Narrator: It takes nearly a week
to make one Dhokra statue.
Artisans build the mold from mud
and spend hours handcrafting
the intricate details using strings of beeswax.
Eventually, all of this will be lost to make way for metal.
Tribes in India have practiced this art for 4,500 years.
Rajendra was just 10 years old
when he started learning the craft.
Narrator: But many artisans were forced to quit
when India rolled out a controversial economic reform
that threatened their livelihoods.
Narrator: Now, many are searching
for more sustainable careers.
We traveled to Chhattisgarh in India
to see how this centuries-old tradition is still standing.
Dhokra art is more than a job for Rajendra.
It's a passion.
And his workshop has been a staple
in the town of Kondagaon for over 10 years.
He starts each day by mixing rice husks
with black soil to make the clay.
This blend keeps the model from cracking.
Narrator: He leaves it to dry in the sun for two days.
ُThis layer of wet riverbed soil helps smooth out any bumps.
Then it's time to prepare the wax.
Rajendra uses beeswax because it's strong
and allows him to create intricate designs.
He melts and strains it into cold water.
The linen cloth catches impurities like bee wings.
The fire makes the wax more pliable
and easier to shape into logs.
Rajendra adds it to this pressing machine he inherited
from his grandfather.
The press stretches the wax into meter-long strings.
This was once done completely by hand.
Some other communities still use that method,
but it takes a lot of time.
Narrator: Rajendra prepares the model for the wax,
smoothing the surface with a file
and rubbing it with a bean leaf.
Narrator: Slowly, he wraps the strings around the model
to bring his ideas to life.
The design he makes with the wax is printed
on the wet soil underneath.
He has to be careful not to leave gaps between the strings.
Narrator: Designing is Rajendra's favorite part
of the process.
It took him years to master, and precision is key here.
He can spend a full day working on just one sculpture.
He comes up with his designs on a whim
and improvises as he goes.
Narrator: Most Dhokra sculptures depict animals
and deities from tribal folklore.
Narrator: Nandi is a sacred bull in Hindu culture,
and one of Rajendra's most popular designs.
Many believe it brings peace and prosperity into the home.
Rajendra has made hundreds of these sculptures
over the years.
He covers the model in another layer of soil.
This method of creating two layers
on both sides of the wax is called hollow casting.
Rajendra makes two holes at the base
that will allow the wax to melt
and make way for the molten metal.
He covers the model in another layer of termite soil
and creates a funnel around the wax strip.
Narrator: Rajendra starts a fire in this brick furnace
and uses wood from a forest nearby.
He monitors the temperature throughout,
keeping it at around 1,300 degrees.
The model sits in the fire for two hours
until all the wax melts away.
If it's too hot, the model will crack and spoil.
Narrator: Rajendra removes it from the furnace
with a metal rod.
Narrator: He melts pieces of scrap metal,
including utensils and old machine parts.
Then he pours the molten mix into the channel
and waits for it to cool down.
Dhokra art gets its name from the Dhokra Damar,
the nomadic tribe that popularized
the craft across the country.
Legend has it the tribe went from village to village
selling the metal figurines of Hindu gods
and goddesses in exchange for food.
The art form continued to thrive into the 2000s.
But that all changed in 2016,
when India demonetized much of its currency
in an effort to weed out illegal money
and counterfeit bills.
Overnight, almost 90% of the cash
in circulation was made worthless.
Many customers stopped buying Dhokra art to save money.
It took the Indian government eight months
to replace the bills in remote areas of Chhattisgarh.
By the time it did, many Dhokra artists
who depended on cash sales had
to quit the craft to make a living.
Narrator: While Dhokra is still popular,
many artisans are still struggling.
So Rajendra recognizes the importance
of his work every time he breaks a mold
and reveals his newest creations.
Narrator: The rising cost of raw materials
is forcing them to sell their sculptures at higher prices.
The number of artisans working in the trade has dropped
by nearly a third in the last three decades.
Narrator: But it's not just about the money for Rajendra.
His uncle, Jaidev Baghel,
was recognized as a master Dhokra craftsman
by the Indian government
and even earned a statue in Kondagaon for his work.
Narrator: Now, Rajendra is continuing his legacy.
He's trained over 200 people and helps them sell their work.
Despite the hardships,
he's managed to keep his business afloat.
He sells mainly in government-funded showrooms
and makes around 40,000 rupees, or $500, a month.
He's shown his work in exhibits across India
and has won two national awards.
Narrator: But that's not the reality
for most small-scale artisans,
who make around 7,000 rupees a month,
less than half the monthly average for most workers.
And many Dhokra-making families
are encouraging their kids to work different jobs.
Narrator: Rajendra believes his traditions molded him,
and he wants to do the same for future generations.