When Rihanna casually sat on a striking red chair at Design Miami, it wasn’t merely another instance of celebrity fashion. On this occasion, the real highlight wasn’t Rihanna—yes, we understand it’s unexpected—it was indeed the chair. Identified as the Flap Chair, this innovative piece is produced by Chamar Studio, a design brand based in Mumbai that focuses less on trends and more on transformation. Chamar is a northern Indian caste whose traditional occupation involves tanning leather. The term originates from the Sanskrit word charmakara (“skin worker”). The Chamars are segmented into over 150 subcastes, all distinguished by well-organized panchayats (governing councils). Individuals from the caste are classified within the officially recognized Scheduled Castes (also referred to as Dalits); because their ancestral roles necessitated handling deceased animals, the Chamars were among those historically labeled as “untouchables”.

Artist and fashion designer Sudheer Rajbhar from Mumbai crafted a brand by challenging caste stereotypes in India while producing luxury items that avoid leather by utilizing recycled materials instead. “Chamar”, which is considered a derogatory term based on caste, has traditionally been directed at artisans engaged in the tanning and leather sectors. Rajbhar’s brand Chamar embraces the term to challenge and dismantle the social hierarchy. He has collaborated with Dalit and Muslim leather artisans in Dharavi (a large underprivileged area in Mumbai), breaking historical norms that have associated these craftsmen with shame and poverty.

In 2015, the Indian government implemented a "beef ban" that severely impacted the Dalit community. The beef ban (which restricts individuals in most of its 28 states from engaging in leather work) exacerbates the vulnerabilities experienced by those in the leather goods sector. By substituting leather with repurposed tire innertubes, designing premium handbags and shoes, and adopting the name 

 for a luxury brand, the design collective aims to reclaim this unique Indian craft for its rightful creators. Here, Rajbhar outlines the vision and objectives for the Chamar brand.

Sudheer Rajbhar is not merely a designer. He is an artist by trade, an activist by nature, and a founder driven by a mission. For him, the aim of design is to discover solutions—whether it involves experimenting with innovative materials or addressing the class divide in society. Nevertheless, in a world that often resorts to violence as a means to resolve issues, Sudheer skillfully channels the power of art to counteract injustices. Born and raised in slums and well-acquainted with caste-based bias, Sudheer has collaborated with numerous leather artisans from the Chamar community who were impacted by the industrial leather ban in 2015.

He retrained them to adapt to a new material that he created from recycled waste rubber, consequently founding CHAMAR studios - a brand that produces stylish, gender-neutral, cruelty-free accessories. In 2020, Sudheer organized an exhibition titled 

’, which showcased the assistants of artists who often face exploitation and whose contributions remain unrecognized.

Sudheer in dialogue with Sarah Jee - a Senior Curator of Global Fashion and Textiles:-

Your project represents both social change and a transformation in design and medium. Are you intentionally embracing the term Chamar?

Leather craftsmen, they bear a label on their heads: Chamar. This denotes leather and individuals engaged with deceased animals through generations, including Muslim and Dalit communities. They are from lower castes, and India remains traditional regarding these issues. I initiated this as a community art endeavor. I produced small bags, featuring "Chamar" inscribed in every language of India and the globe. I carried a bag on my shoulder and traveled from village to village, where people inquired, “why are you doing this? ” I explained our initiative to them. The artisans expressed their pride, stating, “We’re going to be recognized like a brand and people will acknowledge our skills. We can be on par with Gucci.” Therefore, indeed, social transformation is possible.

He also launched a project under his Chamar Foundation, 

’ where local artisans teamed up with 66 prominent designers in the industry to reinvent a distinctive tote bag using leftover scraps from their workshops. The initiative emphasized inclusivity, sustainability, and the restoration of dignity for the Chamar community.

Chamar Studio offers a diverse variety of meticulously crafted minimalist bags, purses, belts, and other related items. The studio produces reasonably priced designer goods, with the most expensive items starting at around INR 39,000 and the lowest prices beginning at INR 1,500. Furthermore, Chamar Studio is not solely a private enterprise, but a business that advocates for social justice. Up to 50% of revenue is returned to artisans through the Chamar Foundation, Rajbhar's charitable organization. Rajbhar holds that sustainability must be comprehensive and should foster awareness of, and support for, the artisans, their culture, and history. Years of oppression have compelled artisans to quantify their artistry and skills. They have developed a mentality that generating more will result in better compensation. The Chamar Foundation and Studio are instructing them to emphasize quality and demand fair wages.

Chamar- the Brand

Music is a part of the Dalit resistance against caste-based oppression, which hasn't died but has rather taken a dynamic and dangerous form in contemporary times. Why is there a need for Dalit music to be heard? The answer would be - to break the hegemony of upper castes and classes on art, poetry and music and to gain the audience it deserves in the mainstream market of cinema and music.

The word "Dalit" is often confused as a word related to the marginalised caste while etymologically it has its roots in the Sanskrit word "

", which means "broken”, "crushed", or "oppressed". Over time, it came to be used in various Indian languages to refer to the people who were considered to be at the bottom of the social hierarchy in the caste system. Dalit music has been a form of resistance used by musicians, singers and artists since the time of 

, etc. Not only does the mainstream music ignore Dalit music and its contribution towards opposition to caste and class oppression in Indian society, but the academia also ignores it and therefore not many accounts of literature and the voice lyric poems are present.

The historical evolution of Dalit music starts from questioning the mainstream conception of God propagated by the upper class Brahmins and the consequent oppression they face in the society. Dalit music back then was based on the fundamentals of non dualism and the idea of presence of God within.

"I, a Mahar by birth, stand before you, Vithoba,

You are the Protector of Dharma, the breath of life itself.

You have created this world with equality."

"Maharacha bhet, purna vishwatma, Vithoba"


The Ambedkarite music questions the caste oppression politically, socially as well as economically, emphasising on social justice, caste resistance, Dalit pride and embracing Buddhism and empowerment through unity. The 

 song refers to the Bhima Koregaon battle in 1818, where a small group of 

soldiers fought against the Brahmin-led Peshwa army.

"Bhima Koregaon ki ladai, Bhima Koregaon ki jeet!"

"Dalit raja, Dalit sena, Bhima Koregaon ki jeet!"

"The battle of Bhima Koregaon, the victory of Dalits!"

Although the audience is comparatively smaller, Dalit music still exists in the genre of Hip-Hop. Some of the contemporary conveners of Dalit Music are 

, Ginni, Sumit Samos,The Casteless Collective, Sheetal Sathe, 

Jitna bhi kathin ho, wo hamesha jeeta hai."

"The son of a Bhangi still survives today,

No matter how hard it is, he always survives."

 by Sumit Samos [Currently PhD scholar at Oxford University]

Shilpa Mudbi, a vocalist and trainer from the Dalit community, has been vocal about the appropriation of Dalit music and culture in the arts. She emphasizes that the classification of Dalit-Bahujan art forms as 

 has often led to their decontextualization and erasure. In a December 2024 interview, Mudbi highlighted instances where songs unique to her community were used in mainstream productions without due credit or context. She pointed out that such appropriations not only strip the art of its cultural significance but also prevent the originating communities from benefiting equitably.

 in 2015 to revisit and reclaim songs and stories from her Dalit Bahujan ancestry. Through UFP, she collaborates with marginalized artists, including transgender women and 

, to preserve and promote their art forms authentically. She argues that genuine engagement with these art forms requires understanding the communities' lived experiences and histories of resistance.

In her TEDx talk, Mudbi raises critical questions about the ownership of folk music in the age of the market, challenging the commodification and misrepresentation of marginalized cultures. Mudbi advocates for co-working with Dalit artists, providing proper remuneration and credit, and maintaining long-term relationships to ensure that the cultural properties of marginalized communities are respected and preserved. She believes that addressing privilege and fostering equitable exchanges are essential steps toward preventing the erasure of these rich cultural traditions.

Dalit music struggles for recognition due to systemic caste discrimination, lack of institutional support, and cultural appropriation. It faces neglect from mainstream platforms dominated by upper-caste narratives, while stereotypes and economic barriers limit its reach. The music's themes of resistance challenge societal norms, often leading to suppression. Without proper representation, funding, or awareness, Dalit music remains marginalized despite its rich cultural and historical significance.

Dalit music and lyric poetry have come a long way, evolving into a blend of regional languages, culture, Dalit history, and pride within modern genres like hip-hop and rap. The recent movie 

 brought attention to this art form but didn’t gain the traction it deserved, reminding us how artists like Surjit Bindrakhiya and Amar Singh Chamkila have been politically targeted because of their caste. To break free from the homogenized culture of Indian music that often sidelines the political power of art, Dalit music needs broader economic investment and a larger, more diverse audience. Today, Dalit music is no longer just about narrating caste oppression—it’s about reclaiming history, pride, and dignity in every sphere: society, economy, politics, and, of course, music itself.

Articles by Ritika Mishra

Chamar- the Brand

Dalit Music - The Sound of Dissent

Chamar- the Brand

Dalit Music - The Sound of Dissent