Papier Mache by Banoth_Ajay

shilp A Paper Craft

Published in August 2018 by the Fashion communication Department (2016 - 20) National Institute Of Fashion Technology Mithapur farms, Patna Bihar, 800001 Documented by Anshika Seth, Banoth Ajay, Harsh Kushwaha, Kumari Bandana Kujur, Pragya Verma, Kritika Singh Chauhan All rights are reserved by NIFT. No part of this publication can be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopy without prior permission. Printed in India

“The beauty of Kaagdshilp lies beyond its practicality and aesthetics, it lies in the hands that carved it.” -Anshika Seth

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A C K N O W L E D G E M E N T

e would like to express our deep heartfelt gratitude towards our Director, Professor Sanjay Srivastava and the Textile Ministry of India for providing us with such a wonderful opportunity to visit and document a craft. Sincere thanks to the Craftsmen and the people of Madhubani for making our journey fruitful and for acting as the pillars of support and guidance. Our culture places the guru (teacher) even before God, therefore, we would like to extend our wholehearted thanks towards our mentors, Mr. Deepsagar Verma, Mr. Kumar Vikas and Mrs. Rashmi Thakur, for taking us to such a culturally rich and beautiful craft cluster and helping us in the successful completion of this document. Thanks to our craft mentor, Mr. Sharad Kumar without whose guidance, this document would have been incomplete. This project is an outcome of the unity and teamwork of our classmates. Thankyou one and all! -Team Kaagshilp

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Table of 01

Preface

Breath-taking Bihar

03 04 06 07 09

Madhubani-A traditional affair

The Craft at present The regional essence and ethnography

Its extended sway

A spectrum of crafts-Madhubani An introduction to Papier Mache

Unravelling the past

Contents Papier Mache in Madhubani Celebrating the process

• • • • •

Methodology The palette story Motifs and designs Tool and techniques The final touch of perfection

The conventional legacy

The cluster Objective Craft Promotion

• • • • •

SWOT and PASTEL analysis Observe to reveal-the market survey Consumer Behaviour Design solutions and suggestions Themes and boards

The final chapter

Cluster experience

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The Team

Anshika Seth Content writer & Editor

Pragya Verma Data analyst & content writer

Banoth Ajay Graphic designer & Publication designer

Kritika Singh Chauhan Social media blogger & Publication designer

Harsh Kushwaha Cinematographer & Photographer

Kumari Bandana Kujur Illustrator & caricature artist

PREFACE T

he craft documentation has been done on Papier Mache of Madhubani, Bihar by students, Kritika Singh Chauhan, Pragya Verma, Harsh Kushwaha, Banoth Ajay, Kumari Bandana Kujur and Anshika Seth of Department of Fashion Communication (2016-20), NIFT Patna. The Four days trip was very edifying and informative. Getting to the roots, broadened our knowledge about the craft and conversing with the artisans facilitated our research and helped us to know where the craft lacked. This documentation flows from general to specific, describing about the traditional and historic richness that Bihar possesses and the major crafts it fosters. From there it talks about the evolution of papier mache and the extent of influence on each state in India, talking about their uniqueness and speciality. The project then covers the macro-level of the cluster, Madhubani and the micro-level, Salempur. Further, it takes you to the X-factor of papier mache in Madhubani. It describes the whole process from tools and techniques to the finishing touch of perfection. The second half of the research documentation is the resultant of the first half. Discussing the SWOT and PESTEL analysis, the project include market survey and consumer behaviour to locate the problem in depth. The conclusion of the quantitative research and data survey is then described. A set design solutions is prescribed with suggestions and scope of uplifting the craft. The document ends with the cluster experience shared by the group. We hope that your journey through this cluster documentation be enlightening and fruitful!

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Breathtaking Bihar

he land of Bihar has nurtured in its womb some of the most historic legacies of the past. Its rich culture and traditions are the strongest virtues the place possess. Bihar, an eastern state of India, is a hub of various historical happenings along with unique forms of literature, cuisines and festivals. Bihar derives its name from the ancient reference to a Vihara, which literally meant â&#x20AC;&#x2DC;a resting placeâ&#x20AC;&#x2122;. The state lies in the middle of the humid West Bengal and sub-humid Uttar Pradesh. There is Nepal and Jharkhand in north and south respectively. Bihar is fortunate to have

river Ganga running in the middle of it from west to east. This is what makes Bihar even more significant. This has further made the state of Bihar preserve its rich historical culture in terms of religion as compared to other states. The people in Bihar especially in the rural parts are so etched to their land that they cannot let their tradition and practices disappear. They are strong believers of God in accordance with their religions. Bihar hosts several fairs and festivals which are a reflection of their culture and beliefs. Some of the

prominent festivals of Bihar are Chatth Puja, Ramnavmi, Makar Sakranti, Sama-Chakeva, Bihula, Madhushravani and many to count. Bihar has a rich historical past along with intrinsic beauties and great creativeness in the area of art and culture. Not only is it a home to numerous handicrafts, each one of them being unique and unmatched, the people here also have a special knack for handicrafts and artistic works. If architecture can be considered an art form, then Bihar can be counted among the richest state in India.The eastern state is dotted with some of the most exclusive and well sculpted monasteries and temples. A view of the many Buddhist stupas and pillars are a special treat to the eyes. The fine skill and perfection of Bihari craftsmen is clearly manifested from various archaeological ex-

cavations in Kumhrar, Bulandibagh, Nalanda and other places. Another chief feature of Bihar’s handicraft is their practicality and usefulness in everyday life like bangle making, khatwa works and stone works. However, reasonable prices of the products is the most important feature of the art and crafts in Bihar. That is whythey are in great demands in Indian as well as in foreign markets. Pottery, wooden articles, metal wares, stone wares, jewellery, lacquer works, kashida, sikki and moonj wares, wooden and clay toys, zari, artistic textile fabrics and printing on cloth are some of the contemporary crafts of Bihar which are known in Indian as well as international markets for their artistic beauties and innovations. Some of the crafts are as follows:

Stone work

The Stone Work of Bihar is also a popular craft. In its peak during the Mauryan period, stone and architecture works became the symbol of the dynasty. Some beautiful examples of stone carving can be seen in cities like Gaya, Nalanda and Patna. Today, the most important place for stone works is Patharkatti in Gaya district. It has plenty of blue black pot stone which are cheap and are used for making statues, images and household articles like the pestle and grinders.

Khatwa

Another craft in Bihar is Khatwa, which is an appliqué work of designing by cutting of one fabric and stitching the pieces to another fabric. Khatwa is mainly used to create designer tents, canopies, shamianas and much more. Khatwa is also used in designing women garments as well. This is where the real talent of Bihar people is seen in the work.

Lac Bangles

Crafts like Lac bangles of Muzaffarpur are very famous. Bangles are an inseparable part of Indian customs and an integral part of makeup kit of Indian women. The use of lac has been going on for making beautiful bangles since early age. It is used to make decorative items and small boxes that most women use for keeping sindoor. These boxes are designed with beautiful

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Papier Mache

‘Papier Mache’, a French term for ‘chewing paper’, is an art to create amazing objects by meshing the paper into multiple layers with the help of handmade glue or any other adhesive. Various products can be made using papier mache which not only increases the creativity scope of the artisans but also reflect interests, opinions, and traditions of their culture. Some of the products include- aesthetic toys, lamps and other lifestyle and decorative.

Madhubani-A Traditional Affair

adhubani, one of the thirty eight districts of Bihar, carved out of the old Darbhanga district, is a place famous for various crafts. It has been separated from Darbhanga in the year 1972 as a result of reorganisation of the districts in the State. Bounded on the north by a hill region of Nepal and extending to the border of its parent district Darbhanga in the south, Sitamarhi in the west and Supaul in the east, Madhubani fairly represent the centre of the territory once known as Mithila and the district has maintained a distinct individuality of its own. The region carries a rich pastel of cultural legacy in art and literature. Madhubani has been an important centre for trade with Nepal since the latter part of the 19th Century. When concerned for trading and commercializing, this district exports fish, handloom cloth, makhana (Water berries), mangoes, sugarcane, litchi, paddy, and brass metal articles to various cities insides and outside the state. It imports medicine, machine, fine clothes, shoes, and cosmetic materials from other places. A number of rice mills and timber saw mills have been set up in the district. The principal items of export from Madhubani to Nepal are cotton, sugar, silk, betel nut and tobacco.

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The Regional Essence and Ethnography

he economy of this district basically depends on agriculture with major crops like wheat, rice, pulses. Rearing cattle is also important subsidiary occupation. Younger people now migrate to cities in search of jobs and businesses. The district is famous for its crafts like Madhubani painting, sikki art, doll making and papier mache. Madhubani paintings or Mithila Paintings is a style of Indian painting, practiced in the Mithila region of Bihar state, India. The name is itself named on the village

Madhubani. Apart from handicraft, textiles have also shown its prominent existence in Madhubani. Spinning and weaving are very old and highly developed handicrafts in the district. The Khadi Gramodyog Centre in Madhubani is famous for weaving. There are still Maithili ladies who spin fine yarn and can weave beautiful textiles. It is said that some of them can spin the length of yarn needed for the sacred thread also known as ‘janau’ and put it in the capsule of a cardamom. This speaks of the high quality of the handloom textile of the district. Artisans doing Madhubani Painting on paper Photographed By-Harsh Kushwaha

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People and culture

Front view of Navlakha Temple.. Photographed By- Silky Kumari

Madhubani has a number of places having tourist interest from religious, historical and archaeological point of view. Some of the prominent places are Andhratharhi, Balirajpur, Mangrauni, Ucchaith, Bhawanipur, Saurath, Satghara, Bisfi etc. Madhubani, the site of ancient Mithila, is also associated with the legendary poet, Kalidasa, regarded as the greatest poet in Sanskrit literature. It is thought that the poet was born in Uchaith. Not only the culture of this region is so pure but the people of Madhubani also try to give a new perspective to art. The mindset of the people changed after a drought happened in this region in the late 1960s which said to have acted as a catalyst for the women to commercialise their art, as a source of non-agricultural income

Demographics

Madhubani station.. Photographed By-Harsh Kushwaha

Madhubani is situated 160 Km south of Patna. The nearest airport is at Patna from where regular flights are available. The nearest railway station is located at Madhubani. By road, Madhubani is effectively linked with various other districts on Bihar. In 2011, Madhubani had population of 4,487,379 of which male and female were 2,329,313 and 2,158,066 respectively. In 2001 census, Madhubani had a population of 3,575,281 of which males were 1,840,997 and remaining 1,734,284 were females.

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M A S p e c t r u m o f C r a f t s

ost people have heard of Madhubani in the context of Madhubani paintings (also known as Mithila paintings) but not many of us know about the spectrum of crafts that are still practised in this region. The crafts are still trying their best to revive their ethnicity and presence in the Indian market.

Madhubani Painting Of the many interesting crafts of Bihar, the Madhubani Paintings are most famous, which are mostly practiced in the region of Mithila. The history of Madhubani paintings goes back to the time of Ramayana. Earlier the paintings were drawn on mud plastered walls illustrating natural subjects like Sun, Moon, Tulsi Plant, birds, animals. Apart from these elements these paintings also depict religious subjects like marriages of god and goddesses and hence these have importance in marriages and festivals. Madhubani painting is still practiced by many women in Ranti village of Bihar. In fact, Karpuri Devi, sister-in-law of known artist Mahasundari Devi, Dulari, and Mahalaxmi are women from three generations of the village who have made extensive efforts to keep the art form alive by educating other women in the village and teaching them how to make Mithila painting a way of life and take the legacy forward. Works of the three women have been commissioned by the government of India and also found a place in the Mithila museum of Japan.

Madhubani illustrated postcards. Photographed By-Harsh Kushwaha

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Idol of Lord Krishna in its raw form. Photographed By-Harsh Kushwaha

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Papier Mache

adhubani papier mache is found only in the Madhubani district of Bihar. Objects are made out of paper pulp and only painted from outside with motifs inspired from Madhubani paintings. Papier Mache dolls are one of the characteristic features of Madhubani Papier Mache. Various products can be made using papier mache which not only increases the creativity scope of the artisans but also reflect interests, opinions, and traditions of their culture. Some of the products include- aesthetic toys, lamps and other lifestyle and decorative.

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Terracotta 18 काग्दshilp

ottery is made using clay. Bihar had a rich history of clay pottery work. Since the time of Mauryan and Gupta this art has been in practice in Bihar. The archeological excavations at places like Nalanda and Rajgir had confirmed the existence of this artistic craft in Bihar. Beautiful earthen utensils and tiles are made by potters of Bihar. They have the abilities and skill to do artistic and beautiful paintings on earthen pots. Patna is very famous for such work. Patna is also famous for making earthen statutes of various gods and goddess.

Clay utensils drying in the sun. Photographed By-Harsh Kushwaha

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A sikki product Photographed By-Banoth Ajay

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Sikki Craft

ikki is a type of grass of golden colour which is grown in the wet and marshy area around rivers and ponds in Mithila region of North Bihar. Initially women used to make utilitarian products such as different types of baskets and human figures like mainly Gods & Goddesses to worship, and 2D figures of birds and animals. Sikki is predominantly a women’s craft. Young girls learn to make Sikki craft from their grandmothers or mothers because it is a very old craft of this area and a majority of the old-aged ladies know how to make sikki craft.

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Doll Making 22 काग्दshilp

olls and toys in Bihar are made with different materials such as clay, cloth, and wood, with each material having its own style and designated areas where the craft is practised. The making of clay toys and images is a seasonal craft and mainly in the festive season. Typical cloth dolls of Bihar represents couples, though Adivasi (aboriginal) dolls and their dances are very popular. Votive images, dolls, figures of animals along with god and goddesses hold a cultural meaning during the festive season. Many animal figures are carved on woods and are bind with various ritual stories. The price of the products in this craft varies according to the raw material that has been used. If the raw material is a waste cloth then it would be inexpensive when compared to the wood.

Cotton Dolls. Photographed By-Prince Kumar

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Heating the bangles to perfection. Photographed By-Rishav Naveen

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Lac Bangles

ac bangles are considered auspicious in several parts of India and are popular in Bihar. Lac is a resinous substance secreted by an insect called kerria lacca. The use of lac has been going on for making beautiful bangles since early age. Lakhera or Laheri is the traditional artisan community that has been involved in lac bangle making in India. Lac bangles with appealing colors and cultural patterns have become more fashionable for today’s jet-set women. During festive season like Hindu & Muslim marriages, chatt pooja, holi, diwali, deshera, karwa chauth and local festivals, the crafts persons earnings get doubled. They make lac bangle more glittery, blinky and embellished in bright colors with the hundreds of mix and match chines beads and sequences.

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Madhubani Macro level craft cluster

An Introduction to Papier Mache

apier mache belong to a world existing before the separation of the useful and the beautiful. Its aesthetics not only lies in its products but also in the hands that carved it. The vibrant painting style and the alluring texture of this craft have garnered and captivated many. Enticing everyone, the art of craft making consists of the suite of scrupulous stages in its production. Paper Mache’s unique characteristics like being lightweight & eco-friendly have found a huge market in India and abroad. The tradition of practising Papier-mache has been made for many generations and has been handed down from mother to daughter and so on.Papier-mache toys

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are generally modelled on a folk tradition which has continued to find vibrant expression in their work. Tradition has always prioritized when it comes to craft papier mache. The output of paper mache is not just a beautiful product but an expression of experience the artisan has gone through.

Showcasing finished papier mache products. Photographed By-Harsh Kushwaha

Its Extended Sway

The extent of paper Mache is so far stretched that almost all states in India have their unique methods of doing this craft. It reflects the influence of different successive empire and civilization. Through the centuries, papier mache has been embedded as a culture and tradition within rural communities.

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In Kashmir, Papier Mache has been used to manufacture small painted boxes, trays, étagères and cases. There is a very established market for these products due to their neat and beautiful finishing.

Rajasthan produces an array of Papier Mache products using waste paper along with clay. Well established manufacturers and exporters in Jaipur market their range to hotels, restaurants and houses to enhance interiors. Pen stand, Animals, Tea light, Birds tea light, Fruits, Masks, Faces, Photo frames, Coasters, Boxes, Lamp stands, Christmas tree hangings, are available.

Gujarat is known for its products made of Papier Mache and Plaster of Paris. Colourfully painted and embellished figurines of Hindu deities, flora and fauna, toys and other products and made here.

Gwalior in Madhya Pradesh has its own style of Papier Mache work and the figures of gods and goddesses, toys and cartoon images from Ujjain are well known all over India too.

A range of handmade papers in many colours and textures are available in Maharashtra.

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In Bihar and Jharkhand, Papier Mache as an art form goes a long way. The cities of Patna, Hazaribagh, Murhu, Saraikela and Madhubani are well known for their traditional styles of Papier Mache work.

A range of decorative as well as lifestyle articles such as pen stands, envelope holders, paperweights, jewel boxes, etc. is made in Delhi by combining waste paper with clay.

Assam is known for its colourful Papier Mache bags, files and folders, pen stands, etc.

Shantiniketan in Bolpur near Kolkata, West Bengal is considered a pioneer of Papier Mache as an art form in India. A huge range of articles is produced by the artisans here.

Odisha is famous for its Papier Mache craft. The artisans collect dry waste paper and cloth of different kinds and create a range of products with them. In Orissa, papier-mache masks and figurines are inspired by the patachitra tradition. Mukha, masks, are made by using a mould of clay and newspaper. Paper and cloth rags are soaked and applied in layers with locally made gum on the mould. Saw dust mixed with gum is applied smoothly, dried and burnished with sandpaper.

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Samurai helmet of Edo period (1603- 1868), Japan seditiosus.blogspot

Unravelling the Past

he credit for the invention of this craft goes to the birthplace of the paper itself. China used papier mache to make helmets of all things, which they toughened by many layers of lacquer. Examples have been found dating back to the Han Dynasty (BC 202 – AD 220). From China, the interest in papier mache spread to Japan and Persia, where it was used in mask making and festival activities. Eventually, it spread across the world. Large imports of papier mache objects swamped European markets. This in turn led France to start making its own wares, and England followed suit in the 1670s. There was only a half-hearted interest until the late 1700s and into the 1800s, when it became widely used. The art of ‘Paper Mashing’ ushered its way into India during the Mughal rein in 15th or 16th century when King Zain-ul-Abidin invited accomplished artists from Central Asia. The art was highly favoured by Mughal Emperors of that century. Famous places with Papier Mache designs are fine ceiling at Madin Sahib Mosque (dated 1444 AD), the ceiling at the Shah Hamdan Mosque at Fatehkadal and the Mughal gardens, at Shalimar in Srinagar.

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A typical papier mache plate with mythological motifs. Photographed By-Harsh Kushwaha

Papier Mache in Madhubani

he Madhubani papier mache is described as a three-dimensional interpretation of this style of painting that is indigenous to a few villages in Bihar. Papier Mache in Bihar was born in the house of Chandrakala Devi of Madhubani district. Experiment is the mother of invention and for experimentation you need the power to imagine. Chandrakala Devi was well equipped with these assets. Belonging to the city in Bihar which nurtures so many crafts, she discovered that ‘Multani mitti’, which had a cooling effect can work perfectly as a binder in the craft of papier Mache. Application of this soil on skin lowers the body temperature and is very helpful in tropical summers. This decreased the production cost and

gave the craft a uniqueness. Giving Bihar’s papier mache an identity of its own, Chandrakala Devi got a state award. Her skills still exist in the genes of her family. The uniqueness in the Papier Mache from Bihar lies in the ornamentation through the popular Madhubani Art. The products have an earthy texture which gives the feeling of rawness to the Folk Art. The rawness and humble nature portrayed by people of Bihar closely associated with handlooms and handicrafts industry, have asserted their creativity in making artistic Papier Mache products in a time where the technology challenges the practice of making things by hand again & again.

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Salempr halt. Photographed By- Harsh Kushwaha

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Salempur

alempur, a village full of trees and creepers, is located in Madhubani Tehsil of Madhubani district in Bihar, India. It is situated 12km away from Madhubani and, is both district & subdistrict headquarter of the village. Madhubani, Darbhanga, Jhanjharpur, Sitamarhi are the nearby Cities to Salempur. Khajuri The total geographical area of village is 93 hectares. Salempur has a total population of 4,718 peoples with around 1003 houses according to the 2011 stats. The stats also states that Village literacy rate is 43.2% and the Female Literacy rate is 14.8% having female Population 48.2%. Khajuri is the gram panchayat of Salempur village. The people residing in this beautiful village are from various different communities. The major occupation has been agriculture; either people own land or work as labourers. Apart from agriculture, people also indulge in various handicrafts like papier mache, doll making and Madhubani painting. Basically, women are involved in agriculture and papier mache craft. But since the earnings are so less even after practising various occupation, people does not prefer to stay there. Hence migration to Patna, Delhi and other cities has become a common feature. Salempur was the major part of our research documentation. The other places like Jitwarpur and Leheriyaganj also played a major role. काग्दshilp

Micro level environment craft cluster

Celebrating the Process Methodology

hile most of us probably think of paper mache as an unsophisticated craft technique used to make piggy banks in 3rd grade classrooms, it is actually an extremely useful and versatile medium that can be used to create some beautiful works of art, costume pieces, or even home decor. One of the best things about papier mache is that it is cheap, and doesn’t require any fancy equipment. Patience and Flexibility is the key to do this craft.

The process involves making paper pulp by soaking Newspapers, Adhesive, Multani Mitti and Fenugreek powder for a few days in water. Products are created using this pulp and left to dry.

The next step involves layering the object with Multani mitti to create a base for painting.

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Once dried, the product is levelled and smoothened using paper pulp again.

The last step involves decoration and ornamentation with painting.

Traditionally, Paper Mache was used to create objects related to Mythology and for Wedding Ceremonies. Lately, the technique has expanded to create objects of utility like office stationeries, baskets and lamps.

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The Palette Story

Different Natural Colours used by artisans Photographed By- Harsh Kushwaha

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he ornamentation of the objects in Madhubani style makes the objects striking and vibrant. When the product completely dries, the object is coloured in vibrant hues extracted from minerals, roots and flowers or acrylic colours. In the early days of this craft, mineral, organic and vegetable colours were used. These colours would not loose intensity and strength even if the objects were kept in direct sunlight or in water for days together. Nowadays, easily available acrylic paints are used which eliminates the process of extracting the natural colours which was done conventionally.

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Designs and Motifs

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Traditional motifs on papier mache products . Photographed By- Harsh Kushwaha

he craftsmen use bold black outlines- ‘Kanchi’ and vivid colours to fill in between. Generally the art of Madhubani is done on the product of paper mache to enhance is beauty, therefore the same motifs are done on it. The most common motifs are derived from nature which are generally, leaves and branches, fishes, flowers, faces of goddesses, etc. The people of Madhubani are strong believers of their tradition and mythological practices so the product designs mainly constitute of objects which speak out their culture.

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From artisan to the market

he local market of papier mache is not present. The products are mainly customized. The artisans take orders and accordingly make paper mache products. They even put up their stalls in fairs and fetes held in different parts of the state. The papier mache artisans travel across the country to teach and train people interested in this craft. Some online websites like Indiamart, Craftsvilla, Snapdeal and Itokri also sell these products.

Papier mache Doli: Rs.1000- 1500 (Both wholesale and retail)

Plate: Wholesale- Rs. 250 Retail- Rs. 350

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Pen stand: Wholesale- Rs. 100 Retail- Rs. 150

Elephant- Rs 500 (wholesale) Rs 600 (Retail)

Wall Hanging- Rs. 200 (Wholesale) Rs. 300 (Retail)

Lampshade- Rs. 700-800

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Types of moulds Hand mould Artisan moulding the pulp into a product. Photographed By- Banoth Ajay

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n this method, the mould is crafted without giving any base for support. The process involves freedom and flexibility to mould the object into any form.

Advantage

Dis-Advantage

• Gives one more freedom to explore interesting forms and concepts, which becomes restricting and rigid with either home based or prepared moulds. • Pocket-friendly

• When the product goes through the drying process, it deforms and change shape unlike home moulds. • Does not look as finished as POP mould.

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Home Mould

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Papier mache pot by home mould method Photographed By-Harsh Kushwaha

he method involves a base as support to give further strength to the product. With combination of hand moulding, many interesting decorations and forms can be created.

Advantage

Dis-Advantage

• Does not bend or deform while drying. • A strong base ensures a strong product.

• The product no longer remain lightweight as in home mould. • The costing also increases.

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POP Mould

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ould of Plaster of Paris is prepared from a clay mould. This POP mould has removable pieces, so as to remove papier mache form easily. Fine and intricate details can be achieved through this process.

Advantage

Dis-Advantage

• Gives a very smooth finishing. • Does not take very long to dry.

• The costing increases • The beauty and essence is lost as multani mitti is not used.

Dsource By Prof. Bibhudutta Baral, Divyadarshan C. S. and Rakshitha NID, Bengaluru

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Hammer

Sil-batta

Sandpaper

Acrylic paint

0-sized brush

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TOO

OLS

Newspapers

Egg-tray

Multani mitti

Fenugreek (in powdered form)

Fevicol

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Technique The process of doing papier mache looks easy but needs skill and patience. The entire process takes a week or two, depending upon the size and type of product. 1. Firstly, the newspapers are soaked for 5-7 days. For instance, to make a plate of 15cm radius, you need 5-10 full newspapers. Egg tray is a cheap alternative of newspapers and is easily available in general stores. The next day (day 2), the soaked pulp is torn into pieces with hands. 2. Multani mitti (Fuller’s earth), (around 250300 grams) is soaked in water a day before to prepare a thin paste for binding. 3. The next step is mashing and mixing. The pulp (locally called gudda), is beaten and mashed well for at least 5 minutes. This is kept on a plastic sheet and Multani mitti as well as 10g fevicol are mixed to make the mould more flexible. 4. The pulp is now ready to take shape. The desired amount of paste is taken and moulded into a form. No extra water is needed while moulding forms. 5. The object is then dried in the sun. Generally it takes 2-3 hours in summer while as long as 2-4 days in winter climate. The craft is hence practiced mostly in summer. While the object dries, it must be frequently checked to avoid disproportion or bending of the form.

is used to do the, kachni style (lines with black paint). The designs and motifs of Madhubani is used. Both the crafts work extremely well with each other, complimenting each other’s characteristic.

Soaking

Mashing and Mixing

6. Once dried, a layer of pulp is again put to create a uniform surface. It is dried again. Sandpaper is used to give the surface a fine and smooth finish. 7. Next, the dried form is again dabbed with Multani mitti paste to strengthen the object more. 8. The final step is painting the object with bright hues of colours. A zero number brush 54 काग्दshilp

Moulding

Re-layering

Drying

Smoothening

Layering

Painting

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The conventional legacy

ihar is an amalgamation of various cultures and traditions. A land where Sita was born and whose name is famous for the mithilanchal paintings has a deep mythological past. The folktales echoes the rich legacy that the place carries with itself. Every crafted item speaks a story. These stories are generally inspired from the conventional traditions and practices or from mythology. In a conversation with the legendary artisan, Lalita Devi, she revealed some of the traditional stories behind each product.

Marriage is considered as an essential custom of life in rural parts of Bihar. It’s a new beginning for both bride and groom. This product is an exact reflection of the bride going to a new family in a decorated and embellished Doli.

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Another product which is considered to bring fortune in the life of newlyweds is given to the bride at the time of her marriage. This practice is generally seen in mithilanchal and other rural areas.

Indian Mythology is the backbone of the inspirations used in the products. Cow which is considered as a sacred animal in and is associated with Lord Krishna is depicted in the picture.

Colours play an important role in defining different emotions. When it comes to red, the colour is associated with marriage in India. ‘Sindoor daan’ is an important ritual in Indian marriages. The papier mache product in the picture is the sindoor daani in which sindoor is kept.

A group of three fishes is considered lucky and is generally gifted as a good luck charm to newlyweds. Apart from this a wall-hanging in shape of goddess Durga is also present in the picture.

The craft of papier mache is often influenced by nature and its elements. This utility product showcases an elephant carrying a diya on its back, beautifully decorated with the strokes and motifs of Madhubani painting.

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The Final Touch Of Perfection

fter going through all these steps, finally the product is made. Artisans generally apply a layer of varnish to make the product more appealing and attractive. In order to give golden effect to the products, copper powder is sprinkled by brush or just by blowing on it. The product does not only become attractive because of its design but packaging also plays an important role for its marketing. Generally the artisans make these products on the basis of the orders that they get. Very few orders are made which actually contains good number of products. Since this process is a little tedious, most of the artisans generally do not prefer to invest their time on it. The market of papier mache at present is not so vast and needs a proper strategy. It became limited to the Madhubani region and does not have much access to the outside world. This leads to less awareness among the people.

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The craft at present T

he creative hub of Madhubani never fails to impress anyone from its enticing beauty. The roots of Bihar lies in its art and cultural heritage. With innovation in technology and development in machines, handicraft has started losing its essence. Machine made products are cheaper as they require almost no labour and have more finishing as compared to the handmade products. At the same time we cannot neglect the raw beauty of handicrafts. This is the exact scenario in Madhubani. The craft of papier mache has no local market. The artisan sell their products either by taking orders (custom made products) or by arranging a stall in festival fairs and similar occasions. This does not assure them a stable income. The existing products made by the craftsmen are conventional and based on local themes, hence outdated for the urban market. Each product of papier mache speaks out the concept behind its creation. This story needs to reach the consumer to build a better connection and to bridge the gap between the consumer and the craft. These are just a few reasons among many which are causing papier mache to decline. Presently the craft is on its verge of extinction therefore a strong design solution needs to be built to prevent the traditional craft of papier mache from dying. There are only a few places to name like the Bihar museum and the craft school, Upendra Maharath Siksha Anusandhan who showcase these crafts.

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Strengths • The products are light weighted and hence the portability of this craft increases. • Chemicals are not used in the process of making or finishing the product. The craft does not have any kind of dust or chemicals used hence it can be practiced by anyone. It has no side effects. Unlike terracotta, papier mache products do not need to be fired. They only need to be properly dried in the sun. • The raw material like newspapers, discarded notebooks can easily be available in large amount and are recyclable. Hence the craft is eco- friendly. • Its sustainability is high due to its raw materials and the process used in the making of the product. • Very low investment is required for tools and equipment. Therefore the cost of production is minimal. • This craft is heavy skill based since it requires human creativity and some part of sculpting skills.

Threats • Due to less demand in market, the artisans are shifting towards other crafts. • The market value of the other craft at the same place is very high hence the craft become isolated. • The next generation does not want to continue the craft as livelihood. There has to be special institutional plan to tackle this concern. • Madhubani is done on paper mache which has lead this craft to lose its original identity and essence. • Apart from the papier mache of Madhubani, kahimiri papier mache also impacts the marketing of the former.

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Weaknesses

• The concept building of the product is old hence the idea of innovating new products becomes narrow. • Market links need to be established more. • No technique for mass productionThe process takes time to formulate the end result. • Many less people are aware of Madhubani papier mache craft and hence its existence is depleting. • The product need proper and constant care during the drying process and hence depends too much on weather condition. • No government policies to ensure their employment.

Opportunities

• Thaainable and eco- friendly characteristics. Hence the demand of such products is high. • Bihar is a developing state and hence promotional banners and other branding collaterals might help in spreading awareness. • The state is very rich in its tradition and culture hence the craft can be used as a tool to boost the tourism sector of Bihar.

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Internal and external environment

T O W S M A T R I X

Eco- friendly and sustainable

Low Investment

Strengths Light- weighted

No use of chemicals

Poor market links

No government policies

Weaknesses No technique for mass production

Depends too much on climatic condition and requires time

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Opportunities (SO) The craft has an advantage of being eco-friendly which can be molded with new and modern motifs inspired by the place of its origin. This will give the craft its own identity.

The craft requires low investment therefore more money can be invested in promotional strategies.

Threats (ST) Papier mache toys can be used in place of the plastic toys which nowadays has more market value. Using a craft which is ecofriendly can have a positive impact on the environment. Since this craft is cost efficient, the craft may lead to increase in demand in the market.

The craft is used to make objects which are portable and are easy to carry.

The craft of papier mache does not use any kind of chemicals which can be helpful in making toys for children.

Making new innovative products may increase the market links.

We should establish market links to increase the demand of the craft so that artisans stop shifting to other crafts.

The government should take responsibility by ensuring the employment of the artisans. Bihar being a developing state can be used as an opportunity for more policies from the government to make the craft survive.

Government policies may help in making the art survive among the new generation.

Introduction of new machines can be helpful in more production in less time.

Mass production requires more time and it became really hard for the artisans with such a low income. Methods should be introduced to capitalize their time.

Use of temporary dryers can be act as a solution for the variable climatic condition. This will make the artisans to work properly even in harsh weather.

Artisans shift to different crafts since it invest too much time in making the products. The time can be reduced by introducing new methods काग्दshilp

PESTEL Analysis PESTEL, a complementary tool to SWOT, which not only helps in analyzing the positives and negatives of the craft but also helps in analyzing the impact of the craft on the external environment. The term ‘PESTEL’ refers to the domains like: Political, Economic, Social, Technological, Environmental and Legal. In order to consider a project, PESTEL involves identifying the factors in each of these six domains. A special focus of PESTEL is identifying trends therefore it is helpful for thinking proactively and expects change, rather than being overtaken by it. PESTEL analysis may contribute to environmental analysis in three ways. First it may enable identification of a smaller number of key environmental influences. Secondly it may also be helpful in identifying long term drives of change in environment. Thirdly it may help to examine the different impact of external influences on organization either historically or in terms of likely future impact.

Political Analysis Bihar has a large platform when it comes to art and craft. Since Bihar is a developing state the scope of tourism is very vast. The region is not only popular for its handicraft but also attracts tourist on the basis of its culture and heritage. Promoting this craft not only solves the problem for the artisans but will also boost Bihar tourism. Economical Analysis: The cost production of papier mache is very minimal hence the people in the district can easily afford the product. Since the craft production is so low, we can give different and efficient designs that further help in the upliftment of the craft. Apart from this we can use the money in its packaging. Socio cultural Analysis: Bihar’s culture and tradition are the two factors that are interrelated. Salempur being a small village become a very less communicated area in terms of production. Very few people actually know the true essence of the handicraft therefore the rate of market development is not so great. Technological Analysis: Technology and business are interrelated and interdependent. Technological changes 66 काग्दshilp

bring many new opportunities as well as causing threat by making existing systems obsolete. Papier mache is a craft which is done on the basis of orders. Because it is a time taking craft, the artisans try not to indulge more in doing papier mache. In order to solve this problem, we can get help from such technologies which can actually increase the production. As soon as the the production increases the interest of doing papier mache among the artisans can also be increased. Environmental Analysis: The craft is eco-friendly and hence does not impact the environment in a negative way. Sometimes the products of the papier mache are packed in a plastic when sent on orders. In order to make the craft 100% environmental friendly more steps can be taken on packaging. Legal Analysis: Laws are the binding forces of the society hence it is important for the government to initiate some strategy regarding the craft. Till now there are no government schemes have been launched in order to make the craft active. Hence, the artisans have no guarantee from the government’s side regarding their employment.

The cluster Objective T

he objective of this craft is to sensitize the students to the realities of the craft of Madhubani and give insight into regional sensibilities and diversities, resources and environment. Through this initiative, the students will try to create widespread awareness and sensitivity towards the craft. This cluster helps to reveal the advantages and drawbacks of the craft at the same time. While experiencing the craft on our own, students can actually connect with the artisans and try to inculcate a design process and marketing strategies in order to boost the craft.

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Market Survey

o get to the roots of the problem faced by the artisans, an online market survey was conducted in a set of 100 people. Each question was designed to develop a better understanding about the consumer behaviour and to find out the sectors where the craft was lagging behind.

1) What age group do you belong to?

The above pie chart shows that most of our target audience lies in the age group of 20-30. This is the time when an individual start earning and spending.

2) How much do you know about the crafts of Bihar?

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The people somewhat have neutral opinion regarding the crafts of Bihar. The chart shows almost equal division of the group of people who either know or don’t have any idea about the craft. This hints us the lack of awareness about the rich handicrafts of India. DESIGN SOLUTION: 1. To make people more aware about the crafts of Bihar, different communication tools can be opted. As a design communicator, we can write contents in the newspaper. 2. With technology touching its peak, there hardly will be someone who does not use any social media application. Facebook and Instagram are currently the hottest trending applications used by the people. Promoting the craft on that platform will not only draw public but also help artisan sell their products at a faster rate.

3) Did you know that Papier mache is practiced in Bihar?

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The major bulk of people have no idea about papier mache of Bihar. The lack of awareness has led to people getting detached from the culture and tradition. DESIGN SOLUTION Apart from spreading awareness through different communication tool and social media platforms, there can be classes and workshops on a frequent basis to let people explore this craft. The craft can be explained or taught by the craftsmen themselves. This will assure employment and wages on a regular basis by the government.

4) How frequently do you buy a handicraft product?

As the modern world is going gaga over the lux and comfort of machine made objects, handicrafts have started losing their identity. Not only are the consumers unaware of the rich tradition of Bihar but also the craftsmen want to leave this practice and get involved into jobs or activities which assure them a better income. There are no law or policies which uplift the declining handicrafts. DESIGN SOLUTION 1. Lack of market for handicraft products are a prime reason for less sale. There are rarely permanent outlets of these crafts, especially papier mache. Hence proper shops should be setup to bloom the sale. 2. From a very early stage at school level, students should be taught about the existing craft and the method of doing it. This will help them in realising the importance of handicraft and the necessity to save it from extinction.

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5) How often do you see a papier mache product in a handicraft store?

Papier mache is an underrated craft despite of its eco-friendly nature. The craft is so isolated from the consumers that almost one fourth of the total population is unaware about its presence in the market. For instance, on asking some buyers who are aware about papier mache did not find it in a handicraft shop. After visiting several shops we came to a conclusion that the products are not displayed properly from where it can be seen. DESIGN SOLUTION More outlets and shops which properly showcase the papier mache products.

6) Do you support contemporary designs in papier mache?

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Not everyone connects with the design done on the products of papier mache. Madhubani enhances the beauty of papier mache but takes away its identity as an individual craft. Designs and motifs need a shift from old to new and contemporary. This doesn’t mean to isolate the craft from its traditional and cultural virtues but to provide variety to the consumers and at the same time has its own identity. DESIGN SOLUTION The below picture shows the mind mapping done to find out a solution, more specifically a theme which is etched to the heart of Bihar and have an aesthetic appeal. The theme should not take away the essence of papier mache.

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7) Do you connect with the product more when you came to know the story behind the product or the artisans who made it?

When it comes to stories, papier mache tops the list. Each product made in this craft has some ideology linked with it. The concept not only describes the thought process and the powerful imagination of the craftsmen but also their emotion. DESIGN SOLUTION: Products with a concept note: Just like designer’s brief is written to explain the concept behind a particular design, each product should come with a tag describing the story of it. This will help the consumers to connect with that product more.

8) What kind of handicraft would you prefer the most?

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According to the chart, people prefer a blend of sustainable, eco-friendly and modern styled handicraft objects. DESIGN SOLUTION: Papier mache is already eco-friendly. To make it more sustainable varnishing can be done on the finished surface of the product. Modern and minimalist goes hand in hand. The simpler the design the more effect it will lay on the consumers. Modern doesn’t means detaching from the tradition but to uplift it through new designs.

9) Would you be interested to buy handicrafts sourced from individual artisans and craftsman?

Buying directly from craftsmen gives the flexibility of altering the design as per the wish or utility demand. Buying from the market not assure the availability of any favourable product. Also, the consumer can order the required quantity of product as per requirement from the craftsmen.

10) Do you have any recommendations or suggestions for the declining handicrafts in Bihar? If yes, then kindly write down your thoughts. The most common suggestions to promote this craft are: • The craft should me more often present in handicraft shops along with exhibitions to grab attention of the consumer. • People should be made aware of its prime characteristics like, being environment friendly and light weighed. • Government should contribute to save the depleting craft of papier mache by developing policies in favour of the craft and the craftsmen.

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Consumer Behaviour I

n accordance with the survey conducted by us, the target audience lies in the age group of 20 to 30. Most of the people in this range are not familiar with the Madhubani papier mache. The market of handicrafts is so vast that each and every craft has to be different in order to stand out. The generation is moving forward and hence they are looking for the craft which is sustainable, eco-friendly and possess modern design at the same time. They want to see more contemporary designs on the product depending upon the product’s usage. Since our target audience are young and creative, they need a wide range of product which is aesthetically pleasing. On the basis of the analysis done through this market survey, people are eager to know the story behind a product along with its utility in their day- day to life.

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Artisan : Sharad Kumar Age : 42 Mobile no.: 8789665783 Active artisan, working since past 20 years Awards and Honors: Kalashree Award in 2012 Training: Learnt the art of papier mache from his grandmother Chandrakala Devi Village: Jitwarpur Products: Contemporary products especially installations. Technique: Contemporarily only handcrafted. His artworks are experimental which bridges the gap between the traditional and contemporary art forms. Family: His father Arjun Kumar is a professor of Animal Husbandry in the Agricultural University of Patna. Earning: He is a well known artist and attends several national and international exhibitions and that is his medium of earning. Issues: As this craft is losing it’s identity, Mr. Sharad is working towards creating awareness and giving recognition to this craft. Other activities: He is also doing origami and making different types of paper.

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Artisan : Lalita Devi Age : 65 Mobile no.: 8969399817 Active artisan, working since past 35 years Awards and Honors: State award, Bihar in April 2013 Training: Making mud articles since childhood and learnt paper mache from Subhadra Devi Village: Salempur Products: articulated display products, utility products. Technique: only handcrafted. Uses home molds like tray, bowl etc. She is an expert in creating interesting articulate forms. This special quality results is a few of being art pieces. Selling price of products from the artisans of a village are not very different from others. Family: She lives with her family in her Salempur, her husband passed away 15 years back and after this her older son passed away in an accident, even after going through a lot, she did not lose her strength and continued her work. Earning: she earns her livelihood by taking training sessions and selling her products in fairs and exhibitions. She also gives her products to middlemen in Madhubani. Sometimes she Is able to get Rs. 3 - 4,000 per month. Sometimes when invited to display in national and state exhibitions and fairs like PragatiMaidan, New Delhi, Patna,Jamshedpur,Nainital, she is able to sell few products. Price of products : from Rs 150 to Rs. 1500 Issues: She lost her financial support after the death of her husband, she had to quit her work for some time but when she got nominated for state award, she started working again. Other activities: She also sometimes involved in training students of art colleges. काग्दshilp

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Echoes of the folklores The theme is selected which balances the traditional and the modern design approach. Bihar is known for its culture and beliefs. Papier mache is a traditional craft and giving it a completely modern avatar may let it lose its essence and identity. Our state has a rich past. Blending all the facets for which Bihar is known for and deriving the major colours, designs and motifs from them was the resultant of the mind mapping. Just like the beauty and marvels of Bihar reflects our traditional heritage, the theme includes everything which defines Bihar.

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THE FINAL CHAPTER

he document covers all the aspects of the craft papier mache. The heading is contrary here as it is not the end. The document open a new vistas of opportunities for the craft to prosper. Theories and hypothesis is given to develop a concept and to enhance the understanding. Where the theory ends, practical starts! We have done a market survey to know the in-depth problem and tried to understand the craft from leyman’s perspective. After discussing the problem the craft is facing currently and Papier mache done using a home untensil. Photograph By-Harsh Kushwaha

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the design solutions offered by us, it’s time to adopt them to bring a change. With this we get to know about the nature of design that the public are opting for. We tried to study the consumer behaviour and accordingly formulate the marketing strategies. This not only helps in the improvement of the craft’s position in the market but also helps in reviving our cultural and traditional heritage depicting through this craft among the people.

EXPERIENCE

herishing, Edifying and unforgettable are the best words to describe our journey and time we spent at the cluster of Madhubani. The scorching heat of sun couldn’t deter our enthusiasm and zeal to explore the craft of papier mache. The humble and helpful gesture shown by the people of Madhubani eased our work. The major cluster of papier mache was Salempur which was 1-1.5 hours away from the place where we stayed. On reaching the family of our master craftsmen they offered us refreshments and the best they could do for us. They did not

take much time to open with us. From walking several miles on endless roads to clicking pictures. From learning the procedure of doing the craft to listening to the gripping stories of our craftsmen, we have built memories of lifetime. The craft cluster journey increased our knowledge and widened our thought process. At the same time the trip increased our bonding. Some imprints are permanent, they remain etched to the heart forever!

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Papier Mache

Articles inside

Papier Mache