Six generations of metal knife makers have sustained this Kachchh craft in Nani Reha and Mota Reha villages. There are two types of knife-making tradition in Kachchh. The Chari has a steel or iron blade known as a fur and a handle made from wood, plastic, or brass. The Chappu is composed of the same parts with an added spring that allows it to fold. Some artisans specialize in crafting the blade, some in casting the handles, and others in polishing the final product. In this system, each knife is the result of many artisans’ collaborative work. A collaborative spirit strengthens the sector and together artisans meet the needs of consistent demand.

Like any other craft, the craft of copper coated bells evolved from the need of the time and region. In earlier times, before the division of India and Pakistan, there used to be constant movement of people between these regions. Live-stock was a major occupation in Kachchh. The Lohar community from Sindh, (now in Pakistan) saw the potential for their craft and brought the craft to the land of Kachchh.

Ancestors of copper bell makers sold their products to the local communities. Maldharis Bharvads and Rabaris (pastoral communities) were their major clientele and shared a very close relationship with the bell artisans. The Bharvads and Rabaris would sit with the bell makers describing the sound that their cattle recognize. The bell makers set the sound and tone till his client felt convinced of the sound. The bells come at a very high price and carry a life-time warranty. If there is any change in sound or the shining fades, then the copper bell artisans refurbish it free of cost. Almost all the live-stock was adorned with their bells thus providing a very good market.Old timers often refer to the bells by their original names such as chota paila, paila dingla, do dingla rather than the sizes. These names are the local currency equivalents for which bells could be bought at the time.

The Dalit Meghwals of Rajasthan migrated to Kachchh, bringing an artful leather craft with them. The trade was kept alive by a partnership with nomadic pastoralist Maldharis. When a Maldhari cattle died, the Meghwals converted the raw hides into leather. The work was tough, taking eighteen labor intensive days to treat and wash the hide. By recycling the dead cattle, the Meghwals gave new life to waste, transforming it into a product of utility. The Meghwals’ close relationship with the Maldharis resulted in a remarkable fusion of cultural customs which can be seen in the shared styles of dress and embroidery traditions of the various communities in the region. Kachchhi leather was so well treated and durable that it could hold water. As such, it was made into long-lasting items like shoes, water bottles, horse saddles and water jugs. It is said that artisans once used real silver thread to bind pieces of leather together.

In the 11th century, during the reign of the Mughal Emperor Akbar, a man named Nubi innovatively created a felted covering for the king’s ill horse. Ever since, people have been making felted cloth from the wool of sheep. The craft is primarily practiced by the Pinjara and Mansuri communities, Sama Muslims native to Kachchh. Namda is a craft made for all types of climates. There are Namda artisans throughout India, working in Kashmir, Himachal Pradesh and Rajasthan. In Kachchh, the Pinjara and Mansuri communities create felted namda from indigenous sheep wool. After the wool is collected, cleaned, dyed, and compressed into sheets, artisans create colorful and intricate designs which are often embroidered. Namda is still used to create saddle blankets for horses and camels in local nomadic communities. Prayer mats for Muslims also can be found felted from the course, earthy fabric.

Mud and Mirror Work (also known as Lippan Kaam) is a traditional mural craft of Kachchh, Gujarat, India. Lippan or mud-washing using materials locally available in the region like mixture of clay and camel dung keeps the interiors of the houses cool. These scintillating murals bring life, gaiety, and beauty to generally harsh life of people of Kachchh.

Mud and Mirror Work is mainly done by the women of the Rabari community. This art form has a hoary past as no records are available to trace its origin. Various communities in Kachchh do mud-washing in their own distinct style. Artisans of the Muslim community practicing this art form stick to graphic and eye-catching geometric patterns of lippan kaam, as depicting the human or animal form is considered deeply un-Islamic.

Mud mirror work gathered attention of the modern world for its intricate pattern and aesthetic perfection and has made a full transition from its unknown modest stature to the mainstream art world, decorating the walls of urban homes.

Attractive wall pieces with small mirrors are made in Kachchh and Kheda districts of Gujarat. Traditional clay utensils like pots, Tawadi, Plates, Bowls etc.,with hand paintings are made in Kachchh district.

Traditional silver tribal jewellery remains an integral part of village dress. Each silversmith specializes in a particular tribal jewellery tradition, creating an array of products from bangles to earrings to anklets. The jewellers and the communities where they work have strong relationships since they have lived and worked together for generations. During the 19th century, Kachchhi silver was made famous by colonialists who featured silverworks in some of the Great Exhibitions in France and England. Kachchh silver is known for its white quality which resists tarnish. Artisans use brightly coloured glass called meena to accentuate traditional designs.

The Mashroo textile was woven for Muslim communities, who believed that silk should not touch a person’s skin. Crafting a solution that enabled people to honor this belief while still appearing dressed in the finest clothing, weavers mixed silk and cotton threads to create a textile that was simple cotton on one side and rich silk on the other. The meaning of Mashroo is “this is allowed.” The port town of Mandvi is at the center of Mashroo legacy in Kachchh, historically creating luxurious bolts of the fabric that Muslims and Hindus enjoyed. In the regions of Saurashtra and Kachchh , women stitch mashroo kanjari (backless blouses), skirts, and cholis. Mashroo helped weave communities together. The Ahir Patels (farmers) produced cotton, which was handspun and then given the the weavers. Rabari and Ahir women did embroidery and mirror work to create even more distinctive versions of mashroo. Mashroo was a royal craft, produced in large quantities until the 1900’s for local elite and export markets. Till recently, the Maheshwari weavers practiced the craft. Today, traditional mashroo weaving is on the brink of extinction.

The natural resources required for Kharad Craft are wool and vegetable colors. Kachchh had a robust tradition of animal husbandry. The pastoral communities maintained large herds of camels and livestock like goats, sheep etc. Originally Kharad carpets were made from goat and camel hair wool. The Maldharis and Rabaris ( pastoral communities ) shear the hair from camels and goats. This was then given to the hand-spinners who specialized in making wool out of goat and camel hair. This wool was then used by the Kharad artisans. The Kharad artisans produced Kharad (used for spreading on the floor), Khurjani (used to keep on the back of a camel to carry heavy items), Rasa (thick cloth used to cover grains). They used to roam the villages of Banni, Pancham and Sindh for selling their products. The village/town called Mugdan at the Indo-Pak border had regular customers of Kharad and Khurjani. Products such as Khurjani were popular in Sindh where these items sold easily as many people owned camels there. The Kharad adorned many palaces in Sindh and Gujarat. The Kings and the ministers were regular patrons of Kharad given their very distinctive look, strength and longevity of Kharad. A kharad can easily last up to 100 years. Presently the Kharad craft is a diminishing craft.

Kachchhi weavers traditionally come from the Marwada and Maheswari communities. The Maheshwaris transitioned into the art of mashroo, while the Marwada style is now well known as Kachchhi weaving. This community is versatile, crafting woven textiles, leather and woodwork all over Kachchh.

Weavers are closely linked socioeconomically with their local clients, the Ahirs, Rajputs, and Rabaris. Each weaver was once personally linked with a Rabari family, who would supply yarn from sheep and goats. Farming communities like Ahirs cultivated kala cotton, which produced woven textiles for shoulder cloths and headgear. Sheep and goat wool was used for veils, skirts, shawls and blankets. The designs woven into Kachchhi woven fabrics were inspired by the communities who wore them, replicating the shapes of musical instruments, the footsteps of an animal herd, etc. The names for motifs like vakhiyo, chaumukh, satkani, hathi, or dholki are evocative of the rural images.

Plastic takes thousands of years to degrade, preventing soil from being used productively and leaching its way into groundwater. One method of plastic waste disposal that has been common to Kachchh is burning large piles of plastic. Studies have shown that burning plastic may release carcinogenic toxins into the air. Littering is a common problem, and trash in Bhuj rarely makes it to a landfill. Recognizing the issue of waste disposal as a global problem, it is necessary to create new, lasting solutions. Cleaned plastic is cut into long strips by women. The plastic strips of different colors are woven into durable textiles. Nylon is used for the warp, and plastic forms the weft, creating a thick dense material useful for mats, backpacks, or cushions. Weaving is a skill intrinsic to the Kachchh, and the recycled plastic is woven using a technology ancient to Kachchh – the pit loom.