Craft Innovation Training Program with Terracotta Craftspeople of Gundiyali as a part of Education and Training activities Mansi S Rao I Rishav Jain I Jay Thakkar
Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India
Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad
Industrial Extension Cottage A Govt. of Gujarat Organisation
Commissioner & Secretary Govt. of Gujarat Cottage & Rural Industries
Manthan Educational Programme Society India
NSTEDB / Department of Science & Technology Government of India
Craft Innovation Training-I
Craft Innovation Training Program with Terracotta Craftspeople of Gundiyali as a part of Education and Training activities Mansi S Rao I Rishav Jain I Jay Thakkar
This publication is dedicated to the enterprising craftspeople of Gundiyali.
This publication is a compendium of the Craft Innovation Training Program conducted with the craftspeople of Gundiyali village, Kutch district, Gujarat . The project was conducted in Gundiyali and Ahmedabad, Gujarat from April to July 2015. We trust that this compilation will be accepted more as a record of the project. Design Innovation and Craft Resource Center (DICRC) and the Faculty of Design, CEPT University wishes to acknowledge all the participants, partners and supporters of the project. Every effort has been made to acknowledge copyright owners wherever necessary, but the publishers would be pleased to have any errors or omissions brought to their attention so that corrections may be published at a later printing.
Authors Mansi S Rao I Rishav Jain I Jay Thakkar
Published by Design Innovation and Craft Resource Center (DICRC) Faculty of Design, CEPT University Kasturbhai Lalbhai Campus, University Road Navrangpura, Ahmedabad 380 009. Gujarat, INDIA All Rights reserved. No part of this publication may be reproduced, stored in a retrieval system or published in any form or by any means including print, photocopying and word-processing or distributed in return for payment or by public lending without the prior written permission of the copyright owner and publisher. Subject to copyright laws. All quotations, reprints etc. must include a reference to the title of this publication. Š 2016 Selection+Editorial Matter: DICRC
Craft Innovation Training Program with Terracotta Craftspeople of Gundiyali as a part of Education and Training activities Mansi S Rao I Rishav Jain I Jay Thakkar
Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India
Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad
Industrial Extension Cottage A Govt. of Gujarat Organisation
Commissioner & Secretary Govt. of Gujarat Cottage & Rural Industries
Manthan Educational Programme Society India
NSTEDB / Department of Science & Technology Government of India
diyas kept for drying in the sun
acknowledgements Design Innovation and Craft Resource Centre wishes to thank
Team of Design Innovation and Craft Resource Centre, CEPT University
The craft community at Gundiyali Manthan Educational Programme Society India, Ahmedabad
Krishna Shastri, Jay Thakkar, Rishav Jain, Mansi Sathyanarayan, Rajdeep Routh, Radha Devpura, Priyanka Shah, Aarohee Nagecha, Rudrapalsinh Solanki, Yatin Mistry
Institute of Indian Interior Designers (IIID) Ahmedabad Chapter
Manthan Educational Programme Society India, Ahmedabad
i-STED Project, NSTEDB, DST, Govt. of India for promoting the project
Abhay Kothari, Kathan Kothari, Prabhat Desai
Our speakers: Nisha Vikram, Rishav Jain, Snehal Kashikar and Chirag Jobanputra Clay Club, Craftroots and Fab India at Ahmedabad for their support during the exposure visits
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prelude The traditional craft practices in India are embedded with an inherent empirical knowledge. This knowledge encompasses not only the material understanding and skills of making but also holds a holistic and intuitive understanding of sustainability in the larger context. Need for Training The tradition of craft in India is mostly kept alive by passing on the knowledge from one generation to the next. However, barring a few instances, most of them are facing serious problems related to sustainability and survival. In today’s time, the craft sector is undergoing a dramatic change which is largely brought about by industrialization, gentrification, mass production, technological advancement and change in societal values which has detached the craftspeople from the main retail market. Hence there is a need for craft and design integration which can become a leverage point and can be used to re-contextualize and facilitate craft rejuvenation with a long lasting impact. The core idea behind training is to bridge the gap between craft and design that is seen in the current scenario. Craft and Design need to go hand-in-hand. Training, in such a scenario will benefit craftspeople and
designers alike and create a link that will lead to the collaborative upliftment of the craft and design at many levels. Finally, training is also important because many craftspeople, who are skilled and have been practicing and learning a craft since generations, are rapidly moving away from it. This is due to the fact that certain crafts do not create as much revenue in relation to the effort put into it. In some case, the cost of materials becomes exorbitant and hence, the investment becomes more than the returns. Having researched upon such factors, solutions can emerge with effective training. Training will allow craftsperson to upgrade himself/ herself in various fields related to design, technology, entrepreneurship marketing and new emerging areas of Interior Architecture.
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introduction
project: overview The Craft Innovation Training Program was conducted as part of the Education and Training activities at Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad. The training program was based on the Craft Innovation Training Model which is a part of the Craft Innovation Training Toolkit developed by DICRC. The Training Program was conducted with the terracotta artisans at Gundiyali village in Kutch district of Gujarat. The intention of this program was to create design awareness amongst the artisans and to explore possibilities of creating Interior Architecture Elements.The duration of the project was from April 2015 to July 2015.
Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad
Industrial Extension Cottage A Govt. of Gujarat Organisation
Organiser Design Innovation and Craft Resource Centre(DICRC), CEPT University,Ahmedabad To know more, visit www.dicrc.in Partner Manthan Education Program Society India, Ahmedabad Supporter Institute of Indian Interior Designers, Ahmedabad Regional Chapter (IIID- Ahmedabad)
Commissioner & Secretary Govt. of Gujarat Cottage & Rural Industries
Manthan Educational Programme Society India
Department of Science & Technology Government of India
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introduction
project: fact folio
Duration of Training Program - April to June 2015 Terracotta craft and craft cluster of Gundiyali documented Craft Innovation Training Toolkit developed No. of craftspeople mapped - 30 Families of craftspeople provided exposure2 No. of designers involved- 7 No. of experts for exposure sessions - 3 Collaboration with organizations/institutes for the training programs: 3 Exhibition Panels prepared - 2 Training materials developed - 1
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table of contents one.
two.
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IDE2AS model
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the IDE2AS model and its working
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IDENTIFY
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schedule
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I-1
investigate: terracotta craft cluster of Gujarat : current scenario
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I-2
define : terracotta craft cluster of Gundiyali
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the craftspeople
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craft process
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craft products
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partner organizations
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DEVELOP
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DE-1 ideate: craft analysis
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craft interventions
DE-2 create : framework
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design brief
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resources
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DELIVER
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DE-1 interact: craft demonstrations
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DE-2
innovate: craft design innovation
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craft design prototype- I AADH
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craft design prototype- II TARKASH
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DE-3
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expose: exposure sessions
design development: Rishav Jain
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marketing: Nisha Vikram
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craft techniques: Snehal Kashikar
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e-commerce: Chirag Jobanputra
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site visits
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ASSESS
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AS-1
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connect: craft connect
dissemination through media
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publications
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reflect: reflections
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AS-2
three.
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experiences by craftspeople
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Post Training Actions
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need for post training actions
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conversation with crafts-IMIAD workshop
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field visit to craft clusters
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craft design studio
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exhibition and interaction
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outputs
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national craft fair 2016 the way forward
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appendix
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IDE²AS
MODEL
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the IDE2AS model and its working DICRC’s training program toolkit is one such method though which one can achieve a meaningful training program. It follows the IDE2AS model, which has been formulated after years of experience and reflection. Under this model, one learns how to conduct a training program right from the grassroot level. It further explains the multiple ways in which training can be delivered. These include workshops, collaborations, lectures, seminars, fellowships etc. Arriving at the most suitable mode of delivery is an important procedure in itself. However it is important to note that these stages of the toolkit can be modified and experimented with to see what kind of outcome is gained by the end of it. It is dynamic and can be replicated, if needed, by various organisations at various scales.
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I-1 investigate
define
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IDENTIFY
reflect
ideate
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model
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connect
create
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innovate
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expose interact
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Intended sequence and direct connections Intended but indirect connections and inter-linkages 20
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The model is explained in the form of stages and sub-stages recommended to be followed one after the other. It is equally important however, to contemplate and learn from the stages followed in the previous training programs.
IDENTIFY
DEVELOP The solution that emerges is a result of looking at the entire model and its stages in a cohesive manner. Every training program that is conducted, will add on to the learning and resource which needs to be exploited and utilized at the time of the next program.
ASSESS
DELIVER
IDENTIFYING opportunities DEVELOPING modules DELIVERING craft innovation training ASSESSING feedback Craft Innovation Training-I
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THE MODEL
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overview
I IDENTIFY To identify current scenarios and needs in the context of craft. This will have to be done, mainly by primary and secondary research to understand the craft and craft practice in depth and through various other investigative methods. I-1
I-2
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Investigate- To inquire about current scenarios of specific craft & craft practice and related design issues. Identifying the scope of intervention (Design, Social, Cultural, Technological, Entrepreneurial). Define- To define the focus area in the field of craft & design, identify user groups & partners and decide the time duration.
DE DEVELOP To formulate the Program, based on the research in hand and having identified the needs of any particular building craft. This stage talks about defining the exact requirements and interventions that go into delivering any craft training program. DE-1
DE-2
Ideate- To analyse the research, brainstorm possible directions and plan the program. Create- To create effective modules, detail the content and acquire resources.
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DELIVER To understand the various ways in which a given Craft Innovation Training Program will be executed. It discusses, what are the methodologies that can be explored and also how to go about conducting and supervising a particular innovation program. DE-1
DE-2
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Expose- To provide exposure to the participants about the craft through input sessions & site visits. Interact- To initiate interaction through demonstrations and discussions.
ASSESS To harness the learnings of the entire program conducted through observations & feedback and make sure that they are utilized during the next Craft Innovation Training Program.
AS-1
AS-2
Connect- To bridge the gap between craftspeople and industry/professionals. Reflect- To reflect upon all the stages of the programme and acquire first hand feedback.
Innovate- To encourage to participants to explore & experiment and providing guidance regarding the same. Craft Innovation Training-I
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Terracotta Craft
GUNDIYALI
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I IDENTIFY
Identify
Overview :To identify current scenarios and needs in the context of craft. This will have to be done, mainly by primary and secondary research to understand the craft and craft practice in depth and through various other investigative methods. Objectives and Intended Output :The primary objective of this stage is to conduct stream-lined research and identify opportunities and areas that may require intervention in terms of craft and design. At the end of this stage, one will have a good idea of where one wants to intervene and why, in relation to any particular craft. Sub-stages of ‘Identify’ :The ‘Identify’ stage forms the base of the craft innovation programme. ‘Identify’ is explained through 2 sub-stages called ‘investigate’ and ‘define’. ‘Investigate’ discusses what areas to be researched upon. The ‘Define’ sub-stage elaborates what to do with the collected data in hand and how to build upon it to develop modules and deliver a Craft Innovation Training Programme.
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-1
investigate To carry out a systematic or formal inquiry to discover and examine the facts so as to establish the truth: To carry out research or study into (a subject or problem, typically one in a scientific or academic field). I-1a : INVESTIGATE CURRENT SCENARIO OF THE CRAFT AND CRAFTSPEOPLE I-1b : INVESTIGATE THE DESIGN ISSUES RELATED TO THE CRAFT I-1c : INVESTIGATE THE SCOPE OF DESIGN INTERVENTION
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define To state or describe exactly the nature, scope, or meaning of ; To make up or establish the character or essence of : To mark out the boundary or limits of. I-2a : DEFINE THE SUBJECT FOCUS OF A PARTICULAR CRAFT I-2b : DEFINE THE USER GROUPS PARTICIPATING IN THE CRAFT INNOVATION TRAINING PROGRAM I-2c : DEFINE THE TIME DURATION OF A PARTICULAR TRAINING PROGRAM WITH RESPECT TO THE SCOPE OF WORK I-2d : DEFINE THE COLLABORATING ORGANISATIONS/ INSTITUTIONS THAT WOULD PARTNER IN THE PROGRAM
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Space Making Craft- Metal craft workshop- pre-workshop interaction with metal craftspeople 28
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time duration
schedule Time
Details
April 2015
Cluster Visit : Ahmedabad
Cluster Visit : Botad
Cluster Visit : Gundiyali
May 2015
Preliminary Survey and Mapping
Craft and Craft Cluster Documentation
Craft Analysis
Craft Design Innovation: Design explorations
Craft Design Innovation : Design discussions
June 2015
Craft Design Innovation: Installation of prototypes
Exposure: Research activity
Exposure:Design, Marketing and Hands on exposure, Site visits
Exposure: E-commerce Craft Connect: Interaction with architects, interior designers, professionals and academicians Craft Innovation Training-I
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Poshina
Jerda
Vadali
Lodai Khawda Tuna Ratadia Gundiyali Khareda
Ahmedabad
Limkheda
Than Wankaner
Botad
Aamala
Shastrinagar
Gujarat Identified clusters Visited clusters Chosen cluster for training Terracotta craft clusters in Gujarat 30
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investigate
terracotta craft cluster of Gujarat : current scenario The traditional craft practices in India are embedded with an inherent empirical knowledge. This knowledge encompasses not only the material understanding and skills of making but also holds a holistic and intuitive understanding of sustainability in the larger context. The legacy of clay work or maatikaam kalakari is linked to that of the oldest settlements unearthed in Gujarat. Terracotta or clayware is an intrinsic craft form valued and treasured across varied communities all over the state of Gujarat. Clay is widely used as a building element, a medium for crafting fine utensils and a mode of artistic creative expression. Patterned design elements are sculpted in relief beautifying homes while the Kumbhar or potter turns his wheel shaping utensils of beauty and need. The current scenario of terracotta crafts in Gujarat and in particular the terracotta craft clusters of Botad, Wankaner, Ahmedabad and Gundiyali were studied. Various aspects of specific craft, craft practice and related design issues at each of the clusters were identified. The scope of intervention at Design, Social, Cultural, Technological and Entrepreneurial levels were analysed. Gundiyali village in Mandvi Taluka, Kutch district of Gujarat was identified to carry out the Craft Innovation Training Program.
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The research team with the potters of Botad, Bhavnagar district
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Women of Botad - Painting the products
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Bottles made by craftspeople of Gundiyali village, Kutch
Hands on learning - Research team
Interaction with the craftspeople of Gundiyali Craft Innovation Training-I
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Gundiyali
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define
terracotta craft cluster of Gundiyali Gundiyali is a village in Mandvi Taluka in Kutch district of Gujarat State, India. It is located 60 KM towards South from district head quarters Bhuj, 6 KM from rural Mandvi and is located close to the Arabian Sea. Mandvi was once a major port of the region and has a 400 year old ship building industry, which was practiced by the Kharva community that still builds small wooden ships. The proximity of Gundiyali to the shore and a major trade route enabled export of the clay products in earlier times. They use the basic tool, a chakda(wheel) and the skill of their hands to create various products from smaller scale like toys to larger ones like pots. The Jain community of Gujarat is seen as the potential clientele by the craftsmen of this region.
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user group
the craftspeople There are about 72 Muslim potter families in all, of which 25 families are engaged in the craft at presently in the town of Gundiyali. Every artisan in the family practices the craft independently. The potters in Gundiyali belong to the Brar Muslim community and are believed to be direct descendents of Mohammad Paigamber’s foster mother who have migrated from Arab countries to Sindh and further to Kutch. The Kumbhar community moulds local clay into countless forms of decorative earthenware. They craft a wide variety of vessels such as matka for water storage, ketli to hold tea, and kulada to keep buttermilk. The variety of pottery and ornamental design is as diverse as the numerous communities around the villages. Kumbhar women use red, black, and white clay paints to decorate each piece of pottery with distinct community-specific designs. Animal figurines in terracotta are ritualistically offered to gods and warriors and the same clay yields toys for toddlers.
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Abdulla Daud Kumbhar
Ali Mamad Daud Kumbhar
Jallubai Kumbhar
Suleman Daud Kumbhar
Master Craftsperson
Master Craftsperson
Craftsperson
Master Craftsperson
Sidhik Yakub Kumbhar
Sherbanu Ali Mamad
Yakub Hussain Kumbhar
Fatmaben Yakub
Master Craftsperson
Master Craftsperson
Master Craftsperson
Master Craftsperson
Kasim Harun Kumbhar
Salim Kasim Kumbhar
Susmaben Abbas
Abdul Sattar Kumbhar
Craftsperson
Craftsperson
Master Craftsperson
Master Craftsperson
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Khosaramben Sadhik
Ibrahim Ismail Kumbhar
Salim Ismail Kumbhar
Jamilaben Husain
Apperentice
Craftsperson
Craftsperson
Apprentice
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Usman Hussain Kumbhar
Ibrahim Kumbhar
Amad Mamad Kumbhar
Ahmed Daud Kumbhar
Master Craftsperson
Master Craftsperson
Master Craftsperson
Master Craftsperson
Hasam Ahmed Kumbhar
Yusuf Suleman Kumbhar
Usman Daud Kumbhar
Anwar Ali Mamad Kumbhar
Craftsperson
Craftsperson
Craftsperson
Craftsperson Craft Innovation Training-I
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Abbas Daud Kumbhar
Husen Yakub Kumbhar
Abdul Karim Kumbhar
Razak Ilias Kumbhar
Master Craftsperson
Craftsperson
Master Craftsperson
Craftsperson
The craftspeople of Gundiyali were mapped through a digital mapping procedure developed by DICRC. Details of all the craftspeople have been uploaded in the craftspeople directory on www.buildingcraftlab.dicrc.in
Daud Issa Kumbhar
Salim Kasim Kumbhar
Master Craftsperson
Craftsperson
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Raw clay
Gheru used for painting artefacts 42
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Clay lumps used for making artefacts on wheel
Dried branches used as fuel for firing
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current scenario
craft process Raw Materials The raw materials used in the process of making a terracotta product can be divided into 3 categories : 1. Raw material for making Clay: Coarse clay is procured from Modhwa Rann, which is 5-7 km away from the village. The clay is made finer by grinding and then sieving it. The mud is mixed in water and allowed to rest for 2-3 days and it becomes soft enough to be given any desired shape. Characteristics of clay • It is mouldable once wet, it achieves its strength on being fired. • It is porous, and hence material breathes. • It is an insulator. 2. Raw material used for finishing Gheru (red colour), black clay and white stone are used along with water to paint and make patterns using brushes made from branch of date trees. 3. Raw material used for firing Thorns, twigs, plywood waste, cardboard waste and wood are all fired for the kiln, glass wool is sometimes used over broken pots or products to cover the kiln to prevent the loss of heat from the kiln. The raw materials are available in nearby areas and are transported to the village through local transportation modes.
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Traditional wheel called Chakda for making artefacts
Tools used fot tapping pots
Tools used for designing the artefacts
Sharp tools used for finishing and making designs
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current scenario Tools and Equipments The tools and equipments used in the process of making clayware are Potter’s wheel (Chakda): Electric wheel / Hand operated wheel and stick String used to separate the product from the clay lump on wheel Metal strips used to finish products when on wheel Fumadu (it is long plastic stick with a rotating wheel which has groves on it to create lined patterns)- To make designs while product is on wheel ‘Tappan’ - Beating devices ‘farai’ – stone tools are used to give support from inside while making the pots with hand The tools and equipments used for decoration of the clayware are Cutter Knife Carving tools Brushes made from branches of date trees Cloth used to create lusture on the products The tools and equipments used for firing the clayware are Kiln Tools to help push in the fuel (wood/ sticks etc) in the kiln
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Clay soaked in a container
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Water added to the powdered clay and is mixed properly
Lumps of clay used for making artefacts
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current scenario Process Preparation of Clay The clay used for making products is basically in the rock form. These rocks are grinded into small particles. It is then soaked in water for sometime so that it looses its hardness. These particles are then grinded again in the machine to get the powder form. In proper proportion, the water is added and is mixed properly with hands. This dough of clay is then wrapped up in a jute bag as it removes excessive water from the dough and also helps the clay to remain wet and avoid cracks. Round clay balls are made as per the requirement to make the products on wheel.
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Clay used for making bottles
Finishing of the bottle on chakda
Bottles kept for drying
Bottles painted and fired
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current scenario Making of Products Bottles 1.Preparation: Clay is prepared for making of the bottles, and kneaded for the air to escape so that the products don’t break while making . 2.Process: The wheel is used to give form to the lump of the clay. It is allowed to dry partially. Handles are attached to them when the bottle is in semi drying process. 3.Decoration: After painting, they are kept in the kiln along with the other products according to their sizes so they do not break in the kiln. 4.Finishing: After taking them out from the kiln, they are cleaned and are ready to be sold. The straps are attached to the handles later.
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Pot being made on the chakda
Tapping is done on a semi-dried pot
Pots kept in sun for drying
Painting done on dry pots
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current scenario Making of Products Earthen Pots 1.Preparation: Clay is prepared 2.Process: The basic form of the product is drawn on the wheel. It is beaten up to make the final form.It is dried till the color of the terracotta turns to white.This happens as the water evaporates and the clay strengthens. 3.Additional hardware: For certain pots if the taps are to be attached the holes are made when the pots are in the drying process i.e after one day drying they cut the circle using a knife. 4.Decoration: They are painted using the brushes made by them with the gheru and colors made from white and black stone. 5.Finishing: Firing is done to get the final product. The process of making remains more or less same for all different kinds of products except the modifications in the forms, cut outs, additions, textures and paintings done on it. Techniques don’t change, although some tools are modified and are used depending on the design.
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Red stone being crushed properly
Stones soaked in water
Objects placed in the kiln
Fire is lit and moved inside the kiln
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current scenario Painting of Products The main red color which is widely used on all products is called Gheru. Along with gheru, the strokes of white and black color are also made for decoration of products. The color that they get is basically in rock form. The rock of red, white and black color is grinded first into small pieces. Then to make it more soft, it is dissolved in water for sometime. When the rock dissolves, and gets into liquid form, which is then applied on the products. The gheru is applied on the products with the help of a rough cloth so that they achieve the natural shine. After the application of gheru, with the help of dry date tree branches, strokes of different colors and patterns are given to the products. Dry date tree branches are used as brush for making the traditional patterns. Firing and Kiln The firing is done with the traditional method called pit firing. The kiln is made with mud bricks . The sun dried products are arranged in the kiln according to their sizes to avoid the breakage of products. The kiln is then covered with the cardboard and the broken mud pieces of the products. Dry branches, rough cardboard pieces, dry leaves, papers are used as the fuel for lighting the fire.
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current scenario
craft products Products by Artisans This craft cluster mainly offer products, from the scale of small toys to matlas (earthen pots) which is possible to be made on wheel. As a technique ,wheel is only used to make products and at certain times the hands for smaller products. They offer products like matla (earthen pots), kunda (flower pots), bottles, cups, glasses, tavdis (plates), jugs, toys, icecream cups, diyas (lamps), nadiyas (roof tiles). The following are a few products offered by them: 1. Garbo (traditional diya pot for Diwali) 2. Various pots for cooking. 3. Water containers 4. Bhunga house
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Traditional and Contemporary Products
Water pot
Vessel for cooking
Food plate
Wall piece
Lamp
Traditional diya
Diwali lamps
Tea cups
Coffee mugs
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Water bottles
Water container
Garbo for diwali
Bird feeder
Utensil
Lamp
Toy horse
Toy fish
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Water container
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Conducted by
Design Innovation and Craft Resource Centre(DICRC),CEPT University, Ahmedabad
iNDEXT - c Industrial Extension Cottage A Govt. of Gujarat Organisation
Partner Organisation
Manthan Educational Programme Society India, Ahmedabad
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Commissioner & Secretary Govt. of Gujarat Cottage & Rural Industries
Support Organisation
NSTEDB / Department of Science & Technology Government of India
Institute of Indian Interior Designers (IIID) Ahmedabad Chapter
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partner organizations Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India functions as a research centre for the development and understanding of Indian Crafts of Traditional and Vernacular Buildings of India. DICRC’s main activities are to conduct dedicated research, documentation and organize programs, workshops and projects related to Craft and Traditional and Vernacular Interior Architecture. It has five major focus areas, which are Research & Documentation, Innovation and Development, Education and Training, Application and Collaboration and lastly Resource Building & Dissemination. iNDEXT - c Every human being irrespective of economic situation is endowed with capabilities not only to take care of, but also has the potential to contribute to the enhancement of the quality of life of all other fellow human beings if given adequate opportunities. Therefore, it is the responsibility of every society to make sure that each member of the society gets opportunities to use his capabilities and live with human dignity. State, as one the important body engaged in governing the society must demonstrate initiatives and take necessary measures so that each human being gets an opportunity to exploit his/her capabilities. Government of Gujarat has been wedded to the above philosophy. In order to handle the problem of unemployment effectively, priority has been given to make the development of cottage and village industries more employment oriented than today with a view to ensure employment to total rural youths because more employment opportunities are being created with less capital in cottage and rural industries. The iNDEXT-c has been created to provide information and guidance & organising Cottage & Rural Industrial sector as a catalyst.
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partners Manthan Educational Programme Society India, Ahmedabad, India is a not for profit organization focused to ameliorate and instill fresh methods in science communication and entrepreneurship development amongst students and communities at large in the entire country. Manthan strives to apply innovatively planned and designed strategies in its projects with professional trainings and hands on outreach material. IIID (Institute of Indian Interior Designers) Ahmedabad Chapter, Ahmedabad, India took the initiative to collaborate with this project, for “Craft Innovation Training Program� by providing financial assistance to the project. As per the larger vision of IIID to collaborate with various institutions, IIID Ahmedabad Chapter recognizes this as a great opportunity not only to collaborate with prime institution of architecture and interior design in India but also with various other organisations and aspiring individuals. IIID Ahmedabad Chapter also looks forward to this collaboration to breathe life into traditional crafts of our country by promoting co-creations and giving new perspective to the field of design and craft while providing an ideal platform for such applied research and experimentation. The resulting innovative outcomes will ensure that traditional crafts are re-invented without diluting their essence, giving them a good chance for survival.
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Develop
Overview : To formulate the Craft Innovation Training Program, based on the research in hand and having identified the needs of any particular building craft. This stage talks about defining the exact requirements and interventions that go into delivering any craft training programme. Objectives and Intended Output : Moving from research to real-life solutions, the primary objective of this stage is to achieve a concrete structure for the program. Effective training programmes begin with solid planning and a detailed content. At the end of this stage, one will have developed the entire framework for one’s training programme and it will be ready to enter the execution stage with confidence and assurance. Sub-stages of ‘Develop’ : The sub-stages under this section are ‘Ideate’ and ‘Create’. ‘Ideate’ discusses the aspects of the Training Program to be developed upon at this stage. The various elements to be incorporated into the Training program are explained under the ‘Create’ sub-stage.
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DE-1 ideate To form an idea of; imagine or conceive.
DE-1a : ANALYZE THE RESEARCH AT HAND AND ESTIMATE THE FUTURE REQUIREMENTS DE-1b : IDEATE ABOUT THE POSSIBLE DIRECTIONS THAT THE TRAINING PROGRAM CAN TAKE DE-1c : IDEATE AND PLAN FOR ALL THE ASPECTS OF THE TRAINING PROGRAM
DE-2 create To bring (something) into existence.
DE-2a : CREATE EFFECTIVE AND MEANINGFUL MODULES WITHIN THE TRAINING PROGRAM DE-2b : CREATE A FEASIBLE COURSE OUTLINE DE-2c : CREATE AND DEVELOP THE CONTENT TO BE UTILIZED IN THE TRAINING PROGRAM DE-2d : CREATE AND ORGANISE RESOURCES REQUIRED FOR THE TRAINING PROGRAM
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craft analysis The terracotta craft process was documented in detail by the research team at DICRC. A diagnostic study of the craft cluster of Gundiyali was also undertaken to understand the physical, cultural, socioeconomic An analysis of the research and documentation resulted in intervention ideas that could be delivered. A SWOT ANALYSIS (Strength, Weakness, Opportunities and Threat) was carried out to have a holistic understanding of the cluster. Following parameters for all the four issues were taken into consideration: 1. Products 2. Infrastructure 3. Raw Material 4. Technology 5. Human Resource 6. Quality 7. Markets 8. Energy & Environment 9. Information & Communication Technology
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SWOT analysis PARAMETERS
STRENGTH
Products
Products made by the artisans are majorly utilitarian products.
Infrastructure
Once the raw material is brought to the working space, all the processes take place at their home itself.
Raw Material
Material is inexpensive and easily available.
Technology
Since the artisans use traditional techniques, the only way they use technology is by using electric wheel for making products.
Human Resources
Major families practice the craft full time and even the family members help them with the process of making products.
Quality
The artisans practicing this craft are highly skilled so the quality of products is very fine and detailed.
Markets
Local markets and exhibitions are their strong markets.
Information and Communication Technology
Artisans use mobile phones and televisions.
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WEAKNESS
OPPORTUNITIES
THREATS
New products are explored but they lack functionality.
The knowledge about skills and techniques is very well so there is a possibility of expanding the products range.
As there is a limited range of products, if the market sees fall in the future, the artisans would not have other set of products to bring in the market.
Inadequate amount of space for firing and drying the products due to which many artisans left pottery.
The limited amount of space hinders the efficiency of artisans.
The space factor hinders the artisan’s large scale order of products.
The products made out of clay breaks easily.
The glazing techniques can be explored.
As the products break easily, this provides the limited range of products and hence a limited market.
Lack of knowledge regarding the technology.
If the artisans get explored to technology, they can bring new products in the market.
As they don’t have adequate knowledge regarding internet and technology, artisans are unaware about the current happenings in the market.
As there is a lack of exposure, still the families make the same type of products. And even the younger generations are not keen enough to work with the craft.
With the help of exposure, even the younger generations can be motivated to work with the craft.
The lack of continuously people working with the craft results to the non uniformity of the product quality.
As the artisans work manually, the defects are noticeable.
The exposure in terms of improvising the quality should be given as the artisans are open minded and keen to learn the techniques.
As the human resource and quality are interrelated, the inconsistency would affect the latter.
The products are limited.
Introduction of new products is possible as the craft has steady market.
The market is limited and hence if in future sees fall, there is no other market to sell their products.
No proper guidance pertaining to marketing.
If information regarding marketing and technology is given, they can access the urban and global market.
As there is a lack of knowledge and information, the artisans are unaware of the current happenings in the market.
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Traditional Gundiyali Terracotta Crafts
Design Intervention Parameters
existing product as design inspiration
modular
use of existing and local market
employing traditional techniques for production scale
New market Architecture
Interior Design
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craft interventions During the Develop stage, the program was formulated based on the research in hand and having identified the needs of the terracotta craft of Gundiyali. The exact requirements and interventions that go into delivering the Craft Training Program were defined at this stage. The methodologies to be explored and also how to go about conducting and supervising the innovation program was finalized. Two craftspeople families and two designers were identified to establish craft design collaboration. Various parameters were set to carry out craft interventions that would ensure new market perspectives for the craft community.
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create
framework The framework is the backbone of the process where the exercises, modules and design briefs are discussed and elaborated to the detail. The framework looked to create new opportunities for the craftspeople to engage with the building industry. The idea was to generate new products in the field of architecture and interior design where in the work must provide scope for creativity and ensure local traditional craft techniques are retained as part of the process. The methodology for intervention and design innovation was devised to be open ended and participatory due to the diversity of the craft cluster. The idea was to bring design innovation with the idea of equal participation of both designers and craftspeople by engaging in processes like ideating, brain storming, creating, executing and installing.
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design brief The program brief was to develop a new range of products in the field of architecture and interior design. Providing exposure to the craftspeople was also an important component of the brief. A time schedule to deliver the same was also created during this stage. With two families and two designers having been identified to carry out the Craft Design Innovation, two design briefs were prepared. Design brief - 1 The craft design prototype would be an interior architectural system. The system would use a dry construction method for execution. Design brief- 2 The craft design process would be an architectural system. The system would use a wet construction method for execution. Both the designers were expected to design keeping in mind the following parameters: 1.Using existing products as design inspiration, 2.Employing traditional techniques for production, 3.Employing a modular system, 4.Taking existing and local market scenarios into consideration.
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Research plates developed for the exposure session for artisans
Earth bag homes- Superadobe technique used in Iran
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resources Various resource materials were prepared, collected, categorised and disseminated to the craftspeople to create awareness about the existance of clay as a material craft in other contexts and situations. Research plates were prepared on the use of clay as a building material to expose the craftspeople to space making crafts. The artisans were informed about the different techniques such as superadobe technique of construction used in Iran. They were aware about the use of roof tiles but were shown to use the same module for different system like cladding or partition walls or to create narrow apertures. The modular system, using one module repeatedly to create a system, was explained to them to create the awareness about the use of clay. The research plates shown to them made them aware about the use of clay in construction techniques.
Modular system in The Shijia House
Earth house- use of rammed earth Craft Innovation Training-I
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Overview : To understand the various ways in which a given Craft Innovation Training Programme will be executed. It discusses, what are the methodologies that can be explored and also how to go about conducting and supervising a particular innovation programme. Objectives and Intended Output : The primary objective of this stage is to ensure proper delivery of the intended plan and framework. After determining what medium would be best suited for one’s training, this stage helps one achieve high level of quality. At the end of this stage one will have successfully conducted the training programme and the major responsibility is delivered. Sub-Stags of ‘Deliver’ : The sub-stages of ‘Deliver’ include ‘expose’, ‘interact’ and ‘innovate’. These substages largely discuss the entire process of ideation and creation through various means, techniques and tools.
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DE-1 expose To introduce someone to (a subject or area of knowledge). DE-1a : PROVIDE EXPOSURE TO THE PARTICIPANTS THROUGH INFORMATIVE AND ENRICHING INPUT SESSIONS DE-1b : PROVIDE EXPOSURE TO THE PARTICIPANTS THROUGH SITE VISITS
DE-2 interact To communicate or be involved directly. DE-2a : DEMONSTRATE THE VARIOUS IMPORTANT CRAFT PROCESSES AT THE VERY BEGINNING OF EVERY MODULE DE-2b : ARRANGE FOR CASUAL AND FORMAL DISCUSSIONS WITH EXPERTS
DE-3 innovate To make changes in something established, especially by introducing new methods, ideas, or products. DE-3a : ENCOURAGE THE PARTICIPANTS TO EXPLORE AND EXPERIMENT WITH THE MATERIAL DE-3b : PROVIDE GUIDANCE TO THE PARTICIPANTS IN MAKING PROTOTYPES AND THE FINAL OUTPUT
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Aarohee and Priyanka interacting with Abdulla bhai
Aarohee learning the techniques from Abdulla bhai
Priyanka learning the technique of painting
Aarohee interacting with Husen bhai
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interact
craft demonstrations The two designers Priyanka Shah and Aarohee Nagecha visited Gundiyali to spend time with the families of craftspeople Yakub Harun Kumbhar and Abdulla Daud Kumbhar. The interaction was initiated through demonstrations and discussions with the craftspeople. They understood the craft process in depth and also explored the craft hands on. A healthy relationship was established between the participants before engaging in the craft design process.
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craft design innovation Every craft has its own processes and applications. However there is always scope for innovation. Innovation is about finding a better way of doing something. Innovation can be viewed as the application of better solutions that meet new requirements, in-articulated needs, or existing market needs. A definition consistent with these aspects would be the following: “An innovation is something original, new and important in whatever field that breaks into a market or society”. Craft innovation is all about bringing about innovation in the field of craft. Craft innovation is a two way learning process, where the craftspeople as well as the others who are a part of it, learn more about the craft, its current situation and its future potentials. The vision is to use knowledge and resources of fields like design, innovation and technology to contemporarize the craft for today’s context so that its livelihood and continuity is assured. Being the most important part of the training program, Craft Design Innovation was carried out in two sub stages - Experiment and Make. Craft Design Innovation was done through collaboration between the two craft families from Gundiyali village and two designers from DICRC, CEPT University, Ahmedabad. The Craft Design Innovation resulted in two new products in the field of Architecture and Interiors namely, Aadh- a partition system and Tarkash- a cladding system.
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Aadh - a partition system Aadh is a modular partition system that can be used as an interior architecture element. Aadh was co created by artisan Siddiq Yakub Kumbhar of Gundiyali village and designer Priyanka Shah from DICRC, CEPT University, Ahmedabad.
Craftspeople Yakub Harun Kumbhar Fatmaben Yakub Siddik Yakub Kumbhar Khorsamben Siddik Husen Yakub Kumbhar Jamilaben Husen Designer Priyanka Shah
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Priyanka learning the skills from Yakub bhai
Modules being prepared according to the drawings
Bamboo Modulesworkshop cut into halves
Priyanka learning the hand skills from Fatmaben
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interaction and ideation After having understood the craft from Yakub Bhai and his family, the process of innovation was initiated. Priyanka began explorations in the form of sketches and drawings keeping in mind the techniques, material, form etc. She explored the material and techniques to understand the craft process. Brainstorming is a process that one undertakes to explore any and all kinds of ideas, which will then go through the process of validation and negation. At this stage everything from the form of the modules, the order of organization of these modules for making the system, texture, joineries etc were explored, sketched out, drawn and made into prototypes. This helped her in understanding the craft deeper as the tendency was to try and solve possible problems that arose with each exploration. In order to design a modular system, one needs to have a single module which can be replicated using various methods. While designing the single module the dimensions of a single module were of a critical importance since at a larger scale it was going to be made into a partitioning system. Hence the next step taken was to develop the prototypes of each form, trying out variations, methods of bringing it together, materials for joineries for each module to module etc. After brainstorming on possible ideas for the module with the project team and craftspeople, the prototypes for two different types of modules were made and tried out with various forms, sizes and textures to be done on each of these. The prototype was executed with the help of Yakud bhai’s family. The objective of developing this prototype was to arrive at modules for the partitioning system. Modules of different shapes and sizes were tried from the clay used to make pots and holes were made onto the two ends after they were partially dried. The different modules were kept together to try out different arrangements and patterns. Rope was passed through the holes to connect two modules as a part of the joinery exploration for terracotta modules. Craft Innovation Training-I
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Sidhik bhai exploring the form on chakda
Modules being prepared according to the drawings
Exploration of module 1
Exploration of form
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Exploration of modules Craft Innovation Training-I
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Final modules kept for drying
Modules cut into halves
Bamboo workshop Arranging the modules
Piercing of modules
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make
exploration and creation Having explored modules and joinery possibilities and putting together the learnings from each exploration, a refined prototype was made. Many arrangements were tried out in the process for the modules. For the final prototype two modules were fixed: • Module 1 • Module 2 Number of each modules that went into making 4’x 4’ partitioning systems were calculated by the drawing. Several form explorations were carried out for developing a proportionate and aesthetically pleasing system. In terms of assembly it is a simple joinery using ropes. The entire assembly was conceptualized keeping in mind the concept of one being able to do it by themselves. Also the textures of the modules were finalized, making the partitioning system seem contemporary and yet having the essence of craft in it. Making of module 1: For the first module basic curved modules were made which were then cut into halves once they were semi-dried. Along with that holes were made onto the exact centers of the two sides for the rope to pass in. Making of module 2: The second modules were the once that were supposed to come in between the first modules. These modules were made into four different types with each having grooves and form different from the earlier module. These were then calculated accordingly for the final 4’ x 4’ installation and produced.The final installation fixed was through a series of permutation and combinations of these two modules.
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Sidhik bhai making the second modules
Different patterns of second modules
Bamboo Priyankaworkshop piercing the modules
Sidhik bhai giving final touch to the modules
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Modules kept for drying
Modules kept for drying
Bamboo workshop Priyanka finishing the module with knife
Modules kept for drying
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Drying Process Once the modules were made, they were kept under sun for 2 days for drying. The finishing was given to the modules with the help of knife. Surface Ornamentation All the modules when dried were painted with the color and traditional patterns.For these modules, gheru powder was mixed with water and applied onto the modules. After drying they were rubbed with a piece of cloth to get the shine. The patterns are painted onto the modules after a layer of gheru is applied onto it. The painting is done mostly with the white and black color. These colors are in stone form which are mixed with water and painted using brushes made from the date tree.
Colors used for painting of modules
Finished modules
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Modules placed in kiln for firing
Baked modules in the kiln
Bamboo workshop Fire moved inside the kiln with the rod
Cleaning of the modules after firing
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Firing Once the modules are decorated they are arranged into the kiln for firing. The kiln used for this firing was the smaller kiln. The modules were arranged according to the sizes in the kiln with the naliya shapes form put below and the solid whole forms above it. The kiln is then covered with various cardboard and glass wool pieces and the waste terracotta pieces. The smaller kiln takes around 10-12 hours to fire all the products. To start the firing process the Kata, cardboard piece and the other waste is added to the lower part of the kiln where the fire is lit. Once out of the kiln the modules are let to cool down and washed in water. These are then placed according to the final illustration.
Yakub bhai helping in cleaning the modules
Modules stacked up after cleaning Craft Innovation Training-I
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Priyanka tying the thread in the modules
Team helping to install the modules on peg board
Bamboo Referringworkshop to the drawing of the installation
Priyanka working on the final installation
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execution and installation The 4’ x 4’ installation was executed at the artisan’s place dividing the working space and the semi open space outside the house. The execution took place in the following steps: 1. Peg board was made in the workshop and was taken to the artisan’s place.The modules were washed and cleaned. 2. Peg board was installed first at the artisan’s place. Different methods were explored to tie the modules to the peg board. 3. Each and every module was tied separately to the peg board with the thread as peg board system gives the freedom to explore various possibilities of arrangement of the modules. 4. It helped to adjust the minor differences between the modules as each module was made on the wheel by hands.
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Final Installation - Aadh 98
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Installation options Option 1 a aa aa aa aa a bb bb bb bb bb a aa aa aa aa a aa aa aa aa aa b bb bb bb bb b aa aa aa aa aa a aa aa aa aa a bb bb bb bb bb a aa aa aa aa a aa aa aa aa aa b bb bb bb bb b aa aa aa aa aa a aa aa aa aa a bb bb bb bb bb a aa aa aa aa a aa aa aa aa aa b bb bb bb bb b aa aa aa aa aa a aa aa aa aa a bb bb bb bb bb a aa aa aa aa a Modules Requried : Module ‘a’ :140 Module ‘b’ : 70
Option 2 a bba a bba a bba a bba a bba bba a bba a bbbba a bba a bb a a a bba a bba a bba a bba a a a a bb a a bb a a a a bb a a bba a a bb a a bb a a bb a a bb a a bba bb a a bb a a bb bb a a bb a a bb b a a bb a a bb a a bba a bba a b a a bb a a bb a a a a bb a a bb a a a bb a a bb a a bb a a bb a a bb a bb a a bb a a bb bb a a bb a a bb Modules Requried : Module ‘a’ :100 Module ‘b’ : 100
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Option 3 a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b a a a a a a a a a a Modules Requried : Module ‘a’ :148 Module ‘b’ : 73
Option 4 bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb Modules Requried : Module ‘b’ : 240
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Option 5 aa a a a a a a a a a a a a a a a a a a aaaaaaaaaaaaaaaaaaaa bbbbbbbbbbbbbbbbbbbb aa a a a a a a a a a a a a a a a a a a aaaaaaaaaaaaaaaaaaaa bbbbbbbbbbbbbbbbbbbb aa a a a a a a a a a a a a a a a a a a aaaaaaaaaaaaaaaaaaaa bbbbbbbbbbbbbbbbbbbb aa a a a a a a a a a a a a a a a a a a aaaaaaaaaaaaaaaaaaaa Modules Requried : Module ‘a’ :140 Module ‘b’ : 70
Option 6 a aa a a a a a a a a a a a a a a a a a aaaaaaaaaaaaaaaaaaaa bbbbbbbbbbbbbbbbbbbb aaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaa bb bb bb bb bb bb bb bb bbbb aaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaa b bb bb bb b b bb bb bb b b bb b aaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaa Modules Requried : Module ‘a’ : 160 Module ‘b’ : 60
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Option 7 aa a a a a a a a a a a a a a a a a a a bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb aa a a a a a a a a a a a a a a a a a a aaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaa aa a a a a a a a a a a a a a a a a a a bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb aa a a a a a a a a a a a a a a a a a a Modules Requried : Module ‘a’ :120
Module ‘b’ : 80
Option 8 bbbbbbbbbbbbbbbbbbbb aba a a a a a a a a a a a a a a a ba bbbbbbbbbbbbbbbbbbbb aba a a a a a a a a a a a a a a a ba bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb bbbbbbbbbbbbbbbbbbbb aba a a a a a a a a a a a a a a a ba bbbbbbbbbbbbbbbbbbbb aba a a a a a a a a a a a a a a a ba bbbbbbbbbbbbbbbbbbbb Modules Requried : Module ‘a’ : 72 Module ‘b’ : 168
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Tarkash- a cladding system Tarkash is a modular cladding system that can be used for surface treatment in buildings. Tarkash means a vessel that contains all the wisdom, learnings and abilities for a particular craft. Tarkash was co created by artisan Abdulla Daud Kumbhar and Iqbal Abdulla Kumbhar of Gundiyali village and Designer Aarohee Nagecha from DICRC, CEPT University, Ahmedabad.
Craftspeople Abdulla Daud Kumbhar Romatben Abdulla Fatimaben Sadik Iqbal Abdulla Kumbhar Designer Aarohee Nagecha
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Aarohee sharing ideas with Abdulla bhai
Exploration of modules
Exploration of forms
Exploration of patterns
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interaction and ideation After having understood the craft from Abdulla Bhai and his family, the process of innovation was initiated. Aarohee began explorations in the form of sketches and drawings keeping in mind the techniques, material, form etc. She explored the material and techniques to understand the craft process. Brainstorming is a process that one undertakes to explore any and all kinds of ideas, which will then go through the process of validation and negation. At this stage everything from the form of the modules, the order of organization of these modules for making the system, the texture, joineries etc were explored, sketched out, drawn and made into prototypes. This helped her in understanding the craft deeper as the tendency was to try and solve possible problems that arose with each exploration. In order to design a modular system, one needs to have a single module first, this can be replicated using various methods. While designing the single module the dimensions of a single module were of a critical importance since at a larger scale it was going to be made into a partitioning system. Hence the next step taken was to develop the prototypes of each form, trying out variations, methods of bringing it together, materials for joineries for each module to module etc. After brainstorming on possible ideas for the module with the project team and craftspeople, the prototypes for two different types of modules were made and tried out with various forms, sizes and textures to be done on each of these. The prototype was executed with the help of Yakud bhai’s family. The objective of developing this prototype was to arrive at modules for the partitioning system. Modules of different shapes and sizes were tried from the clay used to make pots and holes were made onto the two ends after they were partially dried. The different modules were kept together to try out different arrangements and patterns. Rope was passed through the holes to connect two modules as a part of the joinery exploration for terracotta modules. Craft Innovation Training-I
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Abdulla bhai making tavdis of different size
Aarohee finishing the tavdis on chakda
Bamboo workshop Aarohee cutting tavis into half
Tavdis kept for drying
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exploration and creation Having explored modules and joinery possibilities and putting together the learnings from each exploration, a refined prototype was made. Many arrangements were tried out in the process for the modules. Number of each modules that went into making a 4‘ x 4’ partitioning systems were calculated by the drawing. Several form explorations were carried out for developing a proportionate and aesthetically pleasing system. In terms of assembly it is a simple joinery using ropes. The entire assembly was conceptualized keeping in mind the concept of one being able to do it by themselves . Also the textures of the modules were finalized, making the partitioning system seem contemporary and yet having the essence of craft in it. Making of modules For the modules basic curved modules were made which were then cut into halves once they were semi-dried. Along with that holes were made onto the exact centers of the two sides for the rope to pass in.
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Abdulla Kumbhar at work
Earth craft Whole modules workshop allowed to semi dry before cutting into halves
Tavdis kept for sun dry
Bamboo workshop Half cut modules left for complete drying 110
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Drying Process The half cut Tavdis were again put under the sun to dry for 2 days. Abdullah bhai measured the Tavdis once dried, as they shrink due to the water that evaporates. Surface Ornamentation All the modules when dried were painted with the color and traditional patterns. For these modules, gheru powder was mixed with water and applied onto the modules. After drying they were rubbed with a piece of cloth to get the shine. The patterns are painted onto the modules after a layer of gheru is applied onto it. The painting is done mostly with the white and black color. These colors are in stone form which are mixed with water and painted using brushes made from the date tree.
Cloth used for painting
Aarohee painting the tavdis Craft Innovation Training-I
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Kiln prepared for firing
Tavdis placed in kiln for firing
Bamboo workshop Yakub bhai liting the fire in kiln
Sidhik bhai checking the baked tavdis after firing
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Firing Once the modules are decorated they are arranged into the kiln for firing. The kiln used for this firing was the smaller kiln. The modules were arranged according to the sizes in the kiln. The kiln is then covered with various cardboard and glass wool pieces and the waste terracotta pieces. The smaller kiln takes around 10-12 hours to fire all the products. To start the firing process the Kata, cardboard piece and the other waste is added to the lower part of the kiln where the fire is lit.Once out of the kiln the modules are let to cool down and washed in water. These are then placed according to the final illustration.
Modules washed and cleaned after the firing process
Aarohee and Priyanka arranging the modules Craft Innovation Training-I
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Bamboo Iqbal bhaiworkshop making the cement mortar
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execution and installation The final prototype of 4’ x 4’ was installed at the artisan’s house. The installation took place in following process: 1. Preparation of modules: The modules were joined together as shown in the pictures. After they were joined, reinforcement bars were fixed in the modules of different sizes with the help of cement mortar. Curing was done to bind the cement mortar . 2. Preparing the wall surface for cladding: The marks were made on the wall according to the arrangement of the modules. Holes were drilled on the wall and were cleaned with water. Cement mortar was filled inside the drilled holes. 3. Fixing the cladding: The cement mortar was applied on the edges of the modules. They were then fixed in the wall. The modules were fixed in descending order. Larger modules were fixed first, then the medium modules and lastly the smaller modules. After the completion of cladding, it was cured again to bind the cement mortar with the wall and to make the cladding strong.
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Modules kept for drying
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Bamboo workshop Measurements made on wall
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Module fixed in the wall
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Installation options Option 1 c1 c c c c c c c c1
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Option 2 b2 b2 b2 b2 b2 b2 b2 b2 b2 b2 b2 b2
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b1 b b b b b b b b b b b1
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Option 3 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2 a2
a1 a a a a a a a a a a a a a a a a1
a a a a a a a a a a a a a a a a
a1 a a a a a a a a a a a a a a a a1
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a1 a a a a a a a a a a a a a a a a1
a a a a a a a a a a a a a a a a
a a a a a a a a a a a a a a a a
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Option 4 a2 c2 a2
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Option 6 a2
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Option 8 c2 c2 c2 c2 c2 c2 c2 c2 c2 c2 c2
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Module ‘b’: 32 Module ‘b1’:4
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exposure sessions An exposure program was conducted for all the 25 terracotta artisans of Gundiyali on the last two days of the Craft Innovation Training Program. The artisans were exposed to the fields of design, marketing, social media and e-commerce by various experts. Rishav Jain, Assistant Professor at Faculty of Design, CEPT University and Senior Researcher at DICRC exposed the craftspeople to the aspect of design and the implication of crafts in the field of architecture and interior design. Nisha Vikram, Founder of Craft Canvas, helped the craftspeople understand marketing strategies and the importance of branding. Chirag Jobanputra, Founder of 39 shops conducted and interactive session to create awareness about e-commerce and social media. As part of the session, he along with the craftspeople created an online retail platform for the terracotta crafts of Gundiyali, on which they are already selling their products. They were also exposed to new tools and techniques used in the craft by Snehal Kashikar, an independent ceramic artist. Various site visits to design studios and retail outlets were organised as part of the exposure.
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Rishav explaining the artisans about Design
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design development
Rishav Jain is an Assistant Professor, Faculty of Design, CEPT University and also Senior Researcher, DICRC, CEPT University, Ahmedabad.
The Session on Design Development was conducted by A/Prof. Rishav Jain. The presentation was focussed to discuss various aspects of Design with the artisans. The main intention of the session was to sensitize the artisan group to design.The session covered topics like design development, product diversification, design processes, design ideas for various markets etc. It began with an introductory interaction session on the topic ’what is design?’. Later, the idea of product diversification was discussed at various levels : 1. Keeping the same form and changing the function, 2. Keeping the same function but changing the form, 3. Evolving both the form and function. After this, the discussion was centered on how can design become a medium to develop new products at various scales. The example of how a traditional Indian pot ‘matka’ has evolved with design, the participants got various ideas that how design can change the entire feel of the product. The last part was to discuss various design possibilities at the interior architecture scale. It showcased various design projects done across the world using mud as a primary material. In the end, the idea of modular design was discussed as a new area of design and product development.
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Nisha explaining the merketing skills
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marketing
Nisha Vikram is the Founder of Craft Canvas, Ahmedabad.
The main focus of the presentation on Marketing plan for Gundiyali cluster was to give the artisans an exposure to the needs and demands of urban markets. The presentation began with a discussion with the artisans on understanding their existing market, products sold and their issues. While discussing their issues, there emerged a pattern of issues with quality, raw material procurement and pricing. In order to resolve this issue, the idea of cooperative was suggested with an example of Amul that benefited from such an initiative. Branding and marketing communication were discussed with a plan of action. Also the artisans were shown examples that stressed on value additions such as seasonal gifting, packaging and collecting information from customers.
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Snehal explaining the glazing process
Exploring different forms on chakda
Snehal explaining the electric kiln
The glazed samples tried by artisans
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craft techniques
Snehal Kashikar is a ceramic artist whose work is greatly influenced by traditional pottery. She works at her artist studio and teaches at various institutions including CEPT University, Ahmedabad.
An interactive session was conducted with the craftspeople of Gundiyali. The interactive session focussed towards: 1.Discussion on glazes, its function and economics. 2.Introduction to new tools and templates. 3.Glaze testing of Gundiyali potters clay, suggestions for the current clay body. 4.Discussion on current designs made by the potters, its unique qualities and the possible design transition. 5.Demonstration of form building techniques. The session aims to make the potters group more confident and resourceful that will aid them to rethink on the current design approach. It will also help them to connect with the contemporary design scene.
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Mr.Chirag giving exposure on internet and technology to artisans
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e-commerce
Mr. Chirag Jobanputra is the Co-Founder and Product manager at 39shops.com, Ahmedabad
E-commerce is replacing the traditional way of doing trade. This training program helped rural terracotta craftspeople of Gundiyali village in Kutch take advantage of this trend. The 39Shops.com encouraged these traditional craftspeople to adapt to digital technology and reach out to global audience by presenting them with an Online Store, on easy to use and simple to understand e-commerce platform. The whole process of setting up an e-commerce store – right from buying the domain to listing of products and setting up payment options was done in collaboration with the craftspeople themselves within a short span of 45 minutes. The artisans were overwhelmed seeing the ease and speed of the technology in-use and the benefits that they can reap. Mr. Chirag Jobanputra answered various queries of the artisans while sensitizing them with the power of search engines and how to use it for business purpose. Also, he showed a live demo wherein he helped a craftsperson acquire a particular packaging box within a short span of 5 minutes, which the artisan was searching for a long time. Through the live demo he made them aware about ease of finding required products at competitive rates and fast delivery. The craftspeople of such traditional enterprises have been working since generations but within a limited market and making them well versed with the technology will help them immensely in increasing their market reach as well as enhancing their customer base. Craft Innovation Training-I
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exposure visits Exposure visits were organised to three different sites to reinforce the learnings of the input sessions on design, marketing and innovation in the field of crafts. Clay Club, Ahmedabad, India : “Clay Club” is a group of entrepreneurial individuals who have come together to craft beautiful hand crafted products out of clay and other various materials of interest. The craftspeople were exposed to the aspect of studio crafts with clay as a material. Awareness was also created regarding new techniques, tools, equipments and infrastructure used in the craft studio. Fab India, Bodakdev, Ahmedabad, India : “Fab India” is a private platform for products that are made from traditional techniques, skills and hand-based processes. FabIndia links over 55,000 craft based rural producers to modern urban markets, thereby creating a base for skilled, sustainable rural employment, and preserving India’s traditional handicrafts in the process. Contemporary craft products, craft-design, quality maintenance of products were some of the aspects that the craftspeople were exposed to at FabIndia. Craftroots, Ahmedabad, India : ”Craftroots” is unique platform that showcases and brings into spotlight the best of craftsmanship from Gujarat.It is an initiative of Gramshree, ably supported by NGO friends - Khamir and Sahaj, aims to empower artisans by connecting them to resources, tools and network of partner members. The successful nature of Craftroots retail outlet stands testimony to the demand of craft products in the current scenario. The craftspeople were exposed to the various kind of craft products in the market and also to the methods of associations with such organisations.
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Assess
Overview : To harness the learnings of the entire programme conducted through observations & feedback and make sure that they are utilized during the next Craft Innovation Training Programme. Objectives and Intended Output : The primary objective of this stage is to extract as much learning as possible from one’s training workshop. This stage ensures that all the effort gone into the training is harnessed and utilized for future programmes. At the end of this stage one will have looked at the training activities from many perspectives. This will bring about an evolution in the process followed and learnings, from mistakes made. Sub-stages of ‘Assess’ : The training program concludes and reaches the assessment stage. This stage is explained through 2 sub stages called ‘ Connect’ and ‘Reflect’. The ‘Connect’ sub-stage discusses the gap between the craftspeople and industry that needs to be bridged. The ‘Reflect’ sub stage discusses the ways in which one can attain feedback from the participants and all others related to the training programme.
AS-1 connect To bring together or into cantact so that a real or notional link is established: To provide or have a link or relationship with. AS-1a : CONNECT THE CRAFTSPEOPLE AND PROFESSIONAL PRACTITIONERS & VICE VERSA AS-1b : CONNECT THE CRAFTSPEOPLE AND ORGANISATIONS & VICE VERSA AS-1c : DISSEMINATE KNOWLEDGE AND INFORMATION THROUGH DISPLAYS, EXHIBITIONS, INVITATIONS ETC.
AS-2 reflect To think deeply or carefully about. AS-2a : COLLECT CRITICAL FEEDBACK FORM THE PARTICIPANTS AS-2b : EVALUATE THE FINAL OUTPUT OF THE TRAINING PROGRAM IN TERMS OF INPUT, QUALITY, OUTPUT.
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Jay Thakkar briefing about the training program
Artisans interacting with the students
Amee Desai distributing the certificates
Kathan Kothari addressing the audience
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craft connect Various measures were taken to connect the craftspeople to the various stakeholders in the craft-design industry and also to create awareness about the craft. An interaction session was arranged at CEPT University to connect the artisans to architects, interior designers, professionals and trade people. A website, www.gundiyalicrafts.com has been set up the team at DICRC to ensure a digital presence of the craft and craftspeople of Gundiyali village. A branding logo has been created for the craftspeople by Manthan Educational Soceity, Ahmedabad to help them with their marketing strategies.
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dissemination
media Craft Innovation Training Program with the craftspeople of Gundiyali was covered in the print media. In clockwise order, 1. Published in Sandesh News on 25th July 2015 2. Published in Sandesh News on 29th July 2015 3. Published in Ahmedabad Mirror on 27th July 2015 4. Published in Gujarat Samachar Plus on 30th July 2015
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publications As part of the dissemination activities, the Craft Innovation Training Program was published in the Indian Architect and Builder Vol 29 (2), October 2015 Issue. The article titled ‘ Traditional crafts collaborate with contemporary design techniques’ was published in the Academia section of the 29th Anniversary special issue with ‘Power of the Hand’ as the theme of the issue.
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The craftspeople sharing their experience during the interaction
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reflections To harness the learning of the entire program, assessment was conducted through observations & feedback of the craftspeople and the others involved in the program. The experiences and reflections of the craftspeople were recorded. These were documented to ensure possible actions are taken based on the feedback of the participants. The documented feedback indicated the successful nature of the training program from the perspective of both the craft and design team.
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experiences by craftspeople “ Mansi ben, Priyanka, Aarohee sathe kaam karwama bauj majja aai ane aa je bey divas no program hato ema hamne marketing, design, technology na baara ma janwa maliyu je hamne khub kaam aavse bhavishya ma. “ I enjoyed working with Mansi, Priyanka and Aarohee in Gundiyali. The training session of two days were very beneficial for us. We got to know about marketing, design and technology.
-Abdulla Daud Kumbhar
“ Hame 50 saal ho gae maati kaam me par aapke jaisi madad kisine nahi ki. Hum shukriya ada karte hai ki aapse hamari pehchaan hui aur hame mauka mila yaha aane ka. “ Its been around 50 years I am practicing pottery work but for the first time I am coming across an organisation who has helped us in this manner. I am thankful for inviting us here.
-Yakub Hussain Kumbhar
“ Design presentation ma je chitra hamne bataya gaya, India ane Out country na kaam bataya, ena thi hamne khabar padi k agar export karwu hoy toh quality pan export jevi hovi joiye. “ We saw pictures of products from India and from other countries of the world in Design presentation. We followed that to export our products, the quality should be the finest.
-Ali Mohammad Daud Kumbhar
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feedback “ Hun aa organisation ne dhanyavaad kehva maangu chu k emne hame badha ne ahiya bolaya. Internet vishay je mahiti aapva ma aavi hati ae bauj agatya ni hati ane hamne aagad kaam ma aavani che. “ The information regarding internet and technology was very important for us and is going to help us in future. I thank the organisation for inviting us to the exposure session.
-Iqbal Abdulla Kumbhar
“ Rishav bhai na presentation ma hamne samajh to padi k Design etle shu? Pan store par lai gaya, tyaa alag prakar na products joya tyaare khabar padi k design hakiqat ma kone kehvaay. “ From the presentation of Rishav Sir, I roughly understood what design is. But after the site visits I clearly got the understanding of Design.
-Anwar Ali Mohammad Kumbhar
“ Bey divas thi hame ahiya che ane hame joyu ki hame khali matla mathi j biji ghani badhi design banai shakiye che. Ena badal hun aa organisation nu aabhari chu ki hamne aatlu exposure aapyu. “ I am thankful to the organisation for giving us the opportunity to attend the exposure session. Here, I understood through the site visits and the design presentation that from mud many more things can be made other than pots.
-Salim Kasim Kumbhar
“ Amdavad ma hamne nava pottery na market jova malya aena maate hun organisation no khub aabhari chu. “ I thank the organisation for helping us to explore the pottery markets of Ahmedabad.
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feedback “ Nisha ben ae hamne hamari chiz nu bhav bazaar ma kevi rite karwu ae batayu. “ Nisha Ma’am taught us to arrive at the pricing of our products.
-Ibrahim Ismail Kumbhar
“ Training na aa bey divas ma hamne ghano anubhav malyo che. Nisha ben ae je marketing vishay batavyu ema hamne khub siikhwa malyu. “ We learnt many things in these two days. The marketing session by Nisha Ma’am was more informative.
-Salim Suleman Kumbhar
“ Hamne craft market ni visit karai hati aema khabar padi k hame kya atakayela che ane hamare shu karwu joie jena thi hamari pan tarakki thay. Chirag bhai ae je internet vishay jaankari aapi, ae hamare mate bauj upyogi che. “ When we visited the craft markets we analysed where we are lacking and what should we do to for our progress. The information regarding internet given by Chirag bhai is very useful to us.
-Suleman Daud Kumbhar
“ Aa bey divas poora thava aavya tyaare khabar padi k hamne expert banawama, pottery kaam ma aagad wadharwama khub mehnat kari che management ae ane hame khub aabhari che emna. “ We saw pictures of products from India and from other countries of the world in Design presentation. We followed that to export our products, the quality should be the finest.
-Usman Daud Kumbhar Craft Innovation Training-I
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feedback “ Amdavad ma amne Snehal ben ae glazing na baara ma jaankari aapi ane hamari maati par emne glazing sikhwadyu taaki hame Gundiyali jaine kari sakiye aena maate hame emne ane aa organisation ne shukriya kehwa mangiye che. “ Snehal Ma’am showed us the glazing techniques on our Clay so that we do not face any problems after going from here. For this, I want to thank the organisation for arranging the training program for us.
-Abdul Karim Sidhik
“ Design presentation me je chitra hamne bataya gaya, India ane Out country na kaam bataya, ena thi hamne khabar padi k agar export karwu hoy toh quality pan export jevi hovi joiye. “ The presentation on design showed us the kind of products that are made at international standards. Through this we realised the importance of quality control to export products.
-Razak Ilias Kumbhar
“ Rishav bhai na presentation ma hamne jova malyu k maati fakt matka banawama j nai pan building ma pan kaam aave che. Hamne navi design ane nava udaharan jova malya maati kaam na. “ In Rishav Sir’s presentation, we saw that mud is not just meant to make pots but can be used in buildings. We saw many illustrations of such work. -Salim Ismail Kumbhar
“ Hame jo sahayata iss organisation ki taraf se kari hai iske badal hum khub aabhari hai aur hum koshish karenge ki hum bhi market me naya kuch leke aae. “ I am thankful for the help done by the organisation and we will try to come up with something new in the market.
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-Mohammad Daud Issa Kumbhar
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feedback “ Mane ahiya glazing sikhavni bauj majja aavi. Gundiyali jaine hame pan glazing karwanu praytna karisu. Internet vishay ni jankaari pan bauj mahatva ni hati . Training session ma bolawa mate tamaro khub aabhar.“ I enjoyed the glazing session and will try to do glazing on our products too. The information regarding internet given to us was very important. Thank you for inviting us here for the training session.
-Abdul Sattar Yusuf Kumbhar
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ACTIONS
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need for post training actions The Assess phase of the IDE2AS model helps in achieving conscious reflection of the quality of output of the training program. Assessment of training program conducted with the terracotta craftspeople of Gundiyali resulted in the following observations : 1. The need to provide opportunity to iterate and implement learnings from the training program. 2. The need to reconnect and maintain a continued relationship with the participants especially with the craftpeople. 3. To ensure the evolution of the craft design process aiding an outreach to a larger audience/market. Based on these observations, the craftpeople of Gundiyali were invited for further activities conducted by DICRC,CEPT University. The craftspeople from Gundiyali were part of the International IMIAD Workshop 2015 titled ‘Conversation with Crafts’ and the National Craft Fair 2016.
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International IMIAD Workshop 2015 ‘Conversation with crafts’ The terracotta craftspeople of Gundiyali were invited to participate in the International IMIAD Workshop 2015 “Conversation with Crafts” to enable ‘Craft Design Innovation’ exposure to more number of craftspeople. The International IMIAD Workshop 2015, “Conversation with Crafts” was a part of the International Masters in Interior Architectural Design (IMIAD) offered at Faculty of Design, CEPT University, Ahmedabad. This was a collaborative workshop between Design Innovation and Craft Resource Centre (DICRC), Faculty of Design and SID Research Cell, CEPT University. The primary intention of this workshop was to bring diverse voices into curatorial and craft-design processes and to develop Innovative prototypes through collective knowledge of craftspeople and design participants. It emphasized on the importance of ‘making’ by generating Craft-Design Innovations through collaborative working methods between master craftspeople and designers. The focus of this workshop was on five material crafts - wood, metal, mud, bamboo and textile and surface narrative crafts like madhubani painting, gond Painting and mata ni pachedi. The participating universities included: CEPT University, India; SUPSI, Lugano, Switzerland; Istanbul Technical University, Turkey; Hochschule furTechnik, Stuttgart, Germany. There were 35 International and 14 national design students, 35 master craftspeople, 20 faculty members and 10 coordinators participating in the workshop. Participating craftspeople from Gundiyali - Ali Mamad Daud Kumbhar, Amad Daud Kumbhar, Amad Mamad Kumbhar, Salim Kasim Kumbhar, Salim Suleman Kumbhar, Siddik Yakub Kumbhar.
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Documentation done through videos and photos
Hands on working during site visits
Bamboo Field visitworkshop to Hunnarshala Foundation
Hands on working during site visits
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field visits to craft clusters The Kumbhar community engaged students in an informative and enriching hands on experience, explaining various techniques and methods pertaining to the mud craft. From kneading to throwing and shaping the small pots on a potters wheel, all the techniques were affectionately demonstrated. Being exposed to the craft in its traditional setup, participants were able to connect themselves to the work and life of the craftspeople and the craft at large. Two organisations were also included in the site visits, Hunarshala which works for Artisan Empowerment in Bhuj, Kachchh and Khamir, which works to strengthen and promote the rich artisanal traditions of Kachchh district by engaging, facilitating and innovating with the craftspeople. Since both the organisations work on the concept of Craft Design Collaboration, students were introduced to various possibilities, issues and challenges that are a part of the collaborative design process.
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Students and craftspeople engage in brainstorming
Bamboo workshop Participants making the products 162 Craft Innovation Training-I
Pietro Vitali and Amad Kumbhar prepare the clay tablets
Students and craftspeople engage in discussion
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craft design studio The hands-on experimentation and exploration was facilitated in the campus workshops which imbibed a unique understanding of material and its diverse properties in the participants. People from different backgrounds worked together (master craftspeople, craft students, designers etc.) which initiated new discussions and fresh ideas. Through this process, learning happened at both tangible and intangible levels and all the participants were introduced to new larger avenues for innovation and development. While working with the actual material, there were many challenges, failures and trials and errors but the collective knowledge of the craftspeople and the material experts and enthusiasm of the team ensured the process goes on. The trial- error based method ensured that learning happens while working with the material by hand.
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Interaction session with the participants
Bamboo workshop The visitors look at the traditional products made by the craftspeople 164 Craft Innovation Training-I
The craft design products on display at the exhibition
Dignitaries from iNDEXT-c at the exhibition
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exhibition and interaction The exhibition aimed to instigate critical thinking and sensitize the workshop participants as well as visitors about various tangible and intangible core concepts related to craft. As per the concept note, the final exhibition was designed as a craft ‘Street’ in which each group got a pre defined space which they used to exhibit their products, process and the experience as a whole. The installations and products took the centre stage and the process of cocreation was explained using montages and desciptive panels. The video and audio recordings made during the site visits became the perfect backdrop for the exhibition spaces. A considerable amount of space was allotted to patronise the various crafts where the craftspeople exhibitted and sold the products they had brought from their respective workshops.
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Outputs
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national craft fair 2016 craft demonstration As part of the post-training actions, the terracotta craftspeople of Gundiyali were invited to be part of the National Craft Fair 2016 at Ahmedabad. The National Craft Fair 2016 was organised by INDEXT-C, Government of Gujarat, India and Design Innovation and Craft Resource Centre(DICRC), CEPT University was a partner institute. The National craft seminar, theme pavilion and craft demonstrations were conducted and organised by DICRC at the National Craft Fair 2016. The craft processes play a critical role in development and understanding of a craft; hence the demonstration of techniques is taken as a first step in understanding the tactile aspects of craft. DICRC arranged for the terracotta craftspeople to show their craft skills through the live demonstration and display of their products at the theme pavilion. The craft demonstration was an attempt to create a mutual awareness platform where the craftspeople were exposed to the activities at the Fair and the visitors benefitted by understanding the craft. Partcipating craftspeople from Gundiyali - Abdulla Daud Kumbhar, Ali Mamad Daud Kumbhar, Anwar Ali Mamad Kumbhar
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Abdulla Daud Kumbhar making products
Ali Mamad Kumbhar demonstrating the process of pottery 170 Craft Innovation Training-I
Ali Mamad Kumbhar making products on the wheel
Abdulla Daud Kumbhar using a hand turned wheel
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Visitors try their hand at making pots
A pot in the process of being finished
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Ali Mamad Kumbhar teaching the process of making pots
Various products made during the demonstration sessions Craft Innovation Training-I
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the way forward With changing times and technology there will always be a need for training in the craft-design sector. This toolkit is just the starting point from where Craft Innovation can be taken to new levels. Conducting training through this toolkit will give rise to many more possibilities that can be incorporated into further training programs. The IDE2AS toolkit is envisioned to be one that gives rise to many more such toolkits. In order to support the training program using this model, a workbook comprising of various modules and worksheets will be provided. This workbook aims at providing specific exercises with specific objectives, along with tips that will further guide one in designing and conducting a Craft Innovation Training Program. Anyone who utilises this toolkit to conduct craft innovation training is free to share their experiences and learnings. That is the only way this toolkit develops and becomes a wholesome solution in education and training. For more insights about the publisher
and information visit www.dicrc.in.
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Space Making Craft- Metal craft workshop- pre-workshop interaction with metal craftspeople 174
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appendix The following section contains the mapping data of the craftspeople that can be used as reference while reading the publication. The data also contains contact details of craftspeople for one to get in touch with the terracotta craftspeople of Gundiyali.
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Abdulla Daud Kumbhar Master Craftsperson
Gender : Male Year of birth : 1968 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9998870115
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 176
Craft Innovation Training-I
Romatben Abdulla Apperentice
Gender : Female Year of birth : 1970 Years of experience : 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9998870115
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Yakub Husen Kumbhar Master Craftsperson
Gender : Male Year of birth : 1961 Years of experience : 11-15 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9726680881
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 178
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Fatmaben Yakub Master Craftsperson
Gender : Female Year of birth : 1965 Years of experience : 6 to 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9726680881
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Ali Mohammad Daud Kumbhar Master Craftsperson
Gender : Male Year of birth : 1970 Years of experience : 6 to 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9898517761
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 180
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Sherbanu Ali Mohammad Apperentice
Gender : Female Year of birth : 1973 Years of experience : 11 to 15 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9898517761
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Abbas Daud Kumbhar Master Craftsperson
Gender : Male Year of birth : 1967 Years of experience : 16 to 20 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9998870115
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 182
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Susmaben Abbas Apperentice
Gender : Female Year of birth : 1969 Years of experience : 16 to 20 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9898517761
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Anwar Ali Mohammad Kumbhar Apprentice
Gender : Male Year of birth : 1995 Years of experience : 6 to 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9998870115
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 184
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Jallubai Kumbhar Master Craftsperson
Gender : Female Year of birth : 1965 Years of experience : 26 yeras and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No N/A
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Iqbal Abdulla Kumbhar Master Craftsperson
Gender : Male Year of birth : 1967 Years of experience : 16 ti 20 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9998870115
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 186
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Fatimaben Sidhik Apperentice
Gender : Female Year of birth : 1969 Years of experience : 16 to 20 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9898517761
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Husen Yakub Kumbhar Craftsperson
Gender : Male Year of birth : 1987 Years of experience : 6 to 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9979017534
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 188
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Jamilaben Yakub Apperentice
Gender : Female Year of birth : 1989 Years of experience : 26 yeras and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9979017534
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Sadhik Yakub Kumbhar Craftsperson
Gender : Male Year of birth : 1985 Years of experience : 6 to 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 7874169784
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 190
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Khosramben Sadhik Apperentice
Gender : Female Year of birth : 1987 Years of experience : 16 to 20 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 7874169784
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Suleman Daud Kumbhar Master Craftsperson
Gender : Male Year of birth : 1962 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9978054179
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 192
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Kasim Harun Kumbhar Craftsperson
Gender : Male Year of birth : 1968 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details
Products and Applications Objects and Accessories Artefacts
Contact No +91 9978317735
Marketing and Promotion Consumer Market Local
Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Salim Kasim Kumbhar Craftsperson
Gender : Male Year of birth : 1987 Years of experience : 11 to 15 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9978317735
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 194
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Salim Ismail Kumbhar Craftsperson
Gender : Male Year of birth : 1995 Years of experience : 0 to 5 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 8758131137
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Ibrahim Ismail Kumbhar Craftsperson
Gender : Male Year of birth : 1986 Years of experience : 6 to 10 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9726680884
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 196
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Usman Hussain Kumbhar Craftsperson
Gender : Male Year of birth : 1970 Years of experience : 11 to 15 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9879443445
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Ibrahim Abdullah Kumbhar Craftsperson
Gender : Male Year of birth : 1960 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details
Products and Applications Objects and Accessories Artefacts
Contact No +91 9909671061
Marketing and Promotion Consumer Market Local
Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 198
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Abdul Sattar Yusuf Kumbhar Craftsperson
Gender : Male Year of birth : 1993 Years of experience : 0 to 5 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455. Contact No +91 8758131175
Products and Applications Objects and Accessories Artefacts Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Razak Ilias Kumbhar Craftsperson
Gender : Male Year of birth : 1994 Years of experience : 0 to 5 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9909671061
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 200
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Hasam Ahmed Kumbhar Craftsperson
Gender : Male Year of birth : 1989 Years of experience : 11 to 15 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details
Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455. Contact No +91 9537869702
Products and Applications Objects and Accessories Artefacts Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Amad Mammad Kumbhar Craftsperson
Gender : Male Year of birth : 1978 Years of experience : 21 to 25 years Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9925614109
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 202
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Yusuf Suleman Kumbhar Craftsperson
Gender : Male Year of birth : 1973 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9726276274
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Ahmed Daud Kumbhar Master Craftsperson
Gender : Male Year of birth : 1965 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details
Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455. Contact No +91 9537869702 Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes 204
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Products and Applications Objects and Accessories Artefacts Marketing and Promotion Consumer Market Local
Salim Suleman Kumbhar Craftsperson
Gender : Male Year of birth : 1973 Years of experience : 26 years and above Craft knowledge : Hereditary Name of Craft practiced : Pottery- Maati kaam
Contact Details Address Gundiyali village, TA Mandvi, Kutch, Gujarat 370455.
Products and Applications Objects and Accessories Artefacts
Contact No +91 9978054179
Marketing and Promotion Consumer Market Local
Craft Practice and Skills Material Expertise Earth Techniques Making of products on wheel, firing the products Type of work Off-Site Duration Full Time Place of work Home Family practicing craft Yes Craft Innovation Training-I
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Craft Innovation Training-I
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DICRC is supported by Industrial Extension Cottage (iNDEXT-c), Government of Gujarat, India. iNDEXT-c is a State Government Scheme under Cottage and Rural Industries (Commissioner of Cottage Industry). Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad To know more, visit the official website : www.dicrc.in Contact : +079-26302470 Ext- 380, 381, email: dicrc@cept.ac.in
