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HUT BAY, LITTLE ANDAMAN 8
This book is dedicated to my grandparents, Dr. B.K. Sur and Dr. Gouri Sur, who are an inspiration for me to excel in life while staying close to my roots and working for the betterment of the people.
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Exploring the untold stories that shape our culture, the journey behind the making of the crafts.
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PREFACE Set in the midst of the emerald green waters of the Bay of Bengal and Indian Ocean are a cluster of several islands; the Andaman and Nicobar islands. Its an archipelago of 572 islands. Amongst the 300 Andaman Islands only about 24 currently support human settlements, while only 12 of the Nicobar Islands are populated. The Andaman and Nicobar Islands are home to a number of aboriginal tribes and immigrants from South Asia and their descendants.The immigrants now constitute around 60 percent of the population. Due to such diverse groups of inhabitants, the culture of Andaman is extremely rich and diverse. This book shares the culture of Andamans through the stories of the immigrant artisans striving to survive on the islands. It talks about the journey of their crafts as shaped by their personal experiences. I believe that the information and visuals shared in this book, will bring forth a clearer understanding and develop a sense of admiration for their work. This is aimed ultimately in uplifting state of the artisans and improving value of the craft in the marketplace. I would like to thank Mr. Ajit Anand ( Director of Industries Andaman) , Mr. Deepanshu Haldar (Assistant Director, Handicrafts Department), Mr. Prosen Malik( Dept. of Industries, Port Blair), Mr Rehman, Mr. B.P Yadav, Mr R.P Yadav ,Ms. Rashida Iqbal, Mr. Mukeshwarlal, Ms. Meha Jayaswal (Head of Department Fashion Media Communication), Ms. Seema Mahajan (Head of Academic Governance), Ms. Milly Singh (Associate Professor) and lastly my parents, Dr. Rajeev and Sheila Chitranshi and my sister, Devina Chitranshi, without whose support this book would’nt have been possible.
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AN ARTISAN’S ASSETS: CRAFTING TOOLS 15
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PORT BLAIR 17
ABDUL REHMAN
ONE OF THE LAST FEW CARVED NAUTILUS SHELLS 18
‘ my tribute to my mother.
The traditional crafts are dying out, working as a tutor here at the design centre is
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The coming generations need to be aware of our rich culture.
-ABDUL REHMAN, PORT BLAIR
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ABDUL REHMAN
‘ handiwork supported Why I do this, you ask?. I have grown up seeing the crafts. My mother’s
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us through the many years that my father was ill.
-ABDUL REHMAN, PORT BLAIR
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SHELL, CANE & BAMBOO CARVING 21
ABDUL REHMAN
Rehman, started working in 1998 as a workman in the government craft industry. He is now also a tutor at the workshop there,imparting his skills and training youngsters in the art. He specializes in shell craft, coconut shell work, woodwork and cane crafts. Rehman has grown up seeing the crafts. His father, mohamed kasim, worked in the government industrial centre by the day and as a shell craftsman at home by evening. His mother, who although did not receive any official training had a great sense of design and was a skilled artisan. She used to make intricate designs on the nautilus shell.
RAW SHELLS USED IN THE PRODUCTION OF SHELL CRAFTS 22
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ABDUL REHMAN
‘utility with creativity.
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The crafts are a way of expression. I encourage the young artisans to combine
-ABDUL REHMAN, PORT BLAIR
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CANE TABLE ACCESSORIES 25
WOOD AND CANE CARVING 26
JASODA NANDAN MALLICK
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The government holds short term courses and design workshops to train the next generation in the crafts in an attempt to preserve the crafts and make them
self sufficient artisans.
-JASODA NANDAN MALLICK, PORT BLAIR
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A wood and cane specialist at the industrial centre in Port blair, Jasoda nandan Mallick has been associated with the crafts from a young age. He works at the design centre of the industries and participates in the training programmes conducted for young artisans in the area.
CANE FLOWER VASE AND BAMBOO PEN STAND 29
IZHAR AHMED
A WHITE DOVE ON THE HANDS 30
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IZHAR AHMED
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The crafts aren’t valued, workmanship isn’t respected in the market. In
a bid to survive
our crafts have
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moulded and got constricted to what is popular in the market. Innovation is a luxury we cannot afford.
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-IZHAR AHMED, PORT BLAIR
IZHAR AHMED
SHELL CARVING 33
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IZHAR AHMED
His grandfather, a pan shop owner migrated from Kerela to the Andaman group of islands.Most men in the next generation took to shell craft.Ahmed started learning the crafts around the age of 15 years. He is now the owner of a shell craft workshop that gives employment to others proficient in the craft and looking for a livelihood. Routine designs are replicated. The risk that comes with exploring new designs scares them. The finished product must be salable, that is their only concern. Rarely little innovations in design do happen; the new magnets they have been designed are a proof of that. As far as the processing is concerned, the natural shells are papered, following which they are washed with acid for natural look or grinded for a polished look. Words are written over polished shell designs with a permanent marker. Most shells used in the industry are now prohibited; trocus,king shell, corals, clam shell. This is another major hurdle in their path.
SKETCHES OF THE ARTISAN’S SHELL ARTIFACTS 35
IZHAR AHMED
THE ARTISAN’S WORKSHOP TABLE 36
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GOKULKAR
WOOD CARVING WORKSHOP IN DOLLYJUNG 39
PADAUK WOOD CARVING 40
GOKULKAR
my family. now is it?
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‘isn’t enough to feed I find solace in the sight of the finished goods, but that
-GOKULKAR, PORT BLAIR
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GOKULKAR
balancing doll
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I hope the future will look brighter as I am putting in efforts to carve the padauk wood into newer designs for the growing market. The
is my favourite.
-GOKULKAR, PORT BLAIR
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PADAUK CANDLE STANDS 43
GOKULKAR
Gokulkar, native of Kolkata, Gokulkar came to the islands a decade ago looking for a sustainable livelihood. Woodwork was a passion and seemed to be a viable avenue to expand professionally. Padauk (Pterocarpus dalbergioides) wood is widely used due to its lustrous red to purple colour and durability. It is easy to carve and the screws remain secure.His craft has seen a decline since he first started out, as the Government has put a regulation on the timber available for environmental reasons. He receives timber once in every 6 months. It is monitored by a token system among the wood carving artisans. Working relentlessly, Gokulkar hopes to work at his own workshop someday.
THE BALANCING DOLL 44
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SHELL CARVING 46
SHAILESH
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My father’s work had inspired me to become the craftsman that I am today but the
deterring the youth
from wanting to carry forth this legacy.
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hurdles we face today are
-SHAILESH, PORT BLAIR
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SHAILESH
Many generations in Shailesh’s family have been involved in shell craft. He is the only one among his siblings to follow in his father’s footsteps.The depiction of the cellular jail and map of the Andaman and Nicobar islands through his shell craft is remarkable, a feat that has even earned him an award. The ban on the usage of many shell species has forced them to import shells from the mainland. Also, they face competition from china, in terms of quality , packaging and retail price. The small scale industry here is in no way able to compete with companies making products in bulk. At times it can take upto a year to get their product approved for sale in the government emporium.Facing these troubles, Shailesh has also explored the possibility of working with coconut shells which are freely available here. The tsunami of 2004 was a major setback but as soon as the islands recovered, the market expanded manifold, giving the artisans a ray of hope.
MOULDS FOR SHELL JEWELLERY 49
SHAILESH
‘25 years back
my father crafted shell jewellery
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with his bare hands. Today, thankfully I have some basic equipment for cutting and polishing the shells. -SHAILESH, PORT BLAIR
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A SHELL CANDELIER 51
SAMARTHI ROY
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Starting as an artisan, I now own a small shell craft company myself. Each of us can make up to 100 shell articles per day. It has been a
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rewarding journey
thus far.
-SAMARTHI ROY, PORT BLAIR
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SHELL CARVING 53
SAMARTHI ROY
Samarthi Roy, a native of Kolkata migrated to Port Blair and started tailoring for a living. As she struggled unsuccessfully to make ends meet, she was introduced to a shell company that offered a crash training program. As she became adept in the art of shell making, the shell company offered her a job for Rs. 2500 a month. The process starts with smoothening the natural shells procured from the sea followed by grinding them into various designs. The design is first drawn on the shell using a frame that is prepared to maintain the standard design and size. The ground shell article is then washed in acid and polished. The finished products are packed for sale.A mother of two, she has been working in the industry for 4 years now. She designs shell crafts and employs 3 other women for the process. Her journey from being unemployed to owning her own shell craft company was made possible due to her grit, determination and monetary help from her previous employer and govt. aids.
SHELL SALK AND PEPPER SPRINKLERS 54
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SHELL CARVING 56
RINKI
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Shells can be used in so many ways and grinded and polished into varied designs. It
sense of achievement
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gives me a,
carving these shells into articles of craft.
-RINKI, PORT BLAIR
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RINKI
Rinki, a Native of Kolkata, migrated to the islands around 16 years ago. She has been in the shell crafting industry for the past 9 years. A knack for design and an inquisitive mind prompted her to enter the industry. Today she works in a three-room factory, fully equipped with grinders, cutters, polishing device and a packaging area. As she started doing well in her job, her family also migrated to Port Blair. They usually design the shells according to what sells in the market. On enquiring she was open to design inputs.
A SHELL CANDELIER 59
RINKI
‘grinding and polishing This is our workshop. Most of our day is spent here,
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the shells into the articles that you see in the market. - RINKI, PORT BLAIR
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SHELL GRINDING MACHINES 61
GARACHARMA
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PARVATI
‘This is what we do best. I sit in the verandah with my daughter-in-law and together we weave.
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But the times are tough and we are forced to look for odd jobs to sustain our homes. - PARVATI, GARACHARMA
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BAMBOO WEAVING 65
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PARVATI
Parvati came to Andamans with her family thirty years ago when they were facing drought and hunger in their village in Orissa. Andamans became their second chance for a better livelihood. As a girl Parvati’s family taught her how to weave with bamboo. She can make mats, various baskets for fruits and vegetables, sieves. She can also weave the thatched walls of the huts. They prefer the life they built here, but uncertainty followed them here also. Business flourished in the early years only to slowly drop down to the present low. On top of that procuring bamboo to work on with is a task. It comes from the jungles of Baratang and they need to buy bamboo from a middle man because they couldn’t get a license for obtaining bamboo directly from forest officials.
SPLITING AND SMOOTHING THE BAMBOO STRIPS 67
BAMBOO WEAVING 68
GYATRI
‘the art not perish? ‘
How can an artisan work in the dearth of raw material? How will then,
-GYATRI, GARACHARMA
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GYATRI
Parvati’s daugther in law, Gyatri is an adept artisan.
bamboo
Her husband works in a shop to support the family. He is educated but there is s scarcity of suitable jobs in the area. Thus, they make do with a combination of traditional craftsmanship and shopkeeping. The house they live in isn’t really theirs, being unaware of official matters they paid for it but never obtained the ownership documents.
ARTISAN STRIPPING BAMBOO 70
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CHOULDARI
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COCONUT CARVING 74
MAYA AND TARUN MONDAL
tsunami of December 26th
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The
was a turning point in our lives. Everything we had, everyone we knew of, the waves took from us. We built our lives on the denuded shores. -TARUN MONDAL, CHOULDARI
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MAYA AND TARUN MONDAL
Indigenous innovations. The lack of modern equipment does not dishearten these artisans.
A REGULAR SPOON USED IN SCRAPING THE COCONUT SHELL 76
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MAYA AND TARUN MONDAL
It would ease our
tired shoulders,
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The shells are our only source of livelihood, the craft keeps us alive.
if we got some more support from the authorities.
-MAYA MONDAL, CHOULDARI
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SCRAPING THE INNER LAYER OF THE COCONUT SHELL 79
COCONUT CARVING 80
MAYA AND TARUN MONDAL
‘have each other We work together, and I am thankful that we
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through these tough times.
We have come a long way since that fateful day when the waves washed away our homes.
-MAYA MONDAL, CHOULDARI
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MAYA AND TARUN MONDAL
Maya Mondal’s father migrated to the islands of Andaman and she was born here. They had worked with shell craft with no prior training on the subject. The waves of the tsunami washed away everything they knew.She recalls having to run for her life with her 3 month old daughter in her arms. Having lost all her possessions, survival seemed impossible with no means of livelihood.Water scarcity, lack of provisions added to their misery. Post tsunami, further training options were available, however the time invested there resulted in loss of daily livelihood, as coconut shell crafts are the sole means of it. This deterred the growth of their skills. Non-profit NGOs have helped them cope with their troubles and they are thankful for that.
SCRAPING AND SMOOTHING THE COCONUT SHELL 83
SHANTANA ROY
FLOWERS FROM COCONUT 84
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SHANTANA ROY
‘ weaving was joy, The islands welcomed us with open arms,
The same cannot be said for today. I wish our hard work rendered results.
-SHANTANA ROY, CHOULDARI
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life seemed hopeful.
COCONUT CARVING AND WOOL WEAVING 87
SHANTANA ROY
Getting married at a tender age Shantana migrated from Kolkata to Port blair 16 years back. Her husband, a carpenter by profession hoped these islands would support their livelihood. He is skilled in constructing Nicobari huts and furniture. Needle and thread have been Shantana’s friends from the young age of 7-8 years.Building on her passion she learnt basic skills via NGO classes 2005 and has been creating new designs since 2006. It is however disheartening to note that many had participated in this endeavour in the beginning whereas today its just her and another friend. Income is meager, long hours of sitting and working have affected her health.
WOOLLEN WEAVED WINDOW DECOR 88
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WEBBY
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STELLA
HANDLOOM WEAVING IN WEBBY 93
HANDLOOM WEAVING 94
STELLA
‘belong to these islands We, the people of the Karen Community
-STELLA, WEBBY
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and through our crafts and workmanship want the world to know that.
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STELLA
She was introduced to the art of weaving at a very young age as the other members of the community were involved in the trade. Through the years she has been perfecting her skills and finds herself able enough to guide and nurture young artisans. In this regard, she is helping her sister Rosaline, at the Community Center, they have contributed to build.
A SCARF BEING WEAVED ON A PORTABLE HANDLOOM 96
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STELLA
THE EXTERIOR OF STELLA’S HOUSE 99
ROSALINE
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I had dreamt of a place where our culture and craft would
thrive.
-ROSALINE, WEBBY
WEAVING YARN AND FABRIC STICHING 101
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ROSALINE
An intricately woven structure of bamboo and cane has been erected at the entrance of the Karen Community. Ancestral bows and arrows find a place here. The place was supposed to be a museum dedicated to the culture and crafts of their community. The lack of funds has hindered the realization of this dream and in the interim it doubles as a training center for young artisans.
KAREN MUSEUM ; in the intetrim time, it’s a community training center 103
UTILITARIAN CANE CRAFT 104
ROSALINE
‘past two years I have been trying to collect funds for the
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to built the Karen museum. We will slowly but surely make it happen. -ROSALINE, WEBBY
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JOE
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Business is good during the festival season and the market bubbles with beautiful
market being far away,
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products. The
this isn’t possible the entire year round.
-JOE, WEBBY
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BAMBOO CARVING AND WEAVING 107
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JOE
Decendants of the Karen community have been known as great craftsmen, they work with cotton, bamboo and cane. The imagination of their ancestors was fed by their basic needs and is reflected in the beautifully crafted cane hunting bows, woven fishing traps, hand hoe and harvesting knives.
UNFIISHED CANE FURNITURES 109
TRADITIONAL KAREN HUNTING BOW 110
JOE
sense of pride!
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Holding this bow fills me with a
-JOE, WEBBY
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JOE
BAMBOO WEAVES SEEN IN KAREN HOUSES 113
U KETU MALA
INTRICATE WEAVES WITH CANE 114
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CANE FURNITURE 116
‘my workmanship withstood Every inch of my house is hand woven cane and bamboo. It fills me with pride to say that
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even the waves of Tsunami.
-U KETU MALA, WEBBY
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U KETU MALA
A young boy from Assam, U K2 mala, migrated to Burma, spending ten years of his life there. During this period he picked up the basics of cane and bamboo weaving. He went on to spend a few years in UP, Bihar and Madhya Pradesh, as an amateur cane artisan, learning the tricks of the trade. The explorer in him brought him to Andamans in 1969. After much deliberation, he decided to make Webby his home. He established himself as a renowned craftsmen in the area and went on to work until recently, when obtaining raw material became a problem. Large companies have obtained the rights to the cane in areas near Webby, forcing the individual craftsmen to travel miles to procure raw material. This being both a physical and economic burden for them.
A SIEVE FOR DRYING MINT LEAVES 119
U KETU MALA
observation to detail during my travels, nurtured me into the craftsman I am today. -U KETU MALA, WEBBY
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The keen
INTRICATELY WEAVED CANE TABLE 121
U KETU MALA
CANE STORAGE RACKS 122
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U KETU MALA
HANDCRAFTED WINNOWING BASKET 125
BASANTIPUR 126
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ARUN CHAUDARY’S WIFE
weave the mats
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My husband and I, we work together. I
while he is adept at carving the bamboo and cane into sturdy fashionable furniture.
-ARUN CHAUDARY’S WIFE, BASANTIPUR
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BAMBOO MAT WEAVING AND CROCHET 129
CROCHET DOOR HANGING 130
ARUN CHAUDARY’S WIFE
‘wretched fever epidemic hit our village nine years ago. Our lives haven’t been the same since.
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My baby was bright, until that
-ARUN CHAUDARY’S WIFE, BASANTIPUR
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ARUN CHAUDARY’S WIFE
The inhabitants of Basantipur are simple people involved in cane and bamboo’s weaving and trading. The furniture produced in this village goes to bigger markets for sale. Individual artisans find it difficult to procure the bamboo and to earn a decent profit from the finished products. Health care facilities are poor. A meningitis epidemic from nine years ago has left many children crippled. Thus, increasing the social burden and decreasing able bodied workforce in the village.
WEAVED MATS HANGING IN THE SUN 132
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SAMEUL MAJUMDAR
MOULDING AND SCRAPING A PART OF THE CANE RECLINER 135
CANE FURNITURE 136
SAMEUL MAJUMDAR
three days
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It takes us around
to make a cane recliner from scratch. It should be beautiful and sturdy. Would you pay for anything lesser?
-SAMUEL MAJUMDAR, BASANTIPUR
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SAMEUL MAJUMDAR
45 years ago, at the tender age of 17 Sameul migrated from khulna district in Bangladesh to settle down in Basantipur, Middle Andaman.Through the years he learnt the art of moulding cane and bamboo into beautiful furniture and has been working as a licensed artisan for the past 25 years.
A YOUNG ARTISAN WORKING UNDER HIS GUIDANCE 138
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SAMEUL MAJUMDAR
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It takes us around 3 days to make a cane recliner from scratch. My eyesight has become poor now. My son has become skilled.
The craft won’t suffer. -SAMUEL MAJUMDAR, BASANTIPUR
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A CANE SWING 141
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NIMBUDERA 143
A PADAUK WOOD DRESSING TABLE IN NIMBUDERA 144
SUNIL BISWAS
‘raw material is scarce The crafts have taken a hit in the recent years as,
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new licences aren’t issued. The individual artisan is finding it difficult to cope up.
-SUNIL BISWAS, BASANTIPUR
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SUNIL BISWAS
‘devised simple contraptions
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This is my home now. My family, my work, my life, it is all here. We make the best of what we have. I have myself
to improve the quality and efficacy of our work here.
-SUNIL BISWAS, NIUMBUDERA
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CANE AND WOOD FURNITURE 147
SUNIL BISWAS
As a young man, Sunil Biswas travelled to different places, the Andaman islands being the last of them. In 1989, high labour costs here seemed like a lucrative option and he took the decision to settle down here in Nimbudera.The crafts have taken a hit in the recent years as raw material is scarce, yearly token for bamboo procurement is issued. New licences are not given anymore. The artisans who do have a license work on order basis. They do not have standard machines for the production of goods. This has however, resulted in them devising simple indigenous tools to enhance work quality.
A SELF DEVICED BAMBOO SMOOTHING TOOL 148
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BAMBOO WEAVING AND CANE FURNITURE 150
SUDEEP SARKAR
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There aren’t many avenues of work here in Nimbudera.
bequeathed
my father had
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I had to revert to the knowledge and skills
on me over the years.
-SUDEEP SARKAR, BASANTIPUR
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SUDEEP SARKAR
The son of a licensed cane and bamboo craftsman, Sudeep has been close to the crafts since he was a little child. Economic burdens forced his father to forgo the ownership of his workshop. Unable to find another source of income in Nimbudera Sudeep now works for his uncle at the workshop that once belonged to his father. Most of their work is utilitarian. Occasionally, they do produce beautifully crafted articles.
STRIPS OF BAMBOO STACKED TO WEAVED INTO BASKETS 153
PADAUK WOOD CARVING 154
DINESH BISWAS
is food and shelter for my family.
This job gives me just that. It is heartening to see though that you like my work.
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‘All I need
-DINESH BISWAS, NIMBUDERA
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DINESH BISWAS
A resident of Nimbudera, Dinesh is adept at wood carving. Intricately detailed designs convert pieces of furniture into art, such is his workmanship. His earnings however, do not compliment his work. Without a license of his own, he is forced to work under someone with a license.
PADAUK WOOD CARVED BED PANELS 156
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DIGLIPUR 159
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The government has initiated training sessions at the industrial unit in diglipur in an attempt to revive wood, cane and coconut crafts.
WORK TABLE AT DIGLIPUR’S INDUSTRIAL UNIT 161
SAGRIKA
COLOURFUL MACRAMÉ KNOTS 162
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SAGRIKA
‘struggling to sell
They say I am gifted, they say I am hardworking, yet I find myself
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my craft.
Self help groups are a ray of hope in these troubled times.
-SAGARIKA, DIGLIPUR
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MACRAME AND BAMBOO WEAVING 165
A BOUQUET OF BAMBOO FLOWERS 166
SAGRIKA
economic support
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Being an artist has been a childhood dream, the realisation of which has been a slow process. Encouragement and
are essential.
-SAGARIKA, DIGLIPUR
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SAGRIKA
Sagarika has been passionate about art and painting ever since she was a little girl. Having studied upto the 10th standard she left school to dedicate her hours to fabric painting and weaving. A gifted artisan, she recently attended a workshop on cane and bamboo crafts. Being a fast learner, Sagarika now guides others in workshops conducted by a self help group called ‘Yuva Shakti’. Long hours of work have adversely affected her health and she is still struggling to build her home.
PATTERNED WEAVE BAMBOO LAMPS 169
MOLAY DAS
‘means to provide Far away from home I have found a
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for my family. The cane that I carve, carves my life.
-MOLAY DAS, DIGLIPUR
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CANE FURNITURE 171
MOLAY DAS
A proficient cane art and furniture artisan, Molay Das hails from Kolkata. Looking for viable job prospects Molay travelled to diglipur 32 years ago. With his family still in mainland he works at the Ali Cane Furniture workshop, creating beautiful, intricately woven sturdy cane and bamboo furniture.
SCRAPING THE CANE 172
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Photo credits c Ambika Chitranshi All rights are reserved. No part of this publication may be transmitted or reproduced in any form or by any means without prior permission from the publisher.
c Ambika Chitranshi 2017 Published in India Author : Ambika Chitranshi Co. Author: Devina Chitranshi Editor: Ambika Chitranshi, Devina Chitranshi Layout: Ambika Chitranshi Production: Sheila Chitranshi and Rajeev Chitranshi Printed and bound in India Mehul Print Services A-31 Naraina Industrial Area New Delhi -110028 www.mehulprint.com 176
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