Young men clad in dhotis, with swords and shields in their hands, stomp their feet rhythmically to the drum beats and leap and kick in the air, as they take on their opponents in a tribal dance called Mayurbhanj Chhau that has roots in martial arts. Mayurbhanj Chhau , which originated from the forests of east India’s Orissa state, is one of several art forms that have been revived by a royal sister duo in Mayurbhanj, Orissa, who are part of royal descendants across India trying to conserve history and tradition. India’s royal families were strong patrons of the country’s textiles tradition and arts and craft but their patronage waned as India modernised and the royals’ popularity declined. In recent years, Indian royal descendants have stepped up conserving and promoting traditional art forms. In Mayurbhanj, Princess Akshita Bhanj Deo and her sister restored their family’s palace by converting the 18th-century home, the Belgadia Palace in Baripada, into a boutique hotel. Part of the funds from the hotel’s operations are earmarked for use by the family’s Mayurbhanj Foundation for community development. “The foundation works with reviving Chhau , an ancient martial art, dhokra (a metal casting technique without iron) artists, sabai grass (a local grass used in making baskets and ropes) work and ancient weaves and handlooms from the region,” she said. “We make sure that these craftsmen are trained to make not just trinkets and souvenirs but convert it into something of luxury and also functional like a dhokra work door handle or a waste-paper basket made of sabai grass,” she said. “We approach conservation and reviving these dying art forms from all angles. We make sure they develop as entrepreneurs and we help them upgrade their skills, we work with self-help groups, and take tourists who stay in our palace to meet these organisations and people,” Deo said. The challenge is to make the crafts a field that is both traditional and profitable to ensure that this cultural heritage is not lost Yuvrani Meenal Kumari Singhdeo Fellow royal Yuvrani Meenal Kumari Singhdeo of the Dhenkanal family, who reopened the restored Dhenkanal Palace to guests and tourism, highlighted the importance of ensuring crafts remain a profitable trade to keep the tradition alive. “The younger generations within these artisan families too are moving out of their villages and are in search of more lucrative careers, not many of them want to continue to work in the crafts as their families did. The challenge is to make the crafts a field that is both traditional and profitable to ensure that this cultural heritage is not lost.” Singhdeo works extensively with Pattachitra , an art form that dates back to the fifth century BC. This freehand scroll painting technique uses motifs from mythology and nature and is used to decorate sari, Western outfits, stoles, scarves, batuas and utility items. “I started a brand called Minaketan , which is the name of our family emblem. I began working with dhokra artisans and the lost wax technique of metal casting, giving them my designs as well as making objects more user friendly and utility based, suited to today’s living and requirements.” Of the reopened Dhenkanal Palace, she said: “Dhenkanal is a cauldron of art and craft. It has clusters and entire villages engaged in crafts such as basket weaving, dhokra , kansa (bell metal), brass jewellery and handloom.” Painter Vivasvat Pal Karauli, the scion of the Karauli family of Rajasthan, has revived the miniature style of painting and frescoes in his town. Foreign students and organisations are invited to explore the town and study the art form and restoration works. “After our establishment of the Karauli chapter of Intach (Indian National Trust for Art and Cultural Heritage), there is also a group of local youth who conduct cleaning and repair-work sessions at our old forts and are sensitised to collecting information about the rich history we all share.” “We also conduct experiential and training workshops where students and researchers from universities and organisations in the US, Europe and India visit to explore our social activities and study the restoration and conservation at the City Palace,” said Karauli. Karauli worked with a small team of artists and glass workers to begin restoration of the Karauli City Palace, which required training in techniques of local miniature painting. “My love for art is expressed in two distinct forms via media. The first is my personal project – oils and watercolours focused on wildlife, landscapes and portraiture. The second is through the revival of the Karauli school of miniature painting and through the conservation of ancient miniatures at the City Palace. From rail yoga to doga, 5,000-year-old practice takes many bends and twists Yaduveer Singh Bera of the royal family of Bera, which is known for the art of quilting, has revived the old art and is making hunting jackets that were once made for his great-grandfather in the early 1900s. He said the project has had a “huge impact” for locals “as the tailors are now training their next generation with the skills and not sending them to the cities to work”. “Also now these jackets are known as Bera jackets and are easily recognised all over the world,” added Bera. Singhdeo of the Dhenkanal family said: “To be able to reach out and help them (craft artisans) I felt it important to first understand their crafts, their hardships. I have spent hours learning the craft. We have tried to give them exposure in whatever little way we can, by taking their craft out of the villages but also by bringing people from around the world to their craft.”