Introduction

Bell metal handicraft is an important handicraft of Assam. Different products of this handicraft have been getting
socio-cultural and religious importance over centuries. The uniqueness of this handicraft is that the technique of
production is purely traditional and hereditary. Though there is no any shortage of demand of the products of the
handicraft, there are ample opportunities to increase the flow of tourist to Sarthebari through product adaptation.
There are number of studies undertaken on bell metal handicraft of Sarthebari most of which highlighted the
problems of the handicraft. No studies are found which focused on the potentialities of product adaptation. The
study is based on primary and secondary data. Primary data were collected through focus group discussion,
unstructured personal interview and Delphi method. The study concludes with some recommendations.

In Assam, the position of bell metal handicraft is next to handloom and textile. It is one of the important and popular
types of metal used to manufacture different kinds of day to day utensils and decorative items (Devi, 2016). Though
the bell metal works are also found in other parts of the country viz. West Bengal and Chhattisgarh, the composition
of the alloy is different in Assam which is unique in nature. In Assam, the alloy is made by consisting 78% copper and
22% tin. Though tin and copper is the main raw materials of bell metal, the artisans of the handicraft use scrap bell
metal utensils as raw materials. For giving required shape of the melted bell metal, the artist use charcoal as fuel to
heat the metal. Without the utensils of bell metal product, the Assamese culture is incomplete. Every family tries to
maintain those articles as marks of their cultural identity. They are mostly used in day to day life, in religious rituals
and marriage ceremonies. The whole ritual activities of Nava Vaishnava religion which was propounded by Srimanta
Sankardeva cannot be done without bell metal utensil. The Puja of Shakta, the Prasanga of Vaishnava, the worship of
Buddhist all use bell metal utensils as a holy tool of worship. Even in marriage of girls, it is customary that parents
present bell metal utensils to their daughters. In every cultural and religion activities in Assam, the bell metal utensils
are used and preferred. Whenever a guest comes to a family, the family welcomes their guests by offering areca nut
in Baata, a bell-metal utensil. Even a guest feels delighted when some offer meals in bell metal dishes. Thus we
cannot think about the assamese culture without the use of bell-metal utensils. The use of bell-metal utensils is not
only concentrated in Assam alone. It’s use has crossed the state as well as national border. Dafla, a unique tribe of
Arunachal Pradesh, Which is surrounded by South China, uses a peculiar type of bell metal dish. The dish is known as
Dafla Kahi in Assam. No other places of India except Assam produce this utensil. Thus a utilitarian tool of Dafla
culture is made solely in Assam. The magnitude of bell metal handicraft is not end here. Four types of musical
instruments, cymbal, known as Pachang, Bheri, Cemen and Romo are produced at Sarthebari of Assam which have
international market. These musical instruments are used in the Buddhist religious rituals in Bhutan, Myanmar, Sri-
Lanka, Thailand etc. hundreds of Bhutanese traders come to Sarthebari, stayed here for many days and returned
with their required bell metal products to sale in the international maket.

Evidences of its metal culture can be traced from the archaeological evidences traced in the state [6]. Brass is an
important cottage industry, with highest concentration in Hajo, while Sarthebari is well known for its bell metal craft
[5]. The principal items of brass are the kalah (water pot), sarai (a platter or tray mounted on a base), kahi (dish), bati
(bowl), lota (water pot with a long neck) and taal (cymbals used in socio- religious functions) [1] and tan, Kelah, Tub,
Karahi (container with dense but small holes on its body to pass water), Ladle, Pot, Thali (dish for offering), Saki,
Dhuna–dani (vessel used for burning a kind of resin)etc., are traditional domestic utensils like whereas the products
of bell metal industry are dish, cup, plats, Bhoortal (big size cymbal used at the time of secrete prayer), Bota (a kind
of tray for offering betel nut or offering things to god and goddess or show honour to respectable persons), Kerabi,
Charia, Ghati etc. It is believed that having food in bell and brass metals utensils help the people to maintain sound
health because of the presence of copper in bell and brass metal products [12].

Hajo is having more than 300 artisans families with about 2000 people completely dependent on the handicraft for
their livelihood (source: http://online.assam.gov.in/web/guest%20/industries?webContentId=175223 ) where as The
Sarthebari cluster has 91 brass metal production units and 402 artisans involved therein (Source: Census of India,
field survey, and records of Pital Silpi Sangstha, Baniakuchi ). But it is observed that the industry is decelerating day
by day. Due to the lack of proper marketing strategy, exports of bell and brass metal articles to other states of our
country are almost absent. Only some amount of products have been exported to countries like Nepal, Bhutan,
China and Myanmar. On the other hand, comparatively highly finished and low-priced hand and machines made bell
and brass metal articles from Moradabad, Kolkata, Punjab, Haryana, etc are gradually intruding the domestic market.
Under such circumstances, artisans of bell metal industry of Raha (Nagaon District), Titabar (Jorhat District) and
Dhekiajuli (Sonitpur District) had already given up this traditional craft and engaged in other business [13]. The poor
economic condition compelled the artisans to produce brass metal articles under the control of mahajan (money
lender) [10]. The brass metal industry of Hajo and found that the artisans engaged in this industry are producing
variety of brass metal articles as such- household utensils, religious items, musical instruments, decorative items
along with image of deer, elephants, horses, bullock, parrot, eagle, lion, rhinoceros, peacock, tiger etc. However, the
articles produced by human drudgery are costly and less beautiful than machine made products [7].

The problems and prospects of bell metal industry of Saruksheri Block and found that the products of this industry is
an integral part of the cultural heritage of Assam and directly related to economic activities of the rural peoples of
Sarthebari and surrounding area [4]. Related to bell metal industry of Sarthebari area has identified the problems
associated with the Mridula Sahay ISSN : 2028-9324 Vol. 11 No. 1, Apr. 2015 193 industry as supply of raw materials,
lack of finance, indifference attitude of government, lack of marketing information etc. along with unhygienic
condition of garhsal (work shed of bell and brass metal industries)[8].

Manufacturing Process
Bell Metal is an alloy of copper and tin. The technology used in this industry is also traditional and simple. No
electricity is involved in the manufacturing process. The tools and equipments used are simple unsophisticated and
more or less the same as in brass metal industry. However, tools like Dulari, Gasha, Saria, Piri, Khanta (An iron
instrument use for polishing the bell metal products), and Pocker etc. are also used. The main raw material is Bell
metal in the form of old and broken articles. The other raw materials are polishing materials, clay, jute fibre, rice
bran, mustard oil, Charcoal, Borax, Zinc, shalpatra etc.

Processing the raw material

The raw material is often shipped from Kolkata and also Pakistan and Bangladesh. The craftsmen continue to follow
the indigenous melting method of raw material. The raw material is also bought with old used bell metal objects
such as cups, glass drinks or plates. When the raw material is pounded into little pieces, it is put inside of an iron ship
and in the fireworks, also known in the local language as Kah Galuwa Apor. Sometimes the fire vent is driven into the
flames by machinery.

Solidifying the molten metal

When a complete molten form is reached for the raw metal, the iron container is pulled out and the heated liquid
metal pipe is poured over the smooth circular surface of the earthen sinks previously dabbed in mustard oil. The
molten metal integrates into thin, spherical ingots of bell metal. The metal ingots are then again branded in a fire
vent to soften and again repeatedly hammered to form them. When the raw bowl is formed, a small hammer is
applied to the bowl to give it a final shape.
Filing of the rough edges
The raw edges of the bowl are manually filed by a powerful and flat iron filer called Reti and Ou when bell
metal bowls are made.

Scraping off the burnt layer

A long iron rod, with sharp points, called the Khonta by local artisans, to scrap the darkened burnt layer
from the bell metal cup. It's done simply to bring the shine and glaze in the metal bell products.
The method is incredibly complex and requires a great amount of stress and strength.

Carving imprints on the bell metal ware

When the base bell is made of copper, the base is heated in a fire vent known as the Kunda Apor and then
wax screwed onto a rolling bamboo tool known as the Kunda Saal, to secure the base of the bowl.
The Kunda Saal is created by the use of a pulley tuggered on one side, and a sharply twisted edge
instrument to cut rings into the spinning bowl on the other The Luwaal tip is called the Luwaal.

Bhor mara or carving rings on the bowl

A sharp tool made from iron is used to give the bell metal bowl a final touch. The artisan uses a small tool called the
Dhonukar in the shape of a typical arch. A small metallic cup is placed within the craftsman's palm for pressure
application, one side of the sharp tool is placed while the other end is employed to carve designs and motifs.

Discussions
Bell metal as a cultural identity

A bell metal handicraft is one of the oldest and important handicrafts of Assam. The most important thing is that
without the bell metal utensils we cannot think about the Assamese culture. All tribes of Assam use cymbals in their
traditional dances. Bell metal utensils is regarded as cultural identity of Assmese culture. Each Assamese family feels
pride to have bell metal utensils. In the marriage of a daughter, it is social customs that parents gift some bell metal
utensils. No social activity can be imagined without the use of bell metal utensils. Every Assamese family welcomes
their guests by offering areca nuts in baata.

Xorai is also an important container made of bell metal used by Assamese people. It is used as a decorative symbol in
traditional functions such as during Bihu dances. It is also used to offer gift to a person for felicitations. In Ojapali
dance, one of the oldest art forms of Assam, too the performers use Khutitaal (palm sized cymbal). In Bihu dance,
Bihu taal (cymbal used in Bihu dance) is used. Besides, Ojapali and Bihu, in all kinds of folk songs and dances of
Assam, people use bell metal musical instruments.

Bell metal utensil is not only the part of Assamese culture; it is also a part of some tribes of Arunachal Pradesh too.
The Dafla tribe of Arunachal Pradesh use Daphla Kaahi and Dafla baati produced at Sarthebari. It is the tradition for
the Dafla tribe to keep bell metal dishes and bowls with in each family.

Bell metal as a religious identity:

Assamese is a land of Nava Vaishnav Dharma founded by Sri Manta Shankardeva. In all religious activities of Nava
Vaishnav Dharma, the devotees use Baata, Xorai and Bhor taal (very big sized cymbal of weighted 2.5 kg to 10 kg).
Bhortaal is a part and parcel of Assamese religious music specially Ek-Xaran Naam Dharma of Sankardeva, Pransanga
of Harideva, and Prasanga of Damodardeva. Besides, it is used in Thiyo Naam (religious music-song dance performed
in standing), Nagara Naam, Boha- Naam, Gayan- Bayan performance etc. It is the sole musical instrument in the
Bhor-taal Nritya played in the Lower Assam. Even the Sakta? uses bell metal utensils for their religious activities. The
Ojapali dance is an integral part of Maa Manasha Puja where taal made of bell metal is used. The Buddhist all over
the world use cymbals in their religious songs and prayers. Different types of cymbals viz. cimen, very, pachang,
romo which are exported are made at Sarthebari.
Bell metal as a source of livelihood and foreign exchange earnings:

Bell metal handicraft has been a source of livelihood for the people of Sarthebari area. The young generation of this
area does not look after the government jobs. The economy of Sarthebari area is completely bell metal centered.
The business, the trade etc are dependent on bell metal handicrafts. The products are exported to Arunachal
Pradesh, West Bengal and Delhi. Not only that bell metal utensils have been exported to different countries
especially in the South-East Asian Buddhist countries. nut, mouth freshener spices etc), chariya (a big container)
Challenges encountered by bell metal as a tourism.

Poor infrastructure:

The infrastructure of Sarthebari area is not well. Neares rail stations of Sarthebari is Pathsala (21 KM), Nalbari (24
KM) and Barpeta Raod (47 KM). The nearest airport is LGB International Airport of Guwahati (79 KM). But the road
connections from these places to Sarthebari are very poor. Of course, a lodge was established at Sarthebari by
Assam Tourism Development Corporation. This has slightly solved the problems of lodging. During field survey, most
of the tourists revealed that though they enjoyed the destination, they faced the problems of poor roads, lack of
electricity etc. The drainage system, garbage disposal system and sanitation and hygiene system are not up to the
mark.

Poorpromotion of bell metal products:

‘Souvenirs and mementoes form an important part of the tourist experience of the destination’(Medhi and
Patowary, 2015). Whenever a tourist visits a destination he brings back not only memories and experience but also
some products as souvenir. Therefore, the artists of the bell metal handicraft have to sincere about that. They have
to produce some light weighted and handy products so that the tourists can carry those as souvenirs.

Analysis:
Strength:

Only place of Bell metal handicraft in Assam.

Export network connected to South Asian Countries.

Has a rich history.

Medicinal importance.

Cultural and religious importance of product.

Traditional method of production.

Reusable product.

Weakness:

Lack of awareness outside the state.

Lack of hygienic working condition.

No trade mark or geographical indication.

Oppurtunities:

Very high potential to develop as an community based tourist destination.

Introduction of new products according to the demand.

Promotion through online medium.

Threat:

Charcoal as raw material which is facing scarcity.

Use of Replica.

The hiked price which is the main raw material.

 The Bell Metal Industry of Sarthebari Assam: A Design exemplar
Dhiraj Daimary
I Semester

Introduction:
Bell metal craftsmanship is Assam's valuable work. Over decades, numerous items of this art have acquired socio-
cultural and religious significance. The distinctive characteristic of this art is the pure practise and inherited
technique of production. There are a number of articles on Sarthebari's bell metal art, most of which stress the
problems of the crafts. There are no reports that concentrate on product adaptation ability. 

In Assam, handloom and textile are similar to the place of bell metal art. It is one of the most important and common
metal forms used to make various types of utensils and decorative articles every day . While in other parts of the
world, bell metal is used. West Bengal and Chhattisgarh, in Assam that is unique in nature, the composition of the
alloy is distinct. In Assam, 78 percent copper and 22 percent tin are made. While copper and tin are the main raw
materials of bell metal, the craftspeople use scrap metal utensils. The artist uses coal as the fuel to heat the metal to
give the molten bell metal its required form. Assamese cultivation is incomplete without the utensils of the bell
metal product. Each family wants to retain these articles as a symbol of its cultural identity. They are used in
religious rites and marriage ceremonies mostly . Without the bell metal utensil it is not possible to perform the
entire ritual practises of Nava Vaisnava religion advocated by Srimanta Sankardeva. The Shakta's Puja, the Vaisnava's
Prasanga, Buddhist worship, are all sacredly adorated with bell metal utensils. And when girls are married, parents
usually present their daughters with bell metal utensils. Bell metal utensils are used and favoured for any cultural
and religious practise in Assam. Any time visitors visit a family, the family invites them by giving a bell-metal utensil,
areca nut in Baata. Even a visitor is pleased to have been served in a bell metal bowl. So without the use of bell-
metal utensils, we cannot think about Assamese history. Not only Assam concentrates on the use of bell metal
utensils. The state and the national boundaries have been both been crossed by the use of it. A special type of bell
metal platter is used for the Dafla, an unusual tribe of Arunachal Pradesh, surrounded by the south of China. The
dish in Assam is called Dafla Kahi. This utensil is not developed by any place in India except Assam. Thus in Assam
alone is a utilitarian instrument of Dafla community. There's no limit here to the extent of bell metal art. At
Sarthebari in Assam, which has a foreign demand, there are four types of musical instruments, cymbal, known as
Pachang, Bheri, Cemen and Romo. These Music instruments are used in Bhutan, Myanmar, Sri Lanka, Thailand etc.
Buddhist worship ceremonies. Hundreds of Bhutanese merchants come to Sarthebari and remain here for a number
of days and return to foreign markets with their needed goods.

The archaeological evidence that has been traced throughout the state ,trace the evidence of its metal culture. Brass
has the largest concentration in the cottage industry in Hajo, while Sarthebari is known for its bell metal production.
The key brass pieces are Kalah (water pot), Sarai (sheets or tray placed on the bases) and tan, Kelah, bowl, karahi
(sheets with tiny yet thick holes on its body to move water), Ladle, Pot, Thali (sheets for offering), Shaki and Dhuna-
Dani, (sheets for the brûling of a sort). Sheet metal (sheets with the pot) (water pot with a long neck) and Tan
(cymbals for socio religious functions). It is believed that having food in bell and brass metals utensils help the
people to maintain sound health because of the presence of copper in bell and brass metal products.[ CITATION
DrB18 \l 16393 ]

The Sarthebari Cluster has 91 brass metal producers and 40% of the craftsmen concerned (Source: India Census, field
surveys and the Pital Silpi Sange,B) Hajo has over 300 craftsmen with approximately 2000 people who are entirely
dependent upon the handicraft for their But the industry is being observed to downshift by day. - By day. Because of
the lack of an appropriate marketing policy, shipments to other countries in our country of bell metal items is almost
absent. Just a few goods were sold to countries such as Nepal, Bhutan, China and Myanmar. The comparatively
finished and low-priced hand-and machinery, on the other hand, is steadily entering the domestic market, rendering
bell metal items of Moradabada, Colca, Punjab, Haryana, etc. In this sense, the traditional art was already
abandoned and engaged in other enterprises by bell metal manufacturers of Raha (Nagaon District), Titabar (Jorhat
district) and Dhekiajuli (Sonitepur District). The weak economic situation pushed the handicraftsmen to manufacture
metal pieces of brass under mahajan's control. Hajo's brass metal industry and the craftspeople engaged in this
industry produced numerous brass metal products including domestic utensils, religious items, musical instruments,
decorative artefacts along with illustrations of horse, elephant, bell, bullock, parrot, eagle, lion, peacock, tiger etc.
Yet human drudgery goods are expensive and not as exquisite as products made by machines.

Saruksheri Block's challenges and opportunities in the bell-metall sector and the products of this industry are an
important part of Assam's cultural heritage and are directly connected to the rural rural activity. The problems
associated with Mridula Sahay ISSN: 2028-9324 Vol have been found in the Bell Metal Industry field of Sarthebari. 11
No. 1, Apr. 2015, 193 industry as the provision of raw materials (work shed of bell and metal brands) and lack of
capital, ignorance, marketing knowledge etc.

Manufacturing Process:
Copper and tin alloy is Bell Metal. The technology used is often conventional and basic in this industry. The
production process does not require electricity. The instruments and machinery used are smaller and more or less
the same as those used in the metalworking industry. Tools such as Dulari, Gasha, Saria, Piri, Khanta (a bell-metal
polishing instrument), etc., are however also used. Bell metal as aged and bent articles is the primary raw material.
Other raw materials include polishing goods, clay, fibre jute, rice bran, mustar oil, charcoal, borax, zinc etc[ CITATION
Mri15 \l 16393 ]

Processing the raw material

The raw material is often shipped from Kolkata and also Pakistan and Bangladesh. The craftsmen continue to follow
the indigenous melting method of raw material. The raw material is also bought with old used bell metal objects
such as cups, glass drinks or plates. When the raw material is pounded into little pieces, it is put inside of an iron ship
and in the fireworks, also known in the local language as Kah Galuwa Apor. Sometimes the fire vent is driven into the
flames by machinery.

Solidifying the molten metal

When a complete molten form is reached for the raw metal, the iron container is pulled out and the heated liquid
metal pipe is poured over the smooth circular surface of the earthen sinks previously dabbed in mustard oil. The
molten metal integrates into thin, spherical ingots of bell metal. The metal ingots are then again branded in a fire
vent to soften and again repeatedly hammered to form them. When the raw bowl is formed, a small hammer is
applied to the bowl to give it a final shape.

Filing of the rough edges

The raw edges of the bowl are manually filed by a powerful and flat iron filer called Reti and Ou when bell
metal bowls are made.

Scraping off the burnt layer

A long iron rod, with sharp points, called the Khonta by local artisans, to scrap the darkened burnt layer
from the bell metal cup. It's done simply to bring the shine and glaze in the metal bell products.
The method is incredibly complex and requires a great amount of stress and strength.
Carving imprints on the bell metal ware
When the base bell is made of copper, the base is heated in a fire vent known as the Kunda Apor and then
wax screwed onto a rolling bamboo tool known as the Kunda Saal, to secure the base of the bowl.
The Kunda Saal is created by the use of a pulley tuggered on one side, and a sharply twisted edge
instrument to cut rings into the spinning bowl on the other The Luwaal tip is called the Luwaal.

Bhor mara or carving rings on the bowl

A sharp tool made from iron is used to give the bell metal bowl a final touch. The artisan uses a small tool called the
Dhonukar in the shape of a typical arch. A small metallic cup is placed within the craftsman's palm for pressure
application, one side of the sharp tool is placed while the other end is employed to carve designs and motifs.

Discussions:
Bell metal as a cultural identity

One of Assam's oldest and most important crafts is a bell metal art. Most notably, we cannot think of Assamese
culture without the bell metal utensils. In their ancestral dances, all Assam tribes use cymbals. The ethnic identity of
Assamese society is called Bell metal utensils. Every Assamese family feels proud of providing utensils for bell metal.
In a daughter's marriage, parents send bell metal utensils. It is social customs. Without the use of bell metal utensils
no social interaction can be pictured. Each family of Assamese welcomes its visitors by offering a areca nut in
a Baata.

Xorai is also a large bell metal container used by the people of Assam. It is used in traditional positions, such as Bihu
dances, as a decorative emblem. It is also used for congratulating an individual. The artists also use khutitaal in
Ojapali dance, which is one of Assam's oldest styles of painting. Bihu taal (cymbal for dancing in Bihu) is used in Bihu
dance. In addition, Ojapali and Bihu use bell metal musical instruments for all sorts of folk songs and Assamese
dances.

The Bell metal utensil is also part of some of the Arunachal Pradesh tribes, not just the Assamese community. Daphla
Kaahi and Dafla baati produced in Sarthebari have been used by the Dafla tribe of Arunachal Pradesh. In any family
the Dafla Tribe continues its tradition of using bell metal dishes and bowls.

Bell metal as a religious identity:

Assamese is a land established by Sri Manta Shankardeva, Nava Vaishnav Dharma. The devotees use Baata, Xorai and
Bhor taal (very large cymbal weighed between 2,5 kg and 10 kg) in all religious practises of Nava Vaishnav Dharma.
Bhortaal, in particular, is part and parcel of Assamese religious music, Ek-Xaran Naam Dharma from Sankardeva,
Harideva's Pransanga and Damodardeva's Prasanga. It also works in Thiyo Naam (religious standing music dance),
Nagara Naam, Boha-Naam, Gayan-Bayan etc. It's the only musical instrument played in the Lower Assam by the
Bhor-taal Nritya. The Sakta itself? For their worship ritual, bell metal utensils are used. Taal made of bell metal is
used for the Ojapali dance in Maa Manasha Puja. In their worship songs and prayers, Buddhists all over the world
use cymbals. Different types of cymbals viz. cimen, very, pachang, romo which are exported are made at Sarthebari.

Bell metal as a source of livelihood and foreign exchange earnings:

The residents of Sarthebari have acquired Bell metal handicraft as a means of livelihood. This young generation
would not take care of state employment. Sarthebari region's economy is entirely focused on bell metal. Company,
commerce etc. depend on handicraft in bell metal. These commodities are shipped to QArunachal Pradesh in
Arunachal, West  Bengal and Delhi. It is not only in South-East Asian Buddhists that utensils were shipped to
numerous countries. 
Poor infrastructure:

The Sarthebari area's infrastructure is not healthy. Pathsala (21 KM), Nalbari (24 KM and Barpeta Raod (47 KM) are
the nearest railway stations to Sarthebari. Guwahati International Airport LGB (79 km) is the closest airport. However
the relations between Sarthebari and these places are very weak. Naturally, an Assam Tourism Development
Corporation lodge in Sarthebari was created. The house issues have been somewhat fixed. During the field study,
most visitors found they faced the problems with bad roads, lack of electricity etc even though they had enjoyed the
destination. The sewage scheme, waste collection system and hygiene and sanitation services are not compliant.

Poor promotion of bell metal products:

The tourism experience of the destination includes 'Souvenirs and souvenirs' (Medhi and Patowary, 2015). When a
visitor visits a destination, he takes back some souvenirs as well as memories and experience. The bell metal
musicians must then be honest about this. Any lightweights and handy items must be created to allow tourists to
take them for souvenirs.

Analysis:
Strength:

 Only place of Bell metal handicraft in Assam.

 Export network connected to South Asian Countries.
 Has a rich history.
 Medicinal importance.
 Cultural and religious importance of product.
 Traditional method of production.
 Reusable product.

Weakness:

 Lack of awareness outside the state.

 Lack of hygienic working condition.
 No trade mark or geographical indication.

Opportunities:

 Very high potential to develop as an community based tourist destination.

 Introduction of new products according to the demand.
 Promotion through online medium.

Threat:

 Charcoal as raw material which is facing scarcity.

 Use of Replica.
 The hiked price which is the main raw material.
Conclusion:
As we have seen that bell metal utensils are an integral part of the Assamese culture but it is slowly losing it’s
momentum due to the industrialisation phenomena. The rapid demand of the consumers is hardly fulfilled by the
hand made production. It is important for us to shower light upon this art of the Sarthebari cluster. It is an exemplary
design innovation which is sustainable cause it recycles it’s produces, has cultural importance in the society and is
ethnic to the region of Assam.

References:

Choudhury, D. B. (2018). Product Adaptation: Popularizing Bell Metal Handicraft Product of Sarthebari as a Tourism
Souvenir. Pacific Business Review International, 69-73.

Sahay, M. (2015). TURNAROUND STRATEGY FOR BRASS AND BELL METAL INDUSTRY IN ASSAM, INDIA. International
Journal of Innovation and Applied Studies, 191-196.