The cane craft that grew in the embrace of Bangladesh’s rural culture and nature is not merely a profession; it is like a novel, woven by hand in the gleaming morning sun. This exquisite craft, steeped in a tradition of conversation, banter, and laughter, has an undeniable contribution. Yet, with the touch of modernity, this craft is neglected today.
Since ancient times, cane-made items have been an inseparable part of rural life. Among them are the cane kula (winnowing fan), chalun (sieve), mora (stool), hatpakha (hand fan), dali (basket), mach dharar chai (fishing tray), ora, shital pati (cool mat), polo (carrying basket), changari, dhushi, and so on. Furthermore, in urban areas, cane-made chairs, swings, shoe racks, vases, and bookshelves are highly valued at high prices to maintain a sense of sophistication.
Cane typically grows in the hilly and low-lying areas of Chattogram, Cox’s Bazar, the Chittagong Hill Tracts, and Sylhet. A cane sapling becomes a shrub in 2-3 years and is ready for harvesting in 7-8 years. Cane craft is very intricate and time-consuming. The vines are first stripped and dried, then the dried cane is made pliable with water or steam. Local artisans create various products with this flexible cane. Finally, the products are coloured and varnished to make them beautiful and durable.
Different species of cane are used for different tasks—jayatbet, patibet, katbhet, sanchibet, jalibet, gollabet, etc. Jayatbet is generally used in house construction and making everyday items, although jayatbet is not readily available now. Patibet is used for shital pati, regular mats, and for riverbank reinforcement. Gollabet is used for the frame and design of furniture, while jalibet is used to make chairs, tables, swings, and bags.
Cane craft carries the artisanal history of our Bengali culture. Cane is clean and eco-friendly. It can be a sustainable alternative to plastic or metal. Cane items are sturdy and long-lasting. There is an appreciation for cane as an aesthetic product. Since many rural, poor families carry the tradition of cane craft through generations, this craft brings economic comfort and prosperity. Cane products were used extensively in agriculture and fisheries, though the use of these products has decreased now. The potential of this craft in earning foreign currency is also not insignificant. There is foreign demand for cane handicrafts, especially in Russia, Germany, Singapore, Europe, America, Japan, and the Middle East. If the quality and durability are right, foreigners are interested in buying these products. In 1999–2000, Bangladesh earned 25 crore 86 lakh taka from the export of cane and bamboo products, which is proof of this craft’s economic potential.
Although cane craft was practiced in many places, the Ghashitula area of Sylhet was a sanctuary for cane cultivation. The children of the area were skilled artisans. They would compete with each other using their own unique ideas and artistic skills. Even the parents were extremely happy and encouraging. From elderly locals, it is known that they would not marry their children outside their own area to protect their culture. This was their tool for ethnic conservatism and preserving tradition. Over time, this story and tradition are fading. The cane craft of Ghashitula no longer creates vitality as it once did.
At present, one of the main reasons for the extinction and decline of the practice of this craft is the increased demand and use of cheap plastic and aluminum products. Price-conscious citizens do not prefer cane products much. Additionally, due to damage to forests and clearing of rural trees, the production of cane and bamboo has decreased. Consequently, the increased price of raw materials means poor people cannot continue this handicraft business. Skilled artisans are growing old. Young artisans are being attracted by the city-centric and more payable jobs. Many are changing professions for higher profit. In small and cottage industry policies, cane craft is often not prioritized at all. There is a lack of special incentives like tax breaks, research and development, or raw material subsidies.
Traditional artisans often face difficulties getting bank loans because they have no collateral or limited connection to the banking system. As a result, they cannot expand their business or modernize their equipment. The ignorance of financial and remedial assistance from the government has put this craft on the path to extinction.
It is our responsibility to prevent cane craft from disappearing from the cottage industry. The Bangladesh Small and Cottage Industries Corporation (BSCIC) was established in 1960. BSCIC has taken several steps in forest expansion. However, a permanent solution to the multifaceted problems has not been found yet. If government loan facilities and raw material supply are provided for cane cultivation, production, and product making, this craft will experience a renaissance.
A “Cane Afforestation” program must be adopted, through which it will be possible to create small cane gardens in every village. For this, farmers must be trained in more productive cane cultivation in less time and less space. Designs must be created according to local and international market demand, and sustainable products must be made while retaining their unique identity.
Arrangements must be made for regular training of artisans in collaboration with the Institute of Fine Arts or the design departments of local universities. Training must be provided to create new products according to international market demand (such as cane laptop stands, decorative items, modern lamp frames). Small loans must be provided to artisans on easy terms through mobile banking and microfinance. Arrangements must be made for them to receive the money from selling their products directly in digital form. All cane crafts must be brought under a common “Geographical Indication” or “Banglar Bet” brand through a cooperative-based system, so that quality and ethical production are guaranteed. Research must be done on natural colors, varnishes, and preservation methods to make cane more durable.
The potential of creating biodegradable packaging materials from cane as an alternative to plastic needs to be examined. Furthermore, this craft can bring success for those interested in creating employment through their own initiative. Educated young people can build timely and profitable organizations through training and employment in the cane craft.
Above all, to protect the heritage of the country and nation, reduce unemployment, and improve the economic sector, this craft must be saved from extinction. Policymakers must formulate separate allocations and policies for this craft, and young entrepreneurs must take on the responsibility of taking this craft to the world market through modern design. By expanding this craft through local artisans, we want to reclaim our culture and heritage. As conscious citizens of rural and urban society, making cane craft accessible in the expansion of art is also our sincere demand.
