following ways:
spending by tourists — some visit the country primarily
• Consultancy: Private sector consultant firms can help for arts and cultural attractions, while others take part
local governments in coming up with effective plans for in arts and cultural activities during trips that are made
the smart city project. for
other purposes, potentially extending trips and generating
• Data analytics: For the planning of projects the basic
additional spending as a result.
input is the analysis of huge quantity of data and
helping out the governments in building institutional • Developing skills, nurturing innovation and fostering
capacity for data analysis. growth in the commercial creative industries: The
creative arts industry supports commercial creative
• Project implementation: Private sector can be involved
industries, consuming several outputs from creative
in public-private partnerships (PPP) for implementation
businesses, thereby indirectly contributing to employment
of major projects that are conceived under the smart
in these creative industries.
city mission.
• Improving national productivity: The arts industry also
• Innovation: Firms can also be involved in research and
supports productivity in the commercial creative workforce
development activities to develop new cost-effective
as a whole. Engagement with the arts and culture helps
ideas for better infrastructural facilities in a Smart City.
to cultivate creative solutions to problems and encourage
• Management: Private parties can be involved on effective personal communication and expression. For
contract basis to run and manage certain basic both adults and children, these skills improve intellectual
institutional facilities. ability and wellbeing, enabling greater success in day-to-
day endeavors. When these individual-level benefits are
taken in aggregate, they represent improvements to the
effectiveness and flexibility of the nation’s workforce,
with positive impacts on productivity.
• Catalyst for economic regeneration: Investment in the
arts can drive improvements in the quality of the local
environment and the standard of life enjoyed by local
communities.
Creative arts in India—Theater, dance and crafts industry

25
4
Key challenges
This section discusses key challenges faced by the
industry.
26
4.1
Top challenges faced by the
industry15
Inadequate infrastructure has Easing out of permissions

emerged as the top most challenge has emerged as the top
of the industry with all of the most
respondents ranking it as #1, regulatory support required from
followed by obtaining sponsorships. the Government for the growth
of the creative arts industry.
Figure 4
Figure 5
Percent of total respondents Percent of total respondents
Inadequate
Easing out 70 10
infrastrucuture 100
permissions
Obtaining
sponsorships 80 10 10
Rationalization of 40
Onerous entertainment 30
regulations 50 20 30 tax
Lack of trained
/skilled/willing artists 20 50 20
60 Availability
of credit
Inability to demonstrate
RoI to sponsors 40 40
50 20
Procurement efﬁciency Service
50 tax waiver
/rising costs 20 10
Challenges in 30
Pensions/Insurance 40
the movement of 40 20 10
artists beneﬁts for artists
and employees
0 20 40 60 80 100 120
0 20 40 60 80 100
Ranked #1 Ranked #2 Ranked #3
Ranked #1 Ranked #2 Ranked #3
“If provided with relevant

infrastructure and regulatory “People/Theater Companies/
support, the industry will Corporates with disposable
develop into a self- funds should take it up as their
sustaining economy” duty to support fine arts”
Eminent theater personality Eminent theater personality
The section includes key findings from the interviews conducted by FICCI and EY conducted of eminent theatre, dance and craft personalities to
15
understand their perspective of the industry. As part of the interview process, for many of the questions, we asked respondents to rank their top three
responses in order of importance. Responses to each question have been quantified and reflected in the bar charts that appear in this report below.
We have ranked each of the responses by color: #1 = yellow; #2 = light gray; and #3 = darker gray.

4.2 Key challenges in the Performing
Arts (theater and dance)
industry16
Identity: India is a vast country with multiple languages and
varied cultures and, therefore, any form of performing arts can
be identified immediately with these elements. In India, the
“Theater (serious/off-beat)
concept of performing arts is purely in regional terms. All the cannot be self-sustainable,
regions have their own language, history and culture and their
theater and dance is also deeply rooted in those regions. That it would require a mixture
is why over the last 30 to 40 years, there has been a search of both patronage and self-
for its true and authentic form which may represent a
combination of the aspirations of modern India as well as a generated revenue.”
continuity of its traditions.
Since the performing arts field is divided by language,
class, caste and ideology, getting performers to put aside
their differences and come together is among the greatest
challenges in this sector. Secondly, because they are relatively “It is a challenge to work
impoverished, performing artists will find it hard to pay
membership fees and sustain forums and networks in other
independently on new
ways. Hence, grant makers and Governments have a role to concepts, new ideas which
play in nurturing partnerships and alliances among performing
artists.
are path breaking and
different from
Raising funds/sponsorship: While the performing arts
industry in India receives support from corporations, the conventional thinking.”
Government, developmental organizations, bilateral agencies,
and trusts and foundations, the quantum of funding available
is inadequate to meet the needs and challenges in this sector.
The landscape of performing arts funding in India is grim. The

Ministry of Culture, which still is the largest funder, does not “There is no proper training
spend 100 of its allocated budget each year, not because there
are less deserving projects, but due to its refusal to change
school or academy available
its programming and modes of operation in moving with the for any traditional dance
changing needs and aspirations of the arts world. International
foundations such as the Ford Foundation, which used to have
form. There are very few
a strong arts and culture program in India, have reduced their tradition schools lik. the
culture funds, keeping alive only those areas of their work
that directly and measurably affect socio-economic plight. national school of Kathak
Also, due to lack of funds, theater and dance performing
which teaches traditional
companies are unable to advertise appropriately about their dance. Any contemporary/
shows/performances, which leads to a lack of awareness,
thereby resulting in low audiences. traditional dance form
follows informal training
in the Guru and
shishya pratha.”
Eminent dance personality
Indian Theater: Past Perfect, Future Tense,” Indianfaculty.com, http://www.indianfaculty.com/Faculty_Articles/FA1/fa1.html,

16
accessed 24 September 2016; “Arts funding in India: Hard times require furious dancing,” London School of Economics,
http://blogs.lse.ac.uk/ southasia/2013/01/14/arts-funding-in-india/, accessed 14 September 2016.
28
Dearth of infrastructure (performance and rehearsal spaces):
Inclination toward other performing arts platforms: Over the
There are only a few performance groups in the industry
last few years, several performing art platforms have emerged
that have their own spaces for rehearsals and performances
which have become financially more remunerative and socially
while a majority of the groups have to perform in rented
more attractive. As a result, there is an increasing exodus from
auditoriums. Some theaters are not available for technical and
the theater to films. Also, TV, video, film and satellite channels
dress rehearsals while others do not allow enough time for the
have been attracting the maximum number of people from
setting up of a performance. State governments and the Central
the theater and dance industry to these options because of
Government have built several auditoriums and although these
numerous opportunities, including fame and money. As a result,
public halls are cheaper to rent, they are not well equipped
the performing arts activities have suffered a severe setback in
and are poorly maintained.
the last 15 years.
Additionally, small auditoriums are available for other uses
Livelihood: The performing arts industry has never been
in the cultural centers set up by foreign Governments, such
professional and artists associated with the production and
as the Max Mueller Bhavan, Alliance Francaise and the British
presentations of theater and dance have not been entirely
Council, which have a presence in all major cites of the
dependent on it for their livelihood. For them, it has always
country. These spaces, however, are of variable quality and
been a passion and hardly a profession. Even the professional
offer limited facilities.
theater groups perform for about six to eight months a year. For
The Prithvi Theater in Mumbai and the Ranga Shankara in the rest of the year, these artisans, remain engaged either in
Bangalore are among the rare performing spaces that have agriculture or other vocations. However, the scenario is
been custom-built for the theater. Unlike other venues, they changing, albeit slowly, with the artists receiving some form of
have become a regular meeting point for artists, critics and recognition from the audience.
the interested public.
Shrinking audience size: Audiences for the performing arts,

except in some areas such as classical music and commercial
theater, are niche and shrinking further. Audience building is an
area in which performance groups themselves can undertake
through several initiatives without external help, such as
use of informal spaces to bring performances to different
neighborhoods.

Best practices example of raising funds
Lottery funding, disbursed by arts councils, fuels the creative industry in the UK
The arts and culture industry is central to the UK’s creative Economic contribution of the UK arts and culture industry
industries and accounts for 0.5 of the country’s GDP.
Funding of the arts and culture sector is derived from three
Indicators18
main channels: earned income, such as from ticket sales and
merchandise; public funding, for example lottery funding, Art and culture business turnover in
local authorities and other public bodies; and contributed £15.1
2012—13
billion
income, which includes sponsorship, trusts and donations.
The National Lottery is the state-franchised national lottery

Employment generated by the UK arts and
in the UK. Of all money spent on National Lottery games, 260,300 (FTE)
culture industry
28 is
spent on “good causes,” including arts good cause, as set out by
Parliament. Gross value added (GVA) contribution by art
£7.7 billion
and culture industry
The disbursement of the amount At present, 40 of
the
is the responsibility of the 12 Craft business turnover in 2012—13 £1.9 billion
amount is awarded
distributors that make up The
to health,
National Lottery Distribution Employment in craft industries 96,000
education,
Fund (NLDF), administered by
environment and charitable
the Government Department for Rural contribution of UK craft £500 million
causes, 20 to sports,
Culture, Media and Sport (DCMS).
20 to arts and 20
• Arts good cause: This Tourist spending towards arts and culture £856 million
to heritage.
includes Lottery grants made by the Arts Council England,
the national body for the arts in England as well as by
other arts councils. including Arts Council of Wales, Arts • The UK arts and culture industry generated £15.1 billion
Council of Northern Ireland, and Creative Scotland. The in turnover in 2012-13, an increase of 26 since 2010.
investment has helped to transform the building stock Performing Arts and artistic creation were among the
of arts organizations and to create additional high largest sets of productive activities based on turnover in
quality arts activity. 2013, accounting for 26 and 19 respectively.
• Performing arts was the largest contributor to total
The Arts Council England is employment in the arts and culture industry, amounting
a Government-funded body Between 2015 and 2018,
to 32 of FTE jobs.
dedicated to promoting the the Arts Council will
performing, visual and literary invest • The greatest contributor to the overall funding of the
arts in England. Since 1994, the £1.1 billion of public arts and culture industry continued to be earned income,
Arts Council England has been money from Government this increased by 6 between 2012—13 and 2013—14,
responsible for distributing lottery and an estimated £700 from
funding. It makes decisions million from the National £683 million to £722 million.
about which organizations and Lottery to help create
• Every £1 of public funding going to the Arts
projects to fund independently Arts and Culture
Council’s national portfolio organizations pays
experiences.
back £5 in tax contributions from the sector as a
whole. The most
of Government and accounts for and explains their decisions to https:// www.gov.uk/Government/publications/2010-to-2015-Government-
Government through the DCMS. policy-arts-and-Culture/2010-to-2015-Government-policy-arts-and-
Culture#appendix-1-funding-for-the-arts, accessed 25 November 2016.
30
18
“UK Creative Industry overview,” The Creative Industries
website,
http://www.thecreativeindustries.co.uk/industries/craft/craft-facts-
and-figures/sector-overview, accessed 16 November 2016; “2010
to 2015 Government policy: Arts and Culture,” UK gov website,
recent figures show an annual return of £2.4
billion to the Treasury.
• Broadly, the UK arts and culture industry
supports 260,300 full-time equivalent jobs, or
1.1 of total UK employment.
• Arts and culture plays an important role in
supporting the UK’s wider commercial creative
industries, such as film production, advertising,
design and crafts, and showcasing the country’s
creative talent overseas.
4.3 Key challenges in the Handicrafts
industry
Highly decentralized: Numerous artisans working in the sector Increasing competition: Since mass production and rising
prefer to work independently, and not in any formal structure. mechanization are becoming the norm of the day, handmade
Hence, all their activities are decentralized, minimizing their products are fast disappearing. The handicrafts sector is
efficiency and production capacity. This independent working facing stiff competition from such machine-made products,
structure has a huge impact on the individual cost of raw as these products are cheaper (due to high economies of
material, transportation and other ancillary activities. Due to scale
inherent fragmentation of the sector, the benefits arising from in production) and have a high production output amongst
economies of scale are absent, which hampers the ability of other factors. Also, the industry faces a lot of competition
artisans to buy quality raw material at reasonable prices. from quality products produced by competing countries like
China, South, Africa, etc. Additionally, there are increased and
Handicrafts consensus: Lack of authentic and adequate better technological support and R&D facility in competing
data on crafts personnel, including their livelihood countries. Further, better trade terms are offered by
conditions, competing countries compared to India.
families’ details, and socioeconomic status is a major
bottleneck that affects planning and policy-making for the sub-
sector.
“Arrange for fairs and haats
Changing patron-client network: In the present market
system, the craft industry has seen many vulnerabilities. With in different parts of the
the development of the modern market economy, the old
patron-client business network is fast declining. The
cities and towns so that
existence of an unorganized and informal structure in the people can understand what
handicrafts sector has led to a high level of dependence of
the artisans on external factors for support in various
kind of daily wares can also
activities in the input and supply chain. Due to lack of direct come out of this.”
linkages between handicraft producers and designers as well
as inadequate Eminent crafts personality
data on equipment, market and retailers linkages, artisans are
dependent on middlemen and trader entrepreneurs to sell their
products.
Lack of access to credit: Most of the artisans engaged in the

sector are from economically weaker sections and constantly
face problems due to a lack of resources. There is a wide gap
between their financial requirement and their earnings. To fill
this gap, artisans are forced to seek credit from local traders
and money lenders who charge a very high interest rate and
have highly inflexible terms. To counter these issues, various
schemes and services have been initiated by the Government
and several financial institutions.
Lack of latest technology and infrastructure: The industry

faces lack of design, innovation and technology upgrade.
The artisans are still using the age old technology and
methods of production, which are highly inefficient. This
restricts their production capacity and the quality of output.
This is due to the lack of awareness or knowledge about the
availability of appropriate tools and technology and other
developments in the sector. There is insufficient market
information on export trends, opportunities and prices along
with lack of adequate infrastructure.
Key recommendations
1
Form an association/body
of Indian theater/dance
and craft practitioners
that exclusively works for the
upliftment and promotion of
the sector
2
Involve the private sector
“India needs to establish to invest in the creative
an association for the arts of the country by
promotion of design/ adequately incentivizing them
crafts in India (in line through tax incentives
with the American
Institute of Graphic
Arts, prevalent in the “Encourage private
US).” organizations/Government
to construct theaters/
Prominent NGO
auditoriums which can also
The Government should create a not-for-profit association with be used across all arts.”
members from both the public and private sector that is the
voice of Indian theater/dance/design and craft practitioners. Eminent theater personality
The association should focus on the following:
• Articulate the concerns of the sector and The Government should involve the private sector in order
discuss/raise them at a common forum. to propel growth in the creative arts sector by offering
them attractive tax incentives. A similar model is followed
• Develop and provide adequate infrastructure,
by the
including rehearsal and performance spaces for
economy of Brazil under the Rouanet Law wherein if companies
creative groups
wish to invest in cultural projects in Brazil and they meet the
• Engage with policymakers for sector promotion and requirements laid out by the Government, they are eligible
networking both on a local and global scale. to redirect some of the taxes toward the cultural projects.
Depending on the type of incentive, the tax deduction can reach
• Create a one-stop destination in the form of
up to 100 of the total value of the project, specifically for
repository/ database/platform of creative arts, where
projects in the sectors of film, theater, or toward art
people can access information on market
exhibitions.
size/potential, revenue generated, number of artists or
craftsmen employed, funding schemes/sponsorships, The Government could adopt a model on similar lines and
places of learning and other related information on a incentivize companies to invest in arts and culture in the
single platform. country. Tax incentives for cultural investments offer huge
• Provide a platform for networking within and across potential for returns. Apart from fiscal incentives for companies
sub- sectors for industry practitioners. investing in cultural projects in India, the company can benefit
from other advantages as well, ranging from free brand
• Focus on empowering artists and craftsmen by imparting endorsements and advertising (having their brand name
skills and knowledge on how to raise funds, leverage displayed in all events and advertisements associated with the
new technologies, create awareness of their product, sponsored project) to having free access to the project for their
and address their market/audience and how to employees (or customers).
effectively manage their businesses.
32
In addition, to sustain themselves and reduce reliance on
the Government and corporates, creative arts organizations
may adopt the following measures:
• Resource mobilization: Organizations must become more
agile in their approach to resource mobilization. This can
be done by reducing their dependence solely on grants
and donations and build internal capacities to generate
income. The intrinsic skill-sets that artists possess are
relevant to other fields, including the corporate and the
education sector. An extension of their services would
result in a steady income stream to support the core
artistic work of groups and possibly be more relevant too.
• Audience development: To survive and expand their
work, performance groups must undertake audience
development and build their fan base to improve
income from performances. This requires performance
groups to restructure internally by managing their work
more
professionally and focus on institution building. They must
also become increasingly entrepreneurial, in an effort
to become more self-reliant by developing marketing
and communication skills to nurture their immediate
communities (such as Government agencies, corporations
3
Develop creative clusters and festival authorities) as well as potential clients. To
do so, performance groups need help — to develop new
showcasing the region’s systems of working, expand their field of operation,
diversify activities and build lucrative partnerships.
local culture within
Smart For audience-building, they can use and develop informal spaces
so as to expand their reach and bring regular performances to
Cities to attract tourists and different neighborhoods. They can adopt long-term audience-
development strategies, such as conducting workshops, lecture-
residents demonstrations and showing performance-related films in
schools to build an appreciation for the performing arts among
The Government should also focus on planning and developing
the young.
creative clusters or cultural districts within Smart Cities that
will help in showcasing local and region-specific art forms and
attract a large number of tourists. Creation of creative
clusters or art and culture districts of new experiences will: “The industry and artists
• Present opportunities to showcase artists need to be self-sustained
• Establish an authentic “sense of community”
and should reduce their
• Enrich a destination through cultural expression and attract
tourists (and residents)
reliance on sponsorships
• Rejuvenate commercial districts for economic growth
and Government grants.”
• Create new hubs of cultural vigor to promote and Prominent NGO
market the creations

A
5.1
Theater and Dance forms of India
Theater forms18
1. Traditional Indian theater
Theater form Brief description
One of the oldest traditional theater forms of Kerala, is based on Sanskrit theater traditions.
Koodiyaattam The characters of this theater form are Chakyaar or actor, Naambiyaar, the instrumentalists
and Naangyaar, those taking on women's roles.
A popular folk theater form of Gujarat, said to have arisen in the 14th century AD. The centers of
Bhavai
this form are Kutch and Kathiawar.
A presentation of the Ankia Naat of Assam. In Bhaona, cultural glimpses of Assam, Bengal Orissa,
Bhaona
Mathura and Brindavan can be seen.
Jatra Popular in Bengal and involves fairs in honor of gods, or religious rituals and ceremonies.
A folk theater form popular in Haryana, Uttar Pradesh and the Malwa region of Madhya Pradesh. It
Swang
is dialogue-oriented rather than movement-oriented.
A traditional theater form of Karnataka based on mythological stories and Puranas and has existed
Yakshagaana
since the 16th century.
A form of dance-drama, characteristic of Kerala, developing from the temple-art plays Krishnanattam
Kathakali
and Ramanattam.
Bhand Pather The traditional theater form of Kashmir, is a unique combination of dance, music and acting.
Raasleela Based exclusively on Lord Krishna legends.
Maach
The traditional theater form of Madhya Pradesh.
Dashavatar The most developed theater form of the Konkan and Goa regions. The performers personify the 10
incarnations of Lord Vishnu.
Mudiyettu The traditional folk theater form of Kerala and is celebrated in the month of
Vrischikam (November—December).
Therukoothu The most popular form of folk drama of Tamil Nadu, it is mostly performed at the time of
annual temple festivals of Mariamman (rain goddess) to achieve rich harvest.
“Traditional Theater,” Centre for Cultural Resources and Training,

18
http:// ccrtindia.gov.in/theaterforms.php, accessed 22 September 2016.

2. Urdu/Hindustani theater Shadow theater is a unique kind of performing art. There
is a light source and a screen and in between the
Urdu drama has evolved from the dramatic traditions of manipulator
North India shaping Rahas or Raas as practiced by exponents inserts flat figures by lightly pressing them on the screen so
such as Nawab Wajid Ali Shah of Awadh. Urdu theater that a sharp shadow is formed. Usually, the figures in the
tradition shadow theater are made of leather. They are carefully
has greatly influenced modern Indian theater. Among all the stenciled so
languages Urdu, along with Gujarati, Marathi and Bengali, have that their shadows suggest their clothing, jewelry and other
flourished in theaters and demand for its writers and artists accoutrements. Some of the figures have jointed limbs, which
has not subsided. give the appearance of beautiful moving shadows.
3. Indian puppet theater 19

6. Mobile theater
The word “puppet” is derived from the Latin word Pupa Mobile theaters are a kind of popular theater form that exists
meaning a doll. The earliest reference to the art of puppetry is only in Assam. For staging their plays, theater groups travel
found different places with their casts, singers, musicians, dancers and
in Tamil classic Silappadikaaram written around the 1st or 2nd entire crew.
century B.C. Puppetry has held an important place in
traditional entertainment. Like traditional theater, themes for 7. Modern theater
puppet theater are mostly based on epics and legends.
Additionally, puppetry has been used to motivate emotionally The development of modern theater in India may be attributed
and physically handicapped students to develop their mental to a change in the political set up in India. The 200 years of the
and physical faculties. British rule brought the Indian theater into direct contact with
the western theater. The seeds of modern theater were sown in
Stories adapted from puranic literature, local myths and legends
the late 18th century, with the consolidation of British power in
usually form the content of traditional puppet theater in India
Bengal, Maharashtra and Tamil Nadu. It was in the metropolises
which, in turn, imbibes elements of all creative expressions like
of Bombay, Calcutta and Madras that they first introduced their
painting, sculpture, music, dance, drama, etc.
brand of theater, based on London models.
4. Indian street theater The initial purpose of the British, while introducing modern
(nukkad natak) theater in India was to provide entertainment for the British
soldiers and citizens trying to acclimatize themselves to a
The concept of street drama came into practice to reach every foreign country. Initially most dramatic works were composed
nook and corner of society. This broke the boundaries of an in three languages: Bengali, Tamil and Marathi. But later,
enclosed theater, stage and gallery and was performed in open. plays began to be written in other languages such as Kannada,
The street theater remains prominent as it is mobile and has Gujarati, Hindi, Oriya, Urdu and English. Modern theater also
thus earned enormous recognition and response from the reached other states in the south by the beginning of the 19th
masses. It includes street plays such as in the Dharavi slums in century.
Mumbai.
5. Shadow theater 20
India has a very long and rich tradition of shadow theater.

Reference to shadow theater is found in the Tamil classic
Shilappadikaaram. Shadow theater is prevalent in the states of
Orissa, Kerala, Maharashtra, Tamil Nadu, Andhra Pradesh and
Karnataka.
“Traditional Theater,” Centre for Cultural Resources and Training, http://ccrtindia.gov.in/puppetforms.php, accessed 22 September 2016.
19
”Indian Theater,” An Online India, http://www.anonlineindia.com/information/theater.htm, accessed 21 September 2016.

20
36
State-wise list of dance forms in
India21 State Dance form
Andhra Pradesh Kuchipudi; Kottam
Assam Ojapali; Bihu, Ankia Nat
Arunachal Pradesh Lion and Peacock dance; Chalo; Popir; Aji Lamu; Bardo Chham
Bihar Jata Jatin; Faguna or Fag; Purbi; Bidesia
Chhattisgarh Panthi; Raut Nacha
Gujarat Dandiya Raas; Garba Lasya Nritya; Bhavai; Garba; Raalila; Trippan
Goa Fugdi; Dekhnni; Tarangamel; Dhalo
Haryana Swang; Khoria; Gugga dance; Loor; Sang; Dhama
Himachal Pradesh Luddi Dance; Munzra; Kanayala; Giddha Parhaun;
Hikat Jammu and Kashmir Rouf; Chakri
Jharkhand Karma
Karnataka Yakshagana; Bayalata; Simha Nutrya; Dollu Kunitha; Veeragase
Chakiarkoothu; Kathakali; Mohiniattam; Ottam Thullal; Chavittu Natakam; Kaikotti Kalai;

Kerala Koodiyattam; Krishnavattam; Mudiyettu; Tappatri Kai; Theyyam
Lakshadweep Lava
Macha; Lota; Pandvan; Tertali; Charkula; Jawara; Matki dance; Phulpatti

Madhya Pradesh dance Grida dance; Maanch; Gaur maria dance
Mizoram Chiraw (Bamboo Dance)
Manipur Thangta; Dhol cholom; Manipuri
Maharashtra Tamasha; Dahi Kala; Lavani; Lezim
Odisha Odissi; Savari; Ghumara; Paika; Chhau; Gotipua; Sambalpur
Puducherry Garadi
Punjab Bhangra; Giddha; Daff; Dhaman; Malwai; Jhumar; Karthi; Kikli; Sammi; Dandass; Ludi; Jindua
Rajasthan Ghumar; Chakri; Gangaur; Jhulan; Leela; huma; Suisini; Ghapal; Kalbelia
Sikkim Singhi chham; Yak Chaam; Maruni; Rechungma
Tamil Nadu Bharatnatyam; Kumi; Kolattam; Kavad; Karagattam; Theru koothu; Bommal attam; Puliyaattam; Oyilattam
Telangana Perini Thandavam; Dappu; Lambadi
Tripura Hojagiri; Goria; Lebang Boomani
Uttarakhand Chholiya; Jagars; Thali-Jadda; Jhainta; Barada Nat
Uttar Pradesh Nautanki; Raslila; Kajri; Jhora; Chhapeli; Jaita
West Bengal Jatra; Chau; Kathi
“List of Folk Dance Form in India – StateWise,” Affairs Cloud, http://www.

21
affairscloud.com/list-folk-dance-form-india-statewise/,accessed 22 September 2016.

5.2
Theater and Dance festivals in
India22
Theater festival Brief description
• A premier theater festival in India, organized by Prithvi Theater.

Prithvi Theater Festival
• Present plays include one-act plays and monologues.
• An annual theater festival held by the National School of Drama, New Delhi.
Bharat Rang Mahotsav
• Acknowledged as the largest theater festival of Asia that is dedicated solely to theater.
• Celebrated annually at Ujjain and attracts prominent artists in the field of dramatics and
dance performance.
Kalidas Samaroh • The festival consists of productions of Kalidas’ original plays in Sanskrit, versions of Sanskrit
plays in various Indian languages, and performances of traditional theatrical and dance
forms, ballets and dance recitals.
Purple Umbrella Theater

• Held by the Platform for Action in Creative Theater, New Delhi.
Festival
Prem Utsav • A festival of plays based on Munshi Premchand.
• An All India Annual Youth Theater Festival held by Quasar Theater Production (QTP) and Theater
Thespo Group Bombay (TGB). It is organized in the month of December every year at the Prithvi
Theater and NCPA, Mumbai.
• Some other festivals of note are AKKA Festival, Mysore; NINASAM Cultural Festival, Heggodu; Soorya Festival,
Thiruvananthapuram; Nehru Centre’s National Theater Festival, Mumbai; Sundari Festival, Mumbai; Velvi National Theater
Festival, Madurai; and Adishakti Ramayana Festival, Puducherry.
“Essay on Festivals of Theater held in India,” Your Article Library,

22
http://www.yourarticlelibrary.com/ essay/essay-on-festivals-of-theater-held-in-india/24344/, accessed

1 October 2016.
“Classical Dance festivals of India,” Indian heritage website, http://www.indian-
heritage.org/dance/ festivls.html, accessed 12 October 2016.
38
Dance festival Brief description
• Commences from the 10th/11th April every year and continues for three days concluding
Chaitra Parba Chhau
on Mahabishuba Sankranti Day at Baripada and Kakatpur, Orissa. It is celebrated in
Festival
honor of Lord Shiva and Surya.
Dharani Kalotsav • Organized by Society Dharani and held at Kerala Fine Arts Hall.
• A 15-day festival at Bhubaneswar held in early January.

Ekamra Utsav • The highlight of the festivities is Mukteswar Dance Festival held on the courtyards of this temple.
• Also includes an expo of traditional art and craft.
• To commemorate the living heritage of Indian dance, sculpture and art, Maharashtra Tourism
Development Corporation (MTDC) in association with Tata Consultancy Services (TCS) organize
the Elephanta Festival.
Elephanta Festival
• The festival features eminent artists, showcasing a traditional welcome with Koli fisher folks.
• The festival also hosts a number of ethnic food stalls that highlight the traditional foods of
the locality.
• Organized by Aurangabad Festival Committee and is held at the Soneri Mahal, a grand
Ellora-Ajanta Festival historical Haveli in Aurangabad.
• Festival showcases a mix of classical and folk dancing, instrumental, vocals and milajula mushaira.
• A five-day cultural tourism fiesta organized by the Government of Uttar Pradesh on the banks
Ganga Mahotsav of the river Ganges in Varanasi.
• Festival is celebrated to promote Varanasi as the cultural capital of India.
• A festival of Martial Dances at Dhauli, it commemorates the victory of peace over war
Kalinga Mahotsav
where renowned dancers perform harmonising the vigour of martial arts.
Kathak Mahotsav • An annual festival held by Kathak Kendra, a unit of the Sangeet Natak Akademi.
• Held every year from 25 February—2 March, Khajuraho Dance Festival is held at the
Khajuraho Dance open-air auditorium in front of the Chitragupta Temple dedicated to the Sun God and
Festival the Vishwanatha Temple dedicated to Lord Shiva.
• Organized by Odissi guru Gangadhar Pradhan’s Orissa Dance Academy in association with the
Eastern Zonal Cultural Centre, Kolkata at Konark Natya Mandap in Konark.
Konark Dance Festival
• A celebration of Odissi, Bharathnatyam, Manipuri, Kathak and Chau dances.
• The most important pre-Hindu ritual festival of Manipur.

• There are nearly 400 shrines of different animistic deities and this festival is held in their
Lai Haroba
honor. It lasts from a week to a fortnight each spring with the advent of monsoons.
• Jointly organized by The Department of Tourism, Government of Tamil Nadu, The Ministry
of Tourism, Government of India and The Natyanjali Trust, Chidambaram to promote Unity
Natyanjali Dance in Diversity.
Festival
• Department of Tourism, Bihar, holds a colorful festival of dance and music, Rajgir Mahotsav
at Rajgir, in Bihar.
Rajgir Mahotsav • Conducted for 10 days every year in Thiruvananthapuram, Kerala and is organized by Soorya
Stage and Film Society.
Soorya classical music
and dance festival
5.3 Institutions in the field
of Performing Arts 2
3
Institution Brief description Recent highlights
National School of
• NSD is one of the foremost theater training • Organizes “Bharat Rang Mahotsav
Drama (NSD)
institutions in the world, fully financed by (BRM)” annually with participation
the Ministry of Culture, Government of from Indian and foreign artists.
India. • Organized “Jashnebachpan” — national
• It was set up as a center of excellence children theater festival — in
to provide training in dramatic arts. November, 2014.
• The school has two performing wings,
Repertory Company and Theater-in-Education
Indira Gandhi National Company (renamed Sanskar Rang Toli).
• Organized exhibitions on “Brhadisvara:
Centre for the Arts
• IGNCA was set up in 1987 as a The Monument and the Living
(IGNCA)
fully autonomous trust. Traditions”, “Phulkari and Gond
• It aims to serve as a major resource center paintings” in collaboration with Times
for the arts, especially written, oral and International Folk Festival, “Vintage
visual source materials. Photographs of Raja Deen Dayal” by
• It is also focused on undertaking research Southern Regional Centre of IGNCA and
and publication programs of reference works, “Africans in India: a Rediscovery”.
glossaries, dictionaries and encyclopedia • Implemented projects on audio-visual
concerning the arts and the humanities. cultural archives for digitization of
audio-visual repository across different
institutions and on “Vedic Heritage
Portal”.
• Also, organized exhibition on Rock Art
at Yinchuan World Rock Art Museum,
Sangeet Natak Akademi China.
(SNA)
• Sangeet Natak Akademi, India’s national • Organised “Nrityarupa – A Mosaic of
academy of music, dance and drama, was Indian Dance” featuring Kathakali,
created by a resolution of the (then) Ministry Bharatanatyam, Manipuri, Kathak, Chhau
of Education, Government of India, in 1952. and Odissi dance forms; “Desaj – Festival
• The Akademi functions as the apex body in of Tribal and Folk Performing Arts Of
the field of performing arts, preserving India”; “Jashn-e-Qawwali” in association
and promoting India’s diverse cultural with Bharat Bhavan; “Saptkam – a septet
heritage of Indian Dance”, “Nrityautsav – Festival
expressed in forms of music, dance and drama. of Dance” in collaboration with Govt. of
• The Akademi collaborates with the Himachal Pradesh and cultural festival of
Government and Arts Academies of different SAARC countries.
states and union territories, as well as with • Instituted Ustad Bismillah Khan Yuva
major cultural institutions in the country. Puraskar for the young artists in field
• It also provides grants to cultural institutions/ of music, dance and drama.
The Centre for Cultural individuals for academic research, productions
Resources and Training and documentations in the performing arts.
• Trained 150,000 Government school
(CCRT)
• The Centre for Cultural Resources & teachers and organized different
Training was set up in 1979. educational activities with
• CCRT has three regional centers, at Udaipur participation from 6,30,000 school
(Rajasthan), Hyderabad (Andhra Pradesh) and students.
Guwahati (Assam). • Distributed educational kits consisting of
audio-visual material and scholarships
to children under Cultural Talent Search
Scholarship Scheme.
• Work in progress for a roadmap for
arts management in collaboration
40
with various
institutions.
Kalakshetra Foundation • Kalakshetra was established in 1936 by • Organized Festival of India at various
Rukmini Devi Arundale as an academy for countries including Japan, Singapore and
the preservation of traditional values in China and Ramayana Festival.
dance, music, crafts and visual arts. • Undertook a project for revival of the
• The focus of the institute is on the arts of Kodalli Karuppur saree from the weaving
India, particularly Bharatanatyam, as well as tradition of Tamil Nadu.
related subjects – instrumental and vocal • Organized a three-day festival in
music, October, 2013 to commemorate the
visual art, percussion, the theory of music bicentennial anniversary of poet-
and dance as well as scholarly research into composer Maharaja Swati Tirunal; the
textual heritage, crafts, aesthetics, history, and Miradasi Festival as a tribute to
spirituality. musician M.S.Subbulakshmi and
composer R.Vaidyanathan, and the
Trinity Concert in memory of composer
Muthuswamy Dikshitar.
Zonal Cultural Centres (ZCC)
• The Zonal Cultural Centres (ZCCs) were set • Silver Jubilee Celebrations: Opening
up as autonomous bodies in the mid ‘80s ceremony of silver jubilee celebrations
to develop the Cultures of various regions of ZCCs `Maati Ke Rang’ was inaugurated
and to preserve and promote cultural on 13th April, 2012 at Panchkula,
heritage of folk arts, dance and music. Haryana by Prime Minister. The `Maati
• National Cultural Exchange Programme: To Ke Rang Festival’ was held at Dimapur in
present art forms of one region to another January 2015 by NEZCC, Dimapur.
and expose the diverse cultural heritage of • Implementation of recommendations
each region to the rest of the country, the of Aiyyar Committee: A committee
folk artists are sent to participate in the was set up under the Chairmanship
programmes organized by the ZCCs. of Shri Mani Shankar Aiyyar, MP to
• Guru Shishya Parampara Scheme: The Scheme review the performance of ZCCs.
was introduced in 2003-04 with a view to The committee made a total of 95
promote development of new talent in the recommendations relating to structure,
field of music and dance, folk and tribal art finances, functioning and focus of
forms. activities of the ZCCs. Almost all the
• Young Talented Artists Scheme: The Scheme recommendations have been accepted
was introduced in 2004-05 to recognize and and requisite action has been initiated
encourage young talent in the folk arts for their implementation. All the ZCCs
forms of different regions. have been asked to make a cultural
• Documentation of Vanishing Art Forms: Under calendar of various festivals to ensure a
the Scheme, documentation of various folk and larger participation of rural and tribal
tribal art forms is undertaken, especially those art forms.
which are seen to be dying. • Enhancement of corpus of ZCCs:
• OCTAVE - Festival of the North East and J&K In 2015, the Government provided
Festival: All the ZCCs participate in these additional support for corpus
national level festivals organized annually. A enhancement of INR100 million to six
large number of folk artists from all corners ZCCs and INR200 million to NEZCC,
of the country perform during these festivals Dimapur. Besides, contribution have also
to showcase the diverse folk arts of the been given by the member States/UTs.
country. • Enhancement of remuneration paid to
gurus and folk artists: Remuneration paid
to artists and gurus has been enhanced.
“e-book,” Ministry of Culture, accessed 21 September
23
2016. Creative arts in India—Theater, dance and crafts industry 41

5.4 Types of Handicrafts
manufactured in India24
Handicraft, also known as craftwork or simply craft, is a type of work where useful and decorative devices are made completely
by hand or using only simple tools. India is a manufacturing hub of varied kinds of handicrafts, out of which the most known forms
are discussed below:
Types of Handicrafts Products States known
Baskets, dolls, toys, furniture, mats, wall-

Bamboo hangings, umbrella handles, crossbows, jewelry West Bengal, Assam, Tripura
handicrafts boxes.
Cane handicrafts Trays, baskets, stylish furniture. Vellore district, Tamil Nadu
Vermilion boxes, bowls, candle stands,

Bell metal handicrafts Madhya Pradesh, Bihar, Assam, Manipur
donari (pendants).
Religious statues, vases, table tops, perforated

Brass handicrafts lamps, ornament boxes, hukkas, toys, wine Rajasthan
glasses, plates, fruit bowls.
Birds and animal figures, pen stands,

Bone and Horn ornaments, cigarette cases, table lamps,
Odisha, Karnataka, Kerala, Uttar Pradesh
handicrafts pepper and salt sets, chess sets, napkin rings,
laughing Buddha.
Pottery - Terracotta form, red ware, grey ware

Clay handicrafts West Bengal, Lucknow, Pune, Himachal Pradesh
and black ware.
Dhokra jewellery, candle stands, pen stands,

Dhokra handicrafts Madhya Pradesh
ash trays.
Bags, office stationeries, bangles and other

Jute handicrafts West Bengal, Assam, Bihar
jewelry, footwear, wall-hangings.
Kites, masks, decorative flowers, lamp shades, Delhi, Rajgir, Patna, Gaya, Awadh, Ahmedabad,
Paper handicrafts
puppets, hand fans. Allahabad
Utensils, decorative pieces, stone jewellery and

Rock handicrafts Rajasthan, Jaipur, Odisha, Nagpur
statues.
Bangles, forks, decorative bowls, lockets,

Shell handicraft spoons, buttons, curtains, chandeliers, mirror Gulf of Munnar, Goa, Odisha
frames, mats.
Weaving or embroidery
handicrafts Embroidery, bandhani. Gujarat, Madhya Pradesh, Rajasthan
Axes, toys, utensils, decorative pieces,

Gujarat, Jammu & Kashmir, Karnataka,
Wood handicrafts jewelry, lamp shades, candle stands,
Kerala, Uttar Pradesh
vermillion boxes, jewelry boxes, bangle
holders.
“Handicrafts in India,” Maps of India, http://www.mapsofindia.com/maps/crafts/, accessed 5 November 2016.

24
42
Notes:

Notes:
44
Notes:

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Creative arts

2 Investments and grants

3 Opportunities in the industry

4 Key challenges in the industry

Creative arts in India—Theater, dance and crafts industry

Creative arts in India—Theater, dance and crafts industry 7

Creative arts in India—Theater, dance and crafts industry 9

event. There is no database

the dancer or event

The highlight of most Bollywood movies are their elaborate

1.1.1. Market size of the 107 125

Handicrafts constitute an important segment of the Indian

Creative arts in India—Theater, dance and crafts industry 11

However, the state’s support for the performing arts is often

Creative arts in India—Theater, dance and crafts industry 13

Scheme Features and amount of grant

a. Adult shishya/artiste (18 years age and above) INR6,000

b. A category child shishya/artiste (12—<18 years age) INR4,500

c. B category child shishya/artiste (6—<12 years age) INR2,000

d. C category child shishya/artiste (3—<6 years age) INR1,000

Cities Type of project Limit of assistance

All non-Metro cities/towns All projects INR25 lacs

“Dance Fact Sheet,” NEA, https://www.arts.gov/sites/default/files/Dance_Fact_Sheet_Feb16.pdf accessed 18 November 2016.

“Folk Fact Sheet,” NEA, https://www.arts.gov/sites/default/files/Folk_Fact_Sheet_Sept15.pdf accessed 18 November 2016.

arts-and-cultural-production-contributed-7042-billion-us-economy-2013 accessed 16 November 2016.

Creative arts in India—Theater, dance and crafts industry 17

• Fundo Nacional de Cultura

Creative arts in India—Theater, dance and crafts industry 19

Another remarkable development is the increasing opportunity

New technology and settings: Performance groups are

profitable.. Varied performances: Short stories, biographies, historical

for the crafts sector.”

The Government of India in 2015 launched the Smart Cities

Key characteristics of creative clusters

Unique to the character, resources, community available locally

Assist in the support and marketing of local non-profit cultural organizations

Creative arts in India—Theater, dance and crafts industry

Inadequate infrastructure has Easing out of permissions

“If provided with relevant

Creative arts in India—Theater, dance and crafts industry 27

The landscape of performing arts funding in India is grim. The

Indian Theater: Past Perfect, Future Tense,” Indianfaculty.com, http://www.indianfaculty.com/Faculty_Articles/FA1/fa1.html,

Shrinking audience size: Audiences for the performing arts,

Creative arts in India—Theater, dance and crafts industry 29

The National Lottery is the state-franchised national lottery

Lack of access to credit: Most of the artisans engaged in the

Lack of latest technology and infrastructure: The industry

Creative arts in India—Theater, dance and crafts industry 33

Raasleela Based exclusively on Lord Krishna legends.

“Traditional Theater,” Centre for Cultural Resources and Training,

http:// ccrtindia.gov.in/theaterforms.php, accessed 22 September 2016.

Creative arts in India—Theater, dance and crafts industry 35

3. Indian puppet theater 19

India has a very long and rich tradition of shadow theater.

”Indian Theater,” An Online India, http://www.anonlineindia.com/information/theater.htm, accessed 21 September 2016.

India21 State Dance form

Andhra Pradesh Kuchipudi; Kottam

Assam Ojapali; Bihu, Ankia Nat

Bihar Jata Jatin; Faguna or Fag; Purbi; Bidesia