The thesis seeks to understand the notions and perceptions of creativity in livelihood practices among the tradition-rooted textile- craft practitioners in Kutch. The attempt is to critically resituate value of crafts vis a vis design and art that dominate the aesthetics of cultural production. Using ethnographic and constructivist frameworks, in-depth interviews and focus group discussions with male and female artisans from communities traditionally practicing weaving, block printing, tie-dyeing, and embroidery; the study captures the voices of artisans, including those who got design education at Kala Raksha and Somaiya Kala Vidya. It provides a rich, layered understanding of how creativity is perceived and practiced among artisans and how the notions are beginning to change. Artisans understand creativity to be inherent in and an extension of kaarigari, constituting deft skill, heartful engagement and individual interpretation of the tradition. Their notions are rooted in practice, deeply embedded in the social collective, honed by traditional knowledge and is discerning in adapting to modern market spaces. Design education at SKV and consumer feedback are critical enablers for bringing forth the full potential of their creativity. The SKV model could serve as a successful pilot to create similar, though context specific, models. By mapping the contours and attributes of artisanal creativity to social cultural and psychological theories of creativity, the research emphasises that more studies on rural artisanal creativity in developing countries need to be undertaken for understanding creativity in craft-based contexts to enrich theories of creativity in non-Western contexts. The research opens new avenues for exploring synergy between tradition, innovation, and market forces in craft practices to facilitate creative public action that enables artisans to realize full potential of their creative agency and dignity.