PREFACE This documentation is an attempt to explore the arena of handicraft like Kantha, batik, tie dye in rural Bengal through conducting ethnographic research with the artisans at the grassroots level. Kantha craft is an indigenous craft which is based on the variety of running and darning stitches that are used to embroider episodes from legends, scenes from daily life, birds, animals and trees. Batik is a resist printing technique which uses wax to dye the fabrics. Unlike many other crafts that originated elsewhere and then gradually seeped into Bengal, Kantha is one of the few crafts which people of this state can claim to be their own. The research aims to broaden the horizon of the artisans’ vision that still being exploited by the middlemen. The study aims to provide them with the scope for better earnings by bringing into light their problems and aspirations. The venue for our visit was Bolpur.
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ACKNOWLEDGEMENT This is to express our gratitude to our college NIFT, Kolkata for providing us with an opportunity to be a part of such an important exposure. This craft documentation was of great help for us to learn about an enormous number of crafts like Kantha, batik and know in detail about the rich culture of the state of West Bengal. It helped us to learn how to procure raw materials in an unknown city and learn about the conditions in which the artisans live and work. It made us aware of the enormous amount of hard work they put into each piece of craft. Thus we would like to give our heartfelt thanks to our respected Director, Mr Krishna Murthy, Registrar Mr Rajat Kumar Bose, faculty in charge, Ms J. Mukhajee {Centre Coordinator}, Mr.Pramod Kumar {Mentor and consultant}, Mr.Dibyendu Bikash Dutta{Cluster Initiative Coordinator} & Mr Sumatra Bakshi. Without them this project was unimaginable. We would also like to thank the artisans who worked equally hard and showed the considerable amount of skill as well as patience throughout the time period. We also thank Mr Shantanu Majhi {incharge of R.D.E.C.} for the valuable and seless help he provided us during our need. We would also like to thank all our classmates and parents for all their help & support directly or indirectly.
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INTRODUCTION Cluster Project, 2011, carried out at Shantiniketan, Bolpur is an initiative by The Government of India, Ministry Of Textiles to throw light on the craft sector of the rural areas in the process finding out about their way of life, involvement in the development of newer dimensions of crafts, progress made and their future scope in this field. It also takes an active role in bringing together the expertise of age-old traditions in craft and blending them with advanced modern technology with finesse to develop a range of products for the global market. The involvement of the artisans in this activity not only generates employment but also a synergy of cultures, socio-political aspects and aesthetics, culminating in the origin of ideas not to be otherwise received.
Design Studios ,Shared Resources & Technology Support
ARTISANS
Rural Development
CONSUMERS
BIRBHUM Why the name Birbhum ? The Western portion of the district historically known as “VAJJABHUMI” (Bajrabhumi, bajra = thunderbolt/ hard) is an undulating, generally barren upland, part of the Eastern fringe of the Chhota Nagpur plateau, rising to 3000 ft(900 m); the Eastern side constituting the North ”Rarh region” of Bengal, is merging into the densely populated, alluvial plain of the Gangetic Delta. Sometimes Vajjabhumi is also included into the Rarh region, and the rest of Rarh region is called Sumha to differentiate.
CRAFTS OF BIRBHUM KANTHA
Kantha is said to be a lady self expression. The real kantha narrates a story ,the emotions and the life of artist. Plain saris and dress materials are procured from the adjacent village of this district at a price range of about Rs 500-750/- sometimes ,thaans and tie and dyed sarees are also procured . Other raw material required are thread with the stitch are done. These are brought from local market without hassles. The product made out of this process are mainly sarees. Punjabis, salwar suit , dupatta , stole, shawls, jacket, top, hanky, different types of bags and material for home furnishing are also made.
Different types of Kantha. •
•
SUJANI OR SUJNI KANTHA: These type of kanthas were basically used for festivals or marriages or for the fulfillment of vows. They were done so neatly that it was very difficult to identify the right and the wrong side. Each commercial occasion would have a special kantha and the motif which they used on it dictated for what festival or purpose the kantha was made This kanthas had 2”-3” borders and the kantha piece was divided into nine equal squares. This kanthas had a lotus motif with 108 petals in the centre which was considered auspicious. The other motifs were generally scenes from mythological or folk stories.
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BAYTON KANTHA: They are basically used to wrap accounts books, religious books or any other valuables also. The main features of this kantha was the central lotus with 108 petals. This kantha was a square piece, in which embroidery was done with very bright colours. Human figures or animal figures were scattered surrounding the lotus. This kantha also had borders.
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LEP KANTHA : This type of kanthas were generally used as a wrap (blanket) during the winter months. This kantha would have geometrical patterns or designs.
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DURJARI KANTHA: The word Durjari means wallet. These kantha is envelope shaped, made out of a square piece. The embroidery is done in the centre having a lotus motif with a border all around. The three corners of the square would meet in the centre and would be stitched down together as a envelope. In the fourth corner they would tie a cord or a string with a tassel. The 4th corner flap over the three corners.
FEW MUSEUM PIECES OF KANTHA
Batik Due to modern advances in the textile industry, the term has also been used for fabrics which incorporate the traditional batik patterns although not necessarily produced using the batik techniques. Traditional colours include indigo, dark brown, and white which represent the three major Hindu Gods (Brahma, Vishnu, and Shiva). Natural dyes are only available in two colours: indigo and dark brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. .
CROCHET HANDICRAFTS Crochet is a process of creating fabric from yarn or thread using a crochet hook. The word is derived from the French word "crochet", meaning “hook�. Crocheting, similar to knitting, consists of pulling loops of yarn through other loops. Crochet differs from knitting in that only one loop is active at one time (the sole exception being Tunisian crochet), and that a crochet hook is used instead of knitting needles.
DESIGN PROCESS
Theme- Natural dwellings Natural dwellings are the natural made caves, or similar structures in the mountaineer or underground passages or open spaces which acts as habitats for the floral and fauna and sometimes humans to (tribal generally in old times and some still in present time).these sites are formed due to the cutting of earth or rocky mountains due to rain or flowing water through several hundred years of time. They are also formed at the site of dried up rivers or because of spaces created at the movement of tectonic plates during earthquakes and sometimes naturally due to there changing in climatic condition . these sites are found throughout the world, and are referred to as exquisite natural scenic beauties because of their beautiful and amazing architecture.
Visual research
Visual research
Theme board
NEST REST
“A small little place with a lots of dreams and hope. Where we will stay to provide shapes to our dreams and after that we will leave it. It will protect us from madness going around the world �
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Mood board
Colour board
Colour board
DESIGN DEVELOPMENT
PROCESS INVOLVED Tracing of pattern on fabric
DIFFERENT TECHNIQUES FOR BATIK EFFECT
Process photograph
Process photograph
Final Product
Final Product Photograph
Product photograph
Total cost of all product Product name
1.
Cushion no. 1
86
155
2.
Cushion no.2
80
143
3.
Cushion no. 3
122
202
4.
Cushion no.4
97
148
5.
Cushion no.5
181
326
6.
Cushion no.6
100
180
7.
Cushion no.7
186
335
8.
Bedspread
172
310
9.
Main structure
1850
3960
2874
5759
Total cost
Total actual cost
Cost aGer 80 % proďŹ t
Cost sheet and Spec sheet
S.no.
Artisan : Case Study
ROSANA BIBI PERSONAL
Age -33years EducaMon 4th standard Address- Illambazar Number of family members -5(husband, son, mother-in-law, daughter and herself) Marital status- Married ECONOMIC source of income (other than craP)- Rs. 1500-2000 per month craP- Rs. 250-300 per month Debts (from bank or any other sources - No BPL or APL – no BPL card Savings – Bank saving account (joint account of 10 people) Part of any Self Help Group- Chayonika Group CRAFT Type of craG- Kantha and Basket Making (bamboo) Source of Training – TradiYonal Family Training Experience in the profession - 15 years Source of Oder – Local buyer from Ilambazar Source of raw material – Local ( provided by Ilambazar) Daily wages – Depends upon per piece Level of engagement -3hrs per day
Visited any trade event or not- No Design process – client specific design Type of raw materials- Fabric, Thread (dealer), Needle, Frame (their own), Basket- Cane, metal thin rods, framing. Tools and technical implementaMon - Needle ,Frame basket - scissors Process sequence - Embroidery SOCIAL Religion – Muslim EducaMon level of family – Self 4th standard Husband- 5th standard son – studying in 8th standard daughter –studying in 2nd standard Availability of school- Ilambazar primary school Health center- Ilambazar Health Center Electricity- provided by government Type of house - Kaccha Percentage of populaMon involved in CraG - 99 %
TANJILA BEGUM
PERONAL Age -35years EducaMon: 4th standard Address- Illambazar Number of family members -5(Brother, Brother ‘s son, mother, Sister -in-law, and herself) Marital status- Divorced ECONOMIC Source of income (other than craG)- Rs 2500-3000 per month CraG - Rs 250-300 per month Debts (from bank or any other sources - No BPL or APL – No BPL card Savings – Bank saving account (joint account of 10 people) Part of any Self Help Group- Chayonika Group CRAFT Type of craG- Kantha and wool kni`ng Source of Training – TradiYonal Family Training Experience in the profession - Stated at the age of 12 Source of Oder – Local buyer from Illambazar Source of raw material – Local ( provided by Illambazar) Daily wages – Depends upon per piece Level of engagement -3hrs per day
Visited any trade event or not- Yes sanYniketan pous mela Design process – client specific design Type of raw materials- Fabric, Thread (dealer), Needle, Frame (their own), Basket- Cane, metal thin rods, framing. Tools and technical implementaMon - Needle ,Frame Process sequence - Embroidery SOCIAL Religion – Muslim EducaMon level of family – Brother -10th standard Sister –in-law- 10th standard Availability of school - Illambazar primary school health center- Illambazar Health Center electricity - provided by government type of house - kacha Percentage of populaMon involved in CraG 99 %
FINDING AND ANALYSIS OF ARTISANS AGE
ARTISANS AGE 20-30 yrs 30-40 yrs 40-50 yrs 50 & above
EDUCATION LEVEL OF ARTISAN 48% of the artisans are illiterate and have never been to school also. 30% of the artisans have done their primary schooling from local government Bengali medium schools. 22% of the artisans have studied till higher secondary from the local government schools and no one has ever been to college for studies.
41% of artisans were in the age group of 30 to 40 years. 34% falls in the age group of 20 to 30 years, 19% in the age group of 40 to 50 years and only 6% are of the age from 50 and above
LITERACY RATE Illeterate Primary Secondary College
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CRAFT IS BEING PURSUED AS
KANTHA on daily wage basis piece rate system self employed any other
B.
In the crafts like batik, 70% artisans pursued it on a daily wage basis. 14% as self employment, 8% as piece rate system and only 4% said others.
A. In the crafts like katha, artisans pursue it as a piece rate system because 68% agreed on it. 18% agreed on self employment and 10% & 4% agreed on daily wage base system and others respectively.
BATIK
on daily wage basis piece rate system self employed any other 48
CURRENT MONTHLY INCOME OF THE ARTISAN
MONTHLY INCOME
less than rs 2500 rs 2500- rs 5000 rs 5000- rs 7500 rs 7500 & above
37% of the artisans have their monthly income fro Rs 5000 to Rs 7500 but 23% and 28% of them earn Rs 7500 and above and from Rs 2500 to Rs 5000. 12% have their monthly income less than Rs 2500
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PROBLEMS FACED BY THE ARTISANS AND SUGGESTIONS FOR IMPROVEMENT PROBLEM I § The artisans are very talented in their work but they are without work for 3-4 months. There don’t have any work to do because there is no project sent by the government. They are below poverty line and earn Rs 1500-2000 a month while they do the work for the organization which is the cost of a branded jeans bought by us. In the remaining months they cultivate the land of other people in order to earn a living. The amount that they get is not enough for their existence. Sometime they get foodgrains in return and this helps them somehow in order to survive. Despite being experienced and talented in their work they have to spend their life as labour and not as an artisan who is fighting destiny.
SUGGESTION § The government should take necessary step in order to provide them with ample work so that they are busy throughout the year. This shall help them to earn consistently without being a wanderer in search of work for almost half of the year in this way they can upgrade their standard of living to some extent. They should be made permanent employees of the organization. The salary of the artisans should depend on their skills and the amount of work they do. There should be an incentive plan so that the worker remains motivated so that he works efficiently and qualitatively. This would increase their wages and their will of delivering their best. 50
PROBLEM II § The artisans think that the traditional motifs can only be incorporated in the various embroideries like kantha. They think that these are the only designs that customer like and they would not accept being unconventional. They feel that their capital can go in vain if they try to do something modern. They believe in their traditional design and do not accept being unconventional.
SUGGESTION § They should be aware of the current scenario of the market and they should be provided with the market of what is in demand so that they can design something unconventional which would fetch them profit and ultimately a respectable standard of living.
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CONCLUSION The development of handicrafts in the country is export- driven. Although the share of handicrafts is just about 2.5 % of overall exports from the country, these sectors account for very high employment and export potential. Handicrafts are facing the stiff challenge from machine-made goods and efforts should be made for the revival and survival of handicraft items. It has been observed that emphasis should be given on modification and development to improve tools and equipment, which are acceptable and comfortable to the craftsmen for products of high-quality products as well as are economically viable. There is a growing need for awakening and planning for recognition of handicrafts as a potential sector of Indian economy for optimum utilization of natural resources through human force for the creation of self-employment and natural wealth. The weakness of handicrafts industry rests upon being unorganised with dispersed production bases, lack of working capital at producer’s end, market intelligence and perception and the attitude that craft is mainly decorative and non-essential.
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ANNEXURE ARTISAN’S CHAMPA NAME/ QUESTION
Age Artisan’s Sex Education Level Current Monthly Income Savings Account How is the Money saved BPL/APL Status as per Govt. records Type of House Medium of Owning The house
FARSI BIBI
22 Female
45 Female
No
No
MOMENA PROBHA REKHA KHATUN TI HAZRA HAZRA
RITA HAZRA
RUKSAN A
RUMI HAZRA
TAPASI HAZRA
22 35 20 23 25 30 25 Female Female Female Female Female Female Femal e seconda primary Primary Primary Primary Second Primary Primary second ry ary ary Rs. 2500 Rs.5000 Rs.500 Rs.550 Rs.550 Rs.550 Rs.500 Rs.550 Rs.550
No
no
No
No
No
No
no
Through Through Through No No No Throug No No SHGs SHGs SHGs savings savings savings h SHGs savings saving s BPL BPL BPL BPL BPL BPL BPL BPL BPL
Semipucca
Semipucca
Kuccha Kuccha Kuccha Kuccha Kuccha Kuccha kuccha
Inherited Inherited Inherited Inherited Inherited Inherite Inherited inherited inheritd d 53
Knowledge yes No No of Computer and Internet Any of the no yes yes Children in Traditional Artisan Work Occupation yes Yes Yes al Health hazard/ disease Training yes yes yes from NIFT in the craft Want to yes yes Already start an has own Unit How NIFT Better Better Skill interventio income income enhancem n has opportuni opportuni ent helped ties ties Satisfactio satisfied satisfied Highly n Level of satisfied NIFT in the
No
No
No
No
no
no
No
no
No
Yes
no
no
yes
Yes
Yes
Yes
yes
yes
No
No
No
Yes
no
no
yes
yes
Yes
Yes
yes
yes
-
-
-
Better products
-
-
-
dissatisfi ed
-
-
-
-
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