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Case study: Shaam E Sarhad village resort

Concept The SHAAM E SARHAD VILLAGE RESORT is open from 15th October to 31st Mrch The Hodka En!o"eno#s To#rism seeks to promote Local Culture and Craft based Tourism for Sustainable Livelihoods and integrated rural development !magine an authentic and charming retreat" Complemented by the uni#ue e$perience of being hosted by the local community" %nd the richness of culture that a&aits you here Designed in local style' and e$#uisitely decorated &ith mirror &ork' te$tiles and other local crafts' the Shaam E Sarhad (illage )esort is the perfect gate&ay to a genuine travel e$perience in !ndia The resort is situated in Hodka village' surrounded by an area of impressive natural beauty' an ideal location from &hich to discover the captivatin lands of *utch

Ob$ecti%es +Direct employment +,romoting Local Handicrafts' -usic' Traditional food' life style' through Endogenous Tourism +.ive an opportunity to the local people /primary stake holders0 to control the process of tourism in their region

H1D*% (!LL%.E Comm#nit& The Hodka village is believed to have been set up by the Halepotra clan 2Halepotra3 literally means the 2son or the descendant of Hala4i3' &ho is believed to have immigrated from Sindh  %long &ith the Halepotra' &ho are -uslims' the Hindu -egh&als have also settled in Hodka The Halepotras 5 belonging to the bigger group called -aldharis' or cattle breeders 5 believe their ancestors originated from Saudi %rabia and reached *utch via !ran' Baghdad and Sindh in search of pastures for their cattle The -egh&als+ also kno&n as -ar&ada-egh&als+ believe their ancestors came from -ar&ar' )a4asthan They are traditionally leather craftsmen and settled in Banni &hich &as rich in livestock Today there are 6 nokhs /sub castes0 of the -egh&al community residing in Hodka

Arts n! Crfts Creating ob4ects of beauty' using vibrant colors and traditional motifs' forms a significant part in the lives of the people of Banni The area is famous for its leather craft and the e$#uisite embroidery styles practiced by the &omen 7hen men are a&ay gra8ing their cattle' &omen put in almost 9 hours of &ork daily 7omen3s many and varied tasks include fetching &ater' cooking' tending to the family' making the cattle feed and deftly creating &ondrous pieces of embroidery and art Their embroidery allo&s &omen of different vas /hamlets0 to gather together' &ork' and sociali8e Traditionally' &omen created these &orks of art for their community and for ritual occasions 5 births' engagements' marriages; no& &omen embroider for these reasons as &ell as to sell outside Embroidery skills and designs are a family tradition and every young girl imbibes these skills from her mother )ight from her childhood' every girl begins to build up her streedhan /do&ry0 This contains a mi$ of kan4ris /long embroidered blouses0' #uilts and bat&as /pouches0 The -uslim Halepotra and Hindu -egh&als each have their o&n distinctive styles' including mut&a embroidery' catab' sebha+kudi' chopad' the geometrical kambhira' pakko' mokka' neran' chitki /appli#u<0' etc

The -egh&al men practice leather craft Their products include embroidered mo4adis /foot&ear0 traditionally made for the bride and the bridegroom Hand fans' mirror frames' &all pieces' and belts are also made &ith traditional skill

ARCHITECT'RE -ud' or' to be more collo#uial' -aati' is the essential material to &hich every *utchi in Banni relates to Centuries of e$perience have given the people of Banni mastery over maati and their Bhunga

/circular hut0 demonstrates a deep understanding of the ecological' social and aesthetic features of architecture The thick maati /-ud0 &alls' &hich keep the interior cool during the hot *utchi summers and &arm in the cold desert &inters' terminate in conical roofs made of thatch The roof protects the &alls &hich are adorned beautifully &ith colorful geometric and floral patterns also created from hand shaped maati 7omen use earth colors to paint the different motifs and create mud+mirror &ork designs /Lippan*aam 0 to decorate the e$terior and interior &alls of the Bhunga The traditional Bhunga is an engineering &onder This sturdy structure has been kno&n to &ithstand severe &inds and seismic activity because of its circular design and tough mud plaster

Cte"ories of Rooms ( S=!TE BH=>.%S/Suite -ud Huts0 5 ?@ numbers EC1A)!E>DL -=D TE>TS 5 ? numbers =%D)=,LE A%-!L C1TT%.ES /Aour Beds0 5 ? numbers ST%>D%)D BH=>.% /Standard H=T0 5 ?9 number  Ho) &o# ccommo!te * Roomin"  % Double Bed Bhunga /-ud Hut0 occupies 1ne Double Bed and sleeps ma$imum  F 9e$tra beds  % Double Bed Ecofriendly Tent occupies 1ne Double Bed and sleeps ma$imum  F9 e$tra bed

Case study: Shaam E Sarhad village resort