How a Homestay in Rural Bengal Is Helping 2500 Tribal Women Build Independent Lives Through Art

In a quiet village on the outskirts of Shantiniketan, a remarkable shift is underway, though you might miss it at first glance. What was once barren land is now home to a thriving forest, buzzing with creativity, skill-building, and quiet determination. At the centre of it all is ‘Moram’, a community-driven initiative as well as a sustainable home-stay helping tribal women in Birbhum reclaim their identities, not just as workers, but as artists, entrepreneurs, and changemakers.

At the heart of this transformation are Sonali Chakraborty and Gopal Poddar, co-founders of Art Illuminates Mankind (AIM), the NGO (Non-Government Organisation) behind Moram.

A dream that took root in red soil

Back in 2012, Sonali and Gopal made an unconventional decision. Inspired by the vibrant models of responsible tourism they had seen across Gujarat, Rajasthan, and South India, they sold their Kolkata flat and relocated to a village 12 kilometres from Santiniketan. Their goal wasn’t just to revive dying folk arts but to empower the very hands behind them, the Santhal women and other marginalised communities in the area.

With the support of their NGO, Art Illuminates Mankind (AIM), the duo bought land and began building from scratch. There was no electricity, no roads, and little trust from locals. “The women were mostly daily wage labourers, not artisans,” Sonali recalls. “Convincing them that their hands could create something beautiful and valuable was the biggest challenge.”

The road to gaining the trust of the tribal women was not at all easy. Some of them even refused to let us in their courtyards. “We had to regularly visit the villages and even do door-to-door demonstrations of how working with us will benefit them. Additionally, we explained to the women how they could earn their own money and that actually appealed to a lot of them.”

Building trust, building tribal lives

Training began slowly, with small workshops on embroidery and crafts. It took months, even years, to build rapport. But gradually, the seeds of trust began to sprout. Since then, more than 2,500 women have received skill training through AIM and Moram. Around 100 artisans work consistently today, creating everything from handwoven textiles to intricate Kantha embroidery.

These efforts are supported by the West Bengal government under schemes from the Backward Class Welfare Corporation and the SC/ST Finance Corporation. But the true strength of the model lies in its community-led ethos.

From hardship to hope: voices from the tribal community 

For many women, Moram has been life-changing. Manju from Dorposhila village says, “I got training when my children were small. It helped me support their education. Today, I feel proud as a mother and as an independent woman.”

Moni Tudu, who led a tribal self-help group, echoes this: “Before Moram, none of us imagined we could learn such crafts. Now we dream bigger - not just for ourselves but for our children.”

Putul Hansda from Debanandapur once worked as a daily wage labourer. Today, she’s a skilled clay artist. “After my husband’s death, life felt empty. But through pottery and clay relief, I found joy and direction again.”

And Khuku Moni, trained in ceramics, Batik, and soap-making, calls Moram her “oxygen.”

Deshaj: weaving dignity into design

To solve the challenge of visibility and income, Sonali and Gopal launched Deshaj, a tribal-led fashion label that features the creations of the artisans they trained. Their work has graced events like Lakme Fashion Week, where traditional craft meets contemporary runway.

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Each Deshaj piece carries a story —  not just of culture, but of courage and community. It's not just fashion, it's representation. In 2017, Deshaj, a tribal-led fashion and lifestyle label, was launched to give India’s rural women artisans not just income, but identity, dignity, and market access in a rapidly modernising world.

As they worked closely with tribal communities through Moram Earth, one reality became starkly clear: though these women possessed exceptional skill and inherited craft knowledge, they were invisible in the commercial landscape.

“From the very beginning, Deshaj has been about representation, not just retail. Each garment, accessory, or home product reflects the hands and stories behind it, infused with techniques like Kantha, Batik, natural dyeing, and tribal weaving. The label ensures that every design is co-created with the artisans, honouring their voice and creativity,” Sonali adds.

Deshaj operates through direct sales, exhibitions, and curated partnerships, allowing full transparency and better earnings for the artisans. While the revenue varies depending on regular sales, exhibitions and events, nearly 60–70 percent of the earnings from each product go directly to the artisan, ensuring fair compensation and continued production.

In a significant milestone, the empowered tribal women now run their own Common Facility Centre (CFC) - an initiative originally started by Sonali and Gopal, adjacent to Moram Earth. Here, over 100 women regularly engage in production and sales independently. The CFC includes dedicated units for dyeing, tailoring, handloom weaving, and packaging, as well as training spaces, hostels, and a canteen. This model has become a shining example of self-sustained rural entrepreneurship led by women.

More than a centre: Moram is a breathing ecosystem

Moram isn’t just a workplace, it’s an ecosystem. Today, over 5,600 trees grow on land that was once cracked and barren. Organic farming thrives, and visitors are welcomed not as tourists, but as part of a conscious living experience.

“Moram isn’t just a homestay,” Sonali explains. “It’s a space where people can slow down, reconnect with nature, learn from the locals, and take back more than souvenirs.”

They’ve built a Common Facility Centre next to Moram to allow artisans to produce and sell their crafts directly. Bamboo, Batik, pottery, and more, it’s a place where tradition and livelihood go hand in hand.

Behind Moram is a team of passionate artists, designers, and volunteers. Many are from Kala Bhavan, and others are student interns from across India. This artistic backbone ensures that the centre is as creative as it is community-driven.

Looking forward: from forest to future

The dreams haven’t stopped. Plans are underway for a museum of folk and tribal arts. A design school for the children of artisans is also on the horizon, so that the legacy of art and skill can continue into the next generation. The whole ecosystem is built under the umbrella of Moram. The revenue received from the home-stay is utilised in making the lives of these tribal communities better and more sustainable.

“Our vision was always bigger than just skill training,” Sonali says. “We wanted a space where heritage thrives, communities rise together, and the next generation grows with pride in their roots.”

Moram is proof that with heart and persistence, real change can grow from the ground up. From the women who found their voices through clay and thread, to the forest that now sings with birdsong, this is development rooted in culture and rural India’s spirit. 

In the quiet corners of Birbhum, amidst trees and terracotta, art has become not just a form of expression, but a way to live, to heal, and to lead.

At Moram, art doesn’t just illuminate humankind, it liberates it.