Keeping the Hopes Alive
CHANNAPATNA Keeping the Hopes Alive
Craft Cluster Documentation on Channapatna, Department of Fashion Communication
National Institute of Fashion Technology, Bengaluru
2016
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CHANNAPATNA
Keeping the Hopes Alive
CHANNAPATNA Keeping the Hopes Alive
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Preface “ CHANNAPATNA – Keeping the Hopes Alive ” is an experience of the reality of the toy town which seemed to be hidden behind the colours of the toys. The struggles that the artisans go through just to meet their basic needs like food and shelter. The stories they recite and the toys they craft are a bit contrasting. Surprisingly, their bitter experiences do not have any impact on the beauty of the toy. The title of the book also seemed apt because the town might only be known for toy making but there are other activities which around the city which are too deep to be scanned by the naked eye. Silk reeling and bamboo craft are two such major activities we came across while exploring the town. Documenting the craft cluster was not an assignment but an experience for us. It consists of all the required information about the town of Channapatna. An attempt has been made to cover most of the parts of including the History and the Origin, Demography, Geography, Social, Economical and Cultural status of the town, Livelihood, Problems faced by Artisans, Various Schemes provided by the Government, About the toy, Processes of toy making – both traditional and modern ways, Details about the tools and the raw materials used. Marketing schemes and Services provided. Names of the Artisans we met. Within ourselves, it wouldn’t have been a possibility without all the hard work the team had put into the making of this book. Each individuals efforts and co-ordination with each other is the reason behind the successful completion of this book.
CHANNAPATNA
Keeping the Hopes Alive
CERTIFICATE This is to certify that the Craft cluster project titled “Channapatna- Keeping the Hopes Alive� is a record of work done by the students, Ashish Kumar(BD/14/2839), Gokul Krishnan(BD/14/1620), Hisamulla. P.A.(BD/14/147), Ishita Srivastava(BD/14/1006), Prasenjit Singha(BD/14/159) as Regular students for the degree of B.Des Fashion Communication during the period of July 2016, which represents as independent work and does not form the base for any previous work. PLACE: Bangalore DATE :
Under the Guidance Prashanth. K.C. Assistant Professor Department Of Fashion Communication National Institute of Fashion Technology Bangalore - 560102. ------------------------ (External Jury Member)
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CHANNAPATNA
Keeping the Hopes Alive
Acknowledgement The craft cluster study was a lifeitime of an experience. We started off with an objective to learn a thousand things. With the given opportunity, by providing promotional ideas, we hope that we will be able to extend some help to the artisans. With the completion of this document, first of all we would like to thank our mentor Mr Prashanth K.C., Assitant Professor, Department of Fashion Communication, NIFT, Bengaluru for guiding us all throughout our journey. We would like to Mr. B.M. Dattatreya, Deputy Director(Retd), Development Commission- Handicraft, Govt. of Karnataka, all the facultiy members who, took time to accompany us on our visit to Channapatna. Special thanks to Mr Sanjeev. C.M. and Mrs. Dilnaz Banu for extending support and sharing all the required information about publication with us. Lastly, We would like to thank our all our friends, classmates and family for their love and support.
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CHANNAPATNA
Keeping the Hopes Alive
INTRODUCTION All we knew about Channapatna was that, it is a town where wooden toys are made. Never had any of us seen, moreover known about Channapatna toys before. With a bit of excitement and a bucket full of curiosity we headed towards Chanapatana. We were amazed to see what was being done there. “Welcome to the city of toys”, we read on a sign board on the Bangalore-Mysore highway as we entered the town of Channapatna. Between the cities of Bengaluru and Mysore in Karnataka lies Channapatna, also known as “Gombegala ooru” (the town of toys) in Karnataka. Channapatna toy makers have kept one of the oldest customs alive; it is a tiny city yet it has an evident name in the field of handicrafts. The Channapatna wooden toys are known for their eye catching attractiveness.The finishing of these wooden toys is very charming, child safe and eco friendly. As a result of the popularity of these toys, this traditional art and craft has been registered as a Geographical Indication (GI) under the World Trade Organization.
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CHANNAPATNA
Keeping the Hopes Alive
CONTENTS 1 I 1.1
History and Origin
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Lac
9.1
Production Process
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Geography
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Craftmanship
2.1 2.2
Map Tourism
10.1
Tools
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Demography
24-25
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The toy making process
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Festivals
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Economic status
28-29
11.1 11.2 11.3
Modern tools Traditional tools Post Production
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Socio - Culture
30-31
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Working conditions
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Life of the Artisans
32-48
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SWOT Analysis
80-81
7.1
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Did you know?
82-83
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The Silk Culture
84-89
7.3 7.4
Analysis of the issues faced by the Artisans Schemes availed for the Artisans Channapatna Crafts park KSHDC Kalanagar Udyogi scheme Incentives Marketing Assistance
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Life of a toy
8.1 8.2 8.3
History Neelasandra Raw materials Procurring of Raw materials Wood Seasoning Screw pine Lac
1.2
7.2 7.2.1 7.2.2 7.2.3 7.2.4
8.3.1 8.3.2 8.3.3 8.3.4 8.3.5
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Mention of the town in the history Origin of Art 16-23
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60-63
64-71
72-78
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15.1 15.2
Curtain behind the spotlights Modern silk factory
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Bamboo Stone crusher Artist interviews
18.1 18.2 18.3
Salma Peer Khan Sohail
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Points to ponder
102-103
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Conclusion Glossary Bibiliography
104-105
90-91 92-93 94-101
108-109 110-111
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History and Origin CHANNAPATNA is situated on Bangalore - Mysore
state highway, about 60 km from Bangalore is one of the considerably old towns.
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Mentions of the Town in the History
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n early 1873, Channapatna was the Subtalukunder Closepet (Ramanagaram) and in 1892 it was made a center of full- fledged taluk and Closepet became a sub-taluk under Channapatna. One damaged Tamil record (now missing) found on the channel of Ramannanakere, approximately dating back to 1100 A.D. mentions that the channel and reservoir were constructed by one of the Cholia official Kalumalam Vedu Appanai, a merchant residing at Siriya- Malavur. But the earliest mention of the place is in a Vijaayanagara record from neighboring
village Krishnapura date 1387 A.D., where there is a reference “Channapattana Raiya�. It is locally said that in olden days, the place was also called 'Chandapura', but there is no epigraphical evidence to this view. The place is on the left bank of the Kanva River. The place was under the Gangas as Mankunda nearby (9 km from Channapatna) was the secondary capital of Gangas for some time. Later it was under the Cholas followed by the Hoysalasand the Vijayanagara rulers. One of the ancient towns Chickmalur is now a part of the Channapatna Municipality. 13
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he town’s toy making custom is said to have originated in the 18th century. When Tipu Sultan was gifted a lacquered-wood toy made in Persia. Mesmerized by the artistry of the toy, he asked for artisans from Persia to be brought into his region to train the locals to make similar toys. Artisans who learnt the craft settled in Channapatna, while some settled about 65km from his capital Srirangapatna. And that’s how the town’s association with toys began. Not only Tipu Sultan But Hyder Ali also loved to experiment with new machinery, available technology and might have encouraged the use of lathes in making toys. The toys are made from soft ivory wood, or locally known as “Hale mara”, and is coated with lac made from vegetable dyes. Artisans use
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ivory wood because of its softness, clean white colour, and the fact that its easy to shape and also that bright colours of lac show easily on its surface. Bavas Miyan was a man who was known to be the father of Channapatna Toys. He was the only person to sacrifice his whole life for Channapatna Toys. Adopting the Japanese technology for toy making, he helped the local artisans in improving their skills, gave them training in the art of toy making. Moreover, it has been nearly two centuries, and since then, ivory-wood has been the main wood, used in the making of these toys, also rosewood and sandalwood were used but not as much as ivory-wood.
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History and Origin of the Art
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GEOGRAPHY
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hannapatna taluk comes under Ramanagara District. The total geographical area of the taluk is 53,587 hectares. Channapatna is one of the 57 cities in Karnataka under the Nirmala Nagara - Municipal eGovernance project. Under this project, the city obtained its website as well as the Public Grievance & Redressal module from 15 August 2005. Channapatna is located at 12.65°N 77.22°E. It has an average elevation of 739 metres (2424 ft). The time zone is: IST (UTC+5:30)
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The total geographical area of the taluk is 53,587 hectares. It has three hoblies, namely: 1) Kasaba 2) Malur 3) Virupakshapura The total number of grama panchayaths in the taluk are 32. The taluk is known for the toys. Worldwide market is available for this toys, which are manufactured by traditional as well as modern industries, in both small scale as CHANNAPATNA
well as organized formats. The city also participates in twisting of raw silk and manufacturing silk and coconut is a major product of the taluk. Various other activities are also carried out here by rural artisans for livelihood namely Carpentry, Dhobi, Blacksmithy, Stone crushering etc. It has also possess the Kanva reservior which has got a siphon principle to make flow of excess water.
Keeping the Hopes Alive
Agriculture Mostly Rice, Ragi, Jowar, Maize, Pulses, Oilseeds, Cashews, coconut, arcenut (supari) cardamom, chilies, cotton, sugarcane and tobacco are the major crops that are cultivated mostly in the area.
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CHENNAPATNA MAP
A2B
NICE RING Rd
ELECTRONIC CITY FLYOVER
NIFT CHANNAPATNA
BIDADI
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KA VE RI WA TE R
GOVT COCOON MARKET
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G
MAYA ORGANIC
RO AD
CHANNAPATNA COURT SATHNOOR CIRCLE
MANDIPETE Rd M
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IA
M
AL M ID
AS J
DI
HA N FT S
CR A
KASTURI
U S TA FA
AJ M
TAJ HOTEL
RAMANAGARA (CACOON MARKET)
FIND YOUR WAY 21
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TOURISM CHANNAPATNA
Keeping the Hopes Alive
Some of the tourist places in and around the city are
• Maloor Aprameya Swamy Temple which also has the world famous Ambegal Krishna whose beauty inspired the famous poet Purandhara Dasa is just 2 km away from Channapatna on the Highway towards Mysore. • Kengal Aanjaneya Swamy Temple is on the way to Channapatna from Bangalore. 5 km before Channapatna. It is situated beside the Bangalore to Mysore High-Way.
• Kanva Maharshi Math and Brahmanya Theertha Brundavan is 6km away from Channapatna on the way to Kanva Reservoir.
• Igloor Barrage is 20 km away from the Channapatna City. Igloor Barrage is on the way to Santemogenahalli and Akkooru.
• Bettada Timmappa is 13 km away from Channapatna. It’s on the way to Nidasalige city.
• Bevoor Mutt
• Kanva Reservoir is 13 km from Channapatna with automatic siphon system.
• Revana Siddeswara Betta • Kokkare Bellur bird sanctuary: Spot-billed Pelicans and Painted Storks from different countries fly here and live for few months
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DEMOGRAPHY CHANNAPATNA
Keeping the Hopes Alive
DEMOGRAPHY
About 6,000 artisans work out of 250 homes and 50 small factories. In some cases, components are produced at one place and assembled elsewhere.
The Channapatna city is sub-divided into 31 wards for which elections are held every 5 years.
MALE 36,098
Types of Artisian freelancer,house base, organized industry
Around 80% of the population is engage in artistry
The Channapatna City Municipal Council has population of 71,942 amongst which
FEMALE 35,844
Female Sex Ratio is of 993 against state average of 973
Male-88.13 %
Literacy rate84.70%
Population of Children 0-6years of age- 8038
Female-81.28 %
CMC administration over 15 , 919 houses to which it supplies basic amenities like water and sewerage. Hindu 55.66%
Muslim 42.96% Sikh 0.04% Others 0.01%
The Channapatna city is sub-divided into 31 wards for which elections are held every 5 years. The Channapatna City Municipal Council has population of 71,942 amongst which 36,098 are males while 35,844 are females as per report released by Census India 2011. Population of Children with age of 0-6 is 8038 which is 11.17 % of total population of Channapatna (CMC). In
Christian 1.00%
Buddist 0.01% Not Stated 0.12%
Jain 0.20%
Source: censusindia.gov.in (2011)
Channapatna City Municipal Council, Female Sex Ratio is of 993 against state average of 973. Moreover Child Sex Ratio in Channapatna is around 933 compared to Karnataka state average of 948. Literacy rate of Channapatna city is 84.70 % higher than state average of 75.36 %. In Channapatna, Male literacy is around 88.13 % while female literacy rate is 81.28 % Channapatna
City Municipal Council has total administration over 15 , 919 houses to which it supplies basic amenities like water and sewerage. It is also authorize to build roads within City Municipal Council limits and impose taxes on properties coming under its jurisdiction.
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CHANNAPATNA
Keeping the Hopes Alive
Important Festivals of Channapatna Yugadi, Dussehra, Makara Snakranthi, Karaga, rum, Eid-ul-Fitr are the major festivals celebrated Hampi Festival, Hoysala Mahotsava, Vairamudi, in Channapatna Tula Sankramana, Diwali, Eid-ul-Adha, Muhar-
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he established artist may excel in terms of skill but his pay with reference to the work done is meagre. When an entire family is dependent on one earning source who is a skilled artist they deserve a healthy lifestyle where quality education, food and health are easily accessible without any financial difficulties. But sadly the figures recite a different story. Working in conditions where the percentage of saw dust present in the air is high enough to cause severe respiratory problems, it is sad that the government fails to provide the artists with better medical facilities which should be freely accessible for every artisan. The local government hospital may be functional but enquiry provides us with enough information to believe that functionality of the hospital bounds the local artisan to opt for a private treatment where the exploitation rate is much higher. An artist earns a daily wage of around 250-400 depending on the hours he puts into work.
1000-1200
800-1000
600
400 300 OLD
YOUNG
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BAMBOO WORKER
ARTISIAN
CHANNAPATNA
STONE CRUSHER
SILK REELER MANAGER
EXPORTER
TRAINEE
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Economic status
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Socio- Cultural Status CHANNAPATNA
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s the population shown in the infographics , we can see that people of various religions reside in the town of Channapatana. Toy making is a heirloom, which has
been followed generation after generation in Channapatna. It is a legacy that the town holds. A lot of problems are being face by the people of Channapatana.
Given below is the analysis of social and cultural issues:
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LIFE OF THE ARTISAN
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Analysis of the issues faced by the Artisans
Artisan resonance rate :
One of the prime reasons for the reduction of the craft is the high resonance rate. Artisans are shifting from craft to craft, their children are not willing to carry on with the craft as the market isn’t that fruitful.
Female artisans :
women do most of the skilled work as they observe and follow details taught to them. But due to their family situations and confinements, they leave the craft after marriage.
Urbanization : In search of employment many a
large number of people have shifted to cities which is also an important factor in deterioration of the practice of the craft, in order to over come these issues organizations are bringing contract workers to perform the art.
Market control :
In the unorganized sector, the artisans are controlled by market, the marketer sets the demand and defines the prices. The minimal difference CHANNAPATNA
between the artisan the middlemen and the retailer is high, thus the artisan doesn’t make enough for living. Further affecting their lifestyle.
Working conditions : The artisans are constantly
exposed to dust during the process of toy making, they are provided with safety gears like masks, but all do not wear them. And there is no check on use of the safety measures provided by the organization.
Waste disposal :
The residue is in the form of sawdust, wood chips. The sawdust is sold for making Agarbatti and the wood chips are either sold or used as firewood. In the production floor, the dust is accumulated beside the working station of the employee. There is no provision provided for regular clean up or storage in a particular area of the construction floor.
Keeping the Hopes Alive
In case of artisans who shape wood pieces, or cut wood pieces they are not provided with safety gears. Product. Even though the product is purely hand crafted it has a few glitches in terms of the components that make up the product. Since the indigo powder dye is expensive, as a substitute camelin poster colour black is used. The other major issue faced is maintaining the lac temperature, if the temperature increases the lac melts, which is the most expensive raw material component. Seasoning of the wood, which is the initial stage for the processing of the product takes a lot of time.
Productivity & skill oriented issues
There is no continuous follow up of the established Standard Operating Procedures followed in the manufacturing of the crafts. Few of the artisans are lazy, and takes long breaks which ends up in reducing the productivity. Since the SOP is not effectively implemented and followed up, the working culture
is being worsened. There is no fixed training period, each artisan takes different amount of time to adapt a skill. Less awareness among artisans about government certified courses.
Imitation at the market : A serious threat to
the craft is the invasion of the market by Chinese toys and fake counterfeits. Due to lack of awareness of the product and craft, customers perceive the counterfeits to be the originals.
Domestic awareness :
The craft is not well known among the country, the awareness level of the craft is high only in South India. It lacks a nationwide awareness. The USP of the product is considered as non-toxic, eco-friendly but the mastermind behind the entire product, the artisan and the craft are not given importance as much as these factors.
Productivity & skill oriented issues
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Schemes and subsidies provided by Indian Government for domestic market CHANNAPATNA
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Channapatna Crafts Park
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hannapatna Crafts Park is India’s first crafts park and is located at Channapatna in Karnataka, South India. Channapatna is a crafts cluster of over 3000 traditional artisans engaged in the production of lacquerware. The Park was established to help preserve, nurture and grow their skills by providing them with employment opportunities. This has been done through the provision of infrastructure and manufacturing facilities to exporters engaged in the production of woodcraft lacquerware and natural fiber products identical with the region. The infrastructure and facilities of the Park are also available to Architects, Designers and Companies for crafting and manufacturing of wooden products and lacquerware. Spread over 14 acres of land, the Park has a sophisticated Common Facility Service Centre with state-of-the-art wood working machines. Also being set up is a Common Facility Service Centre for natural fiber. Manufacturer -Exporters are establishing their individual manufacturing centers within the Park. The companies currently operating within the Park are:
CHANNAPATNA
Keeping the Hopes Alive
Alpha Designer Cane Ajmal Handicrafts Ashrafi Fashions Bharat Arts & Crafts Chromacrafts International Industree Crafts Pvt. Ltd. Kushala Kala MAYA Organic Ltd. N.Ranga Rao & Sons Reliable Woodcraft Shilpa Trust Sri.Beereshwara Arts & Crafts T.P. Arts & Crafts All These companies are engaged in the production of fashion accessories, corporate gifts, kitchen accessories, lifestyle products, wooden furniture, toys & dolls, educational equipments, accessories for perfumed products, natural fiber products, cane & bamboo articles and furniture. Channapatna Crafts Park is a registered society with representation from the Department of Industries & Commerce, Government of Karnataka, Karnataka State Small Industries Development Corporation Limited, Export Promotion Council for Handicrafts, Karnataka State Handicrafts Development Corporation Limited and six manufacturer exporters.
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Karnataka State Handicrafts Development Corporation Limited (KSHDC) CHANNAPATNA
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arnataka State Handicrafts Development Corporation Limited, (A Government of Karnataka Undertaking) was established in the year 1964 under Companies Act 1956. The objective of the corporation is to preserve, develop and promote handicrafts. Government of India and Government of Karnataka are the shareholders in the organization. Karnataka State is richly endowed with widely practiced, accepted and acclaimed crafts since time immemorial. The major crafts are sandalwood carvings, rosewood inlay, Channapatna lacquerware & toys, Mysore traditional paintings, bidri ware, kinhal toys, Navalgund durries, stone carvings, other wood carvings, traditional jewelry, mirror and embroidery, banana fiber, terracotta, bronze icons, Pile carpets and many more. Karnataka State Handicrafts Development Corporation Limited is the pioneer in establishing 13 craft complexes across Karnataka state wherever there is concentration of
artisans for various crafts. Common facility centers are also built at these craft complexes for the benefit of artisans. 4544 artisans are registered with the corporation and over 50,000 artisans are indirectly depending upon the corporation for preserving, developing and promoting their craftsmanship. The corporation has provided 1222 living cum work sheds to the eligible and deserving artisans. Raw materials such as sandalwood, silver and zinc are being provided to the artisans at subsidized rates. Workshops and training programs are conducted periodically to upgrade the craftsmanship and skills of artisans. Besides, providing forward and backward support to the traditional artisans, courses are conducted to the interested persons in learning and sustaining the craftsmanship in various crafts. The corporation has established 'Gurukula', where Two Year Certificate Course is conducted in craftsmanship at Sagara in Shimoga
District to sustain the traditional crafts like 'wood carving' and 'stone carving' by providing training to especially younger generation.
Thus, the corporation is having the required wherewithal to conduct business to optimum level. In order to market the products made by the artisans across the state 11 retail sales outlets popularly known as 'Cauvery', Karnataka State Arts & Crafts Emporium at major cities such as Bangalore, Mysore, Mangalore, Hubli, Chennai, Secunderabad and New Delhi have been established. The corporation has made inroads into both national and international markets. Its products are widely accepted and admired world over. Besides, selling the artifacts in its retail outlets, the corporation has been exporting to most of the developed countries. The corporation has also launched online sales through its website www.cauveryhandicrafts.net which is gaining momentum.
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Lacquer ware Craft Complex, Kalanagar, Korlkatta, Channapatna Ramnagara District
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t is spread over in 6.37 acres of land Number of Registered Artisans - 954 Number of living cum work sheds provided to the eligible and deserving artisans - 254 . Common facility center has been established for the benefit of artisans. Wood seasoning plant has been established for the benefit of artisans Assistance to States for Developing Export Infrastructure and other Allied Activities (ASIDE) The Scheme is in vogue since Year 2002. Allocation is based on the export performance of each State and also its growth rate. The objective of the scheme is to involve the states in the export effort by providing financial assistance for the creation of critical infrastructure for the development and growth of exports. VTPC (Visvesvarya Trade Promotion Centre) is the Nodal Agency for monitoring of ASIDE Scheme from
CHANNAPATNA
Karnataka. State Level Export Promotion Committee (SLEPC) for ASIDE under the Chairmanship of Chief Secretary approves the project proposals. Criteria for approval of projects Land free from all encumbrances is a prerequisite for consideration of projects for assistance underASIDE. The proposals should reveal a direct linkage with the exports. The proposed investments should also not duplicate the efforts of any existing organization in the same field. The funding for the project should generally be on cost-sharing basis, if the assistance is being provided to a non-government agency. •However, the SLEPC / Empowered Committee (EC) may consider full funding of the project on merit.
Keeping the Hopes Alive
Eligible Agencies Under the scheme, funds for the approved projects may be sanctioned to: Public Sector undertakings of Central / State Governments. Other agencies of Central / State Governments. Export Promotion Councils / Commodity Boards. Apex Trade bodies recognized under the EXIM policy of Government of India. Individual Production/ Service Units dedicated to exports. 5.8. Submission/scrutiny of project proposals The project proposal should be exhaustive and precise. All aspects related to the project should be supported by data, surveys and projections for future.
The project proposal should be accompanied by an executive summary, which should contain the following facts:Name and complete address of the proposing organization Name and complete address of the implementing organization Status of the implementing agency (whether Government agency, Trade Body or Individual Exporters etc.) Total cost of the project. Financing pattern. Whether finance from source(s) has been tied up. Whether land, if required, is available for the project. Project phasing and date of completion. Scope of work (Type of facilities required). 43
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truly innovative scheme, it was sanctioned by the Government of Karnataka in the year 1997-98. Udyogini assists women in gaining selfreliance through self-employment, especially in the trade and service sector. Udyogini empowers women by providing loans through Banks and other financial institutions; it also provides a subsidy from the Corporation for undertaking business activities /micro enterprises. Loans are arranged through financial institutions like commercial banks, district co-operative banks and RRBs. The scheme has gone a long way in preventing women entrepreneurs from private borrowing at higher rates of interest. Under this scheme, the maximum unit cost is Rs.1,00,000/-. Age limit for the beneficiary is 18-45 years and family income limit to avail this benefit is Rs.40,000/- per annum for all women including those belonging to SC/ST. No
Udyogini scheme
CHANNAPATNA
income limit is prescribed for women belonging to special category viz., widows, destitute and disabled women. KSWDC provides a subsidy @ 30% of the loan sanctioned for widows, destitute, disabled women and women belonging to SC / STs, or Rs.10,000/-, whichever is less. In case of the general category women, the subsidy is @ 20% of the loan or Rs.7,500/-, whichever is less. Applications received are scrutinized by the CDPO of the concerned Taluk and put up for approval of the District level Committee, headed by Deputy Director / Assistant Director, DW&CD. Target for 2006-07: Physical – 660 women Financial - Rs.45 Lakhs Subsidy Schemes of the Central Government Credit Linked Capital Subsidy Scheme for Technology Up gradation (CLCSS) The Scheme was launched in October 2000 and revised W.E.F. 29.09.2005. The revised scheme aims at facilitating Technology Up gradation of Micro and Small Enterprises by providing 15% capital subsidy (12% prior to 2005) on institutional finance availed by them for induction of well-established and improved technology in approved sub-sectors/products. The admissible capital subsidy under the revised scheme is calculated with reference to purchase price of Plant and Machinery. Maximum limit of eligible loan for calculation of subsidy under the revised scheme is also been raised Rs. 40 lakhs to Rs. 100 lakh w.e.f. 2909.2005. The Small Industries Development Bank of India (SIDBI) and the National Bank for Agriculture and Rural Development (NABARD) will continue to act as the Nodal Agencies for the implementation of this scheme. Quality Up gradation/Environment management for small scale sector through incentive for ISO 9000 /ISO 14001 /HACCP Certifications
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In order to enhance the competitive strength of the small-scale sector, the Government introduced an incentive scheme for their technological up gradation/ quality improvement and environment management. The scheme provides incentive to that small scale/ ancillary undertaking who have acquired ISO 9000/ ISO 14001/HACCP certifications. The scheme for ISO 9000 reimbursement in operation since March, 1994 has
now been enlarged so as to include reimbursement of expenses for acquiring ISO 14001 certification also. The Scheme envisages reimbursement of charges of acquiring ISO-9000/ISO-14001/HACCP certifications to the extent of 75% of the expenditure subject to a maximum of Rs. 75,000/- in each case. The Scheme is valid up to 31st March 2012.
Market Development Assistance Scheme for Micro, Small & Medium Enterprises The scheme offers funding for participation by manufacturing Small & Micro Enterprises in International Trade Fairs/ Exhibitions under MSME India stall; sector specific market studies by Industry Associations/ Export Promotion Councils/ Federation of Indian Export Organisation; initiating/ contesting
anti-dumping cases by MSME Associations and Reimbursement of 75% of one time registration fee (W.E.F. 1st January 2002); and 75% of annual fees (recurring) (W.E.F. 1st June 2007) paid to GSI (Formerly EAN India) by Small & Micro units for the first three years for bar code.
The permissible subsidy is as below:
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he Govt. of India will reimburse 75% of airfare by economy class and 50% space rental charges for Micro & Small manufacturing enterprises of General category entrepreneurs. For Women/SC/ST Entrepreneurs & Entrepreneurs from North Eastern Region Govt. of India will reimburse 100% of space rent and economy class air fare. The total subsidy on air fare & space rental charges will be restricted to Rs.1.25 lakhs per unit. 
5.13. Subsidy Schemes of NSIC (National Small Industries Corporation) Raw Material Assistance Raw Material Assistance Scheme aims at helping
Small Scale Industries/Enterprises by way of financing the purchase of Raw Material (both indigenous & imported). This gives an opportunity to SSI to focus better on manufacturing quality products. The benefits of the scheme include: Financial Assistance for procurement of Raw Material up to 90 daySSI helped to avail Economics of Purchases like bulk purchase; cash discount etc. NSIC takes care of all the procedures, documentation & issue of Letter of credit in 
case of imports
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Incentives & concessions for Ramanagra
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(Channapatna is a taluk in Ramanagra) • Investment promotion subsidy for MSME a)
Micro manufacturing Enterprises Zone – 1: 25% VFA (max. Rs.10 lakhs) Zone – 2: 20% VFA (max. Rs.7.5 lakhs) Zone – 3: 15% VFA (max. Rs.5.00 lakhs) b) Small Scale manufacturing Enterprises Zone – 1: 20% VFA (max. Rs.20 lakhs) Zone – 2: 15% VFA (max. Rs.15 lakhs) Zone - 3: 10% VFA (max.Rs.10 lakhs) c) Medium manufacturing Enterprises (those who employ minimum 25 workers). Zone – 1: Rs.30 lakhs Zone – 2: Rs.20 lakhs Zone – 3: Nil • Exemption from stamp duty & waiver of
conversion fine – 100% in Zone 1 & 2; 75% in Zone 3 • Exemption from Entry Tax: 3 to 5 years
Exemption of APMC (Agricultural Produce Market Committee) Cess: 3 to 5 years • Subsidy for setting up ETPs (Effluent treatment plants): up to Rs. 100 Lakh • Anchor unit subsidy: Rs. 100 Lakh • Interest subsidy for micro units: 3 to 5 years • Exemption from electricity Duty: 3 to 5 years • Subsidy for Technology Up gradation & Quality Certification • Interest free loan on VAT for Large & mega projects: 5 to 12 years depending on investments and employment
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Marketing Assistance
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nder the Scheme, marketing support is provided to Micro, Small & Medium Enterprises through National Small Industries Corporation (NSIC) to enhance competitiveness and marketability of their products, through following activities: •Organizing International Technology Exhibitions in Foreign Countries by NSIC and participation in International Exhibitions/Trade Fairs. •Organizing Domestic Exhibitions and Participation in Exhibitions/ Trade Fairs in India •Support for Co-sponsoring of Exhibitions organized by other organizations/ industry associations/agencies •Buyer-Seller Meets •Intensive Campaigns and Marketing Promotion Events •Other Support Activities
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icro and small scale industries (SSIs) of Karnataka will now get an interest subsidy of 6 per cent for their loan availed from the Karnataka State Financial Corporation (KSFC). The state government had issued an order in this connection on last March 10. Chief Minister Siddaramaiah, had announced in the 2014-15 budgets an interest subsidy of 6 per cent for KSFC loans for micro and SSIs. With the 6 per cent interest subsidy offer, entrepreneurs can get loans from KSFC at 8 per cent now. This will encourage first generation entrepreneurs to venture into industrial projects. SSI investment limit is Rs 5 crore as
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per MSMED Act. But Karnataka Government limited this interest subsidy facility for projects up to Rs 1 crore and in place of interest rate of 6 per cent it has announced interest subsidy of 6 per cent, consequent of which SSIs now have to pay 8 per cent interest. First generation entrepreneurs can avail a maximum loan of Rs 70 lakh at 8 per cent, availing of 6 per cent interest subsidy through the KSFC along with applicable state government investment subsidy. Fair-trade partners with businesses to create a people centric approach to Sustainability that resounds with consumers. It work with multiple businesses and brands to help them source ethically from Fair-trade producers. By putting the ‘FAIR-TRADE’ Mark on products, it provide consumers a guarantee that the farmer has received a fair price for his/her crop and that environmental standards are being followed. Furthermore, the whole supply chain is audited to provide an independent assurance that what we commit to is being done. In addition to ensuring a fairer deal to the producers, it works with them and their communities for capacity building in areas such as governance, women empowerment, protecting children’s rights and other social and economic programmes. Fair-trade undertakes campaigns and awareness activities to tell citizens about the importance for them to engage with Fair-trade and how they can make a difference.
Keeping the Hopes Alive
LIFE OF A TOY
When you see the collection of Channapatna toys for first time, it will leave you awestruck. Its bright colour, smooth texture and basic simplicity of design will immediately cast a spell on you. These products appeal to adults as well as children in the same manner. It automatically will draw attention to the colours, It’s vibrant combinations, structure, the rounded contours and the basic push, pull, rattle and stack concepts which are an inherent invitation to let imagination and creativity run wild. The adults appreciate the safe, eco-friendly, non-toxic nature of the toys. It is praised in almost everywhere. The toys, which are lightweight but tough, were originally made exclusively from ivory wood (Wrightia tinctoria), or Hale mara as it is locally
known, and coated with lacquer made from vegetable dyes. The soft white colour and easy to carve texture still makes it the preferred choice of artisans; also, the bright colours used to lacquer the wood show up easily on the surface of ivory wood. However, the use of teakwood, rubber wood, silver wood, pinewood, sycamore and cedar has picked up. Interestingly, almost no wood is lost in the manufacturing process: carved out pieces go into the making of other toys and any surplus goes to the incense industry. The toys themselves can be recycled.Most of the Structure of the toys are symmetrical in nature.
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Keeping the Hopes Alive
Historical development of the industry
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he lacquer ware industry began as a household craft that catered to the local tourist market of Karnataka. Many artisans sold their wares on the roadside at Channapatna and productivity was low. In the last twenty years, the industry has grown rapidly. It now exists as small and medium scale enterprises, serving a large export market. Due to the phenomenal growth and the influence of market forces from abroad, the nature of employment, the demands on artisans and the character of the artisans have changed dramatically. As early as 1892, hereditary artists called “Chitragars� were engaged in wood-turnery, which is the basis of lacquerware artistry. Bavas miayan, a local artist, is known as the originator of the craft in Channapatna
and nearby areas. He went to study lacquerware in the northwestern state of Punjab. After a period of experimentation, he introduced study of the craft at the Industrial School in Channapatna. Bavas miayan also mechanized the craft through the power lathe. Though Bavas miayan introduced lac-turnery to encourage the Chitragar, their response was hesitant, and so admission was opened to students of other castes and religions. Bavas miayan convinced Muslims and scheduled caste members to join the course; even today, the majority of Channapatna craftspeople belong to these communities.
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NEELASANDRA
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Keeping the Hopes Alive
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eelasandra is a medium size village located in Channapatna of Ramanagara district, with total 162 residing families. The village has population of 675 with 357 males and 318 females as per Population Census 2011. With a childern (age 0-6) population of 78 which makes up 11.56 % of total population of village, Average Sex Ratio of Neelasandra village is 891 which is lower than Karnataka state average of 973. Child Sex Ratio for the Neelasandra as per census is 1167, higher than Karnataka average of 948. Neelasandra village has lower literacy rate compared to Karnataka. The literacy rate of Neelasandra in 2011 was 68.68 % compared to 75.36 % of Karnataka. In Neelasandra Male literacy stands at 78.19 % while female literacy rate was 57.61 %. As per constitution of India and Panchyati Raaj Act the village is administer by the Sarpanch, who is the
elected representative of the village. Schedule Caste (SC) constitutes 86.07 % of total population in the village. Currently it doesn’t have any Schedule Tribe population. The most important tool for lac-turnery is the lathe. All lacquer ware was traditionally produced using simple hand lathes called patris made by local carpenters. A bow string is used to turn a rotating axle in the centre of wooden lathe. The turning tool is held in the free hand and pressure is added with the foot, shaping the spinning wood. The advantage of the patri, which continues to be used by many craftspeople, is its simple construction and ease of operation. As a hand powered tool it can be used without electricity in village households.
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Raw materials
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he production of lacquer ware through the lac-turnery process involves both natural and synthetic materials. The industry is therefore totally dependent on forests for
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the primary raw materials. These forest-based products are the wood of the Hale mara (Wrightia tinctoria) tree, lac produced by the insect Technadria lacca and the
leaves of the talegiri (Pandanus odoratissimus). Synthetic materials include paints and pigments.
Keeping the Hopes Alive
Procurement of raw materials for Toy Making The major raw materials are wood & lac Wood – Hale mara Wrightia tinctoria tree which is grown in and around 6 Kms radius of Channapatna is the main ingredient of the craft. It is sourced from farmlands, cut ones are sourced saw mill. The tree is of high medicinal value, the oil extracted from it is used by the drug company, Himalaya. The tree has high pollination rate and grows with the help of rainwater, thus the ecosystem for this craft is balanced. The procured Hale wood has to be processed before moving into production
phase. The wood can be season through two methods. One method involves chemicals, the other is natural seasoning which requires adequate ventilation. Most of the industries opt natural seasoning. The wood is cut into blocks of varies sizes and seasoned ac cordingly. The duration for seasoning is for a 1x1 inch wood block, 3-4 months, for more than 2 inches it takes more than 6 months.
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ale mara wood is the basic raw material of lac-turnery. It is extremely close grained, moderately hard and easily turned into fine shapes by hand or machine. It has a very low moisture and oil content. Concludingly it helps in ensuring an excellent finish and translucency after polishing. Hale is an homegrown tree found in the forests and on village wastelands in Channapatna, Ramnagaram, Mysore, Shimoga, Chickmagalur, Hassan and Coorg in the state of Karnataka. Although hale is, without exception, the preferred species for lac-turnery, artisans will work with yellow teak (Adina cordifolia), silver oak (Grevillea robusta), ebony, rakthchandana, red wood (lal agar), blackwood (kale agar) rose wood (Dalbergia latifolia), grey wood, red cedar and pine (Pinus sp). Hale is classified by the forest department as a timber tree. The government rate for hale wood is Rs 1200 ton but private suppliers will sell it for Rs 900/ton. It is usually purchased in 10 kg billets for Rs 12.
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Wood
Keeping the Hopes Alive
Seasoning of the wood
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he procured Hale wood has to be processed before moving into production phase. The wood can be season through two methods. One method involves
chemicals, the other is natural seasoning which requires adequate ventilation. Most of the industries opt natural seasoning. The wood is cut into blocks of varies sizes and
seasoned accordingly. The duration for seasoning is for a 1X1 inch wood block, 3-4 months, for more than 2 inches it takes more than 6 months.
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Screw Pine
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alegiri (Pandanus odoratissimus) is also known as screw pine. This palm-like evergreen tree has bunches of long thick leaves and can be either densely branched or have a clear bole of up to 6 m in height.
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Found on the coast and along banks of rivers, canals, fields and ponds, the screw pine often has aerial roots. The leaf is an important accessory in lacquerware
Keeping the Hopes Alive
L Lac
ac is an deposit produced by the insect Technadria lacca. It is found on a number of forest trees, particularly kusum (Schleichera oleosa). Currently, it is collected in Bihar, Madhya Pradesh, Maharashtra, Orissa, Uttar Pradesh and West Bengal. In the nineteenth century lac was plentiful in Karnataka. This is no longer the case and supplies are imported
mostly from Madhya Pradesh. Three different varieties of lac are used in the lac-turnery process. The highest quality lac is referred to as button lac. It is light and golden coloured and can cost up to Rs 120/kg. The second is a medium brown colour and sells for Rs 80/kg. The third, poorest quality lac is dark black and sells for Rs 60/kg.
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LAC
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The production process
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he production of lacquer ware involves a series of steps, all of which can be accomplished in a household workshop. Before wood can be turned on the lathe both wood and lac must be prepared. The preparation of lacquer from lac begins with heating and softening. Lac is stuck on to the ends of two identical wooden sticks, which are heated until the lac becomes plastic and malleable. The heating process is repeated occasionally to maintain plasticity. A specific amount of lithophone is then added to the softened lac and is beaten continuously until a white tint appears. A small portion of powdered dye is mixed with a bit of water and this is added to the warm white lac. The mixture is then beaten again until the correct shade evolves. The lac then begins to assume the consistency of rubber. It
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is reheated, and before solidifying it is removed from the splinters by hand. A long thin stick of coloured lacquer 0.5 cm thick and 3 cm wide is shaped and cut into 15-20 cm lengths. Four or five sticks of one colour are prepared at a time. These sticks have a shelf life of only one month before they become hard and unfit for lacquering. The preparation of Hale mara wood for lac-turnery begins with seasoning. Logs are cut into small billets and stored away from heat and sunlight in a location with good air circulation for ten days to a month, depending on the moisture content of the wood. The edges of the seasoned billets are then chiseled and superfluous wood is removed until a cylinder is formed. The wood is now ready to be turned on a lathe.
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CRAFTMANSHIP
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A variety of cutting tools are used to shape the turning wood including chisels, gauges and snappers. Hand saws and axes are used to prepare the wood to be turned. Channapatna still uses traditional machinery and tools in terms of production equipment. These are as follows:1. The artisans have the overhead belt drivers that are driven by a small motor and one end of the belt drive converts the vertical motion into horizontal circular motion. 2. The artisans use various measuring equipment such as a compass, angles, planes and a wide variety of other such instruments. 3. For chipping they use a number of files and chisels of different shapes and sizes. 4. Colouring is done using vegetable dyes while the wooden block is still rotating on the lathe. Apart from the mechanized or hand machines they use a number of other tools to manipulate the surface of the toys, such as a drilling machine is used to drill holes in certain toys, a chisel is used to develop grooves and create curves on the surface, the vegetable dyes are used to impart eye catching and bright colours to the toys to make them attractive for the buyers and visitors who visit the village. Moreover there is a wide range of files of different shapes and sizes used to further manipulate the surface by creating other innovative designs on the toys. Used for polishing, it imparts a translucence to the finish. Bundles of 100 leaves cost Rs 20. A number of synthetic substances are used for colouring the finished products. These include lithopone, a compound of barium sulphate and zinc sulphide which is a white pigment that enables lac to lose its transparency and become opaque. Lithophane is imported from Czechoslovakia and Germany, and costs around Rs 50/kg locally. Equally important are aniline colours which are used to prepare lac sticks. The following basic colours are used: rhodamine (rose), auromine (yellow), diamond green, purple, violet and red. Finally poster colours and enamel paints are used to draw decorations and scenery onto the lac finish.
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Keeping the Hopes Alive
TOOLS
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Cutting Tools
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utting tools are applied to the revolving piece of wood so that thin continuous chips are scraped off. Skilled craftspeople are able remove uniform, thin layers of wood to create desired shapes. Once the desired shape is formed, it is sanded with sandpaper while it is still turning, until the surface is smooth and uniform. At this stage the product is ready to be lacquered. The quality of the final product depends on the skill with which lacquer is applied to the turning wood. A lac stick of the chosen colour is pressed to the revolving wood. The friction causes
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the lac to melt and spread uniformly over the area on which it is applied. Final finishing is done using a screw pine leaf to help spread the lac on the turning wood and polish the object. Buffing lends a translucency to the finished product. The lacquered article is separated with a cutting tool and removed from the lathe. At this point, some articles are further ornamented with paint. The variety of products is exhaustive. Vegetable dyes are used in the colouring process to ensure that the toys and dolls are safe for use by children.
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Electric power lathe
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ith the increasing market for lacquer ware the electric power lathe has been introduced. A power lathe has a headstock that consists of a revolving axle attached to two belt pulleys. The belt runs over a pulley mounted on a revolving shaft that is driven by an electric motor. The production time decreases considerably on the power lathe as both hands are free to operate turning tools. Power lathes are more often located in small factory settings, where there is electricity. 71
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The Toy Making Process
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he preparation of Hale mara wood for lacturnary starts with seasoning of the wood. Logs are cut into small billets and stored in a location with good air circulation, in order to reduce the moisture content for ten days to a month. Each wood is seasoned differently, depending on the moisture content of the wood. The edges of the seasoned billets are then chiseled and unnecessary wood is removed until a cylinder is formed. The wood is now ready to be turned on a lathe. Cutting tools are applied to the revolving piece of wood so that thin continuous chips are scraped off. Skilled artisans are able remove uniform, thin layers of wood to create desired shapes. Once the desired shape is obtained, it is sanded with sandpaper while it is still turning, until the surface is smooth and uniform. At this stage the product
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is ready for the application of lac. A lac stick of the chosen colour is pressed to the revolving wood. The friction causes heat which causes the lac to melt and spread uniformly over the area on which it is applied. Final finishing is done using a screw pine leaf to help spread the lac on the turning wood and in polishing the object. Buffing lends a translucency to the finished product and brings out the natural shine. The lacquered article is separated with a cutting tool and removed from the lathe. Each component are produced at a place and assembled at a different place or section. As per the requirements some articles are further ornamented and detailed with paint. Finally the product is ready for packaging and is sent for export or sale. The variety of products is extensive.
Keeping the Hopes Alive
The Modern Process
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Modern Machines
Although the Government has provided some high tech machines at the Crafts Park at Thagachagere Channapatna, it proves to be of very limited or no use to the local artisans for toy making at least. Machines available at the Crafts Park: Auto copy shaper inner: Max limit 75mm Auto copy shaper outer: Max limit 28”X3”/700mm Auto wood lathe: It can perform 3 tasks of –cutting, finishing and drilling at the same time. The Max cutting thickness in 3” Stapling machine: Used normally for 45” photo frames. It is Pneumatic driven and its max stapling thickness is 50mm. Mitre cut off machine: Maximum cutting thickness is 65mm Pneumatic as well as power driven. Straight line ripsaw: maximum cutting height is 75mm, conveyor belt driven, gives good shiny finishing. Sliding table panel saw: Can cut at an angle of 45” to 135” tilt, speed is 10,000 rpm, manual, rough, finish. CHANNAPATNA
Auto twin table tenoner: can create straight, cylindrical, tilt, T-tenon, dove-tail tenons, in 1 hour 100 piece can be done. Pneumatic router: manual, pneumatic as well power driven. Pneumatic router: manual as well as power driven. Spindle shaper: for edge shaping. Open type belt sander: for rough finish, maximum sanding thickness 150mm, can be used for 80° to 120°. Double shaft sponge sander. Horizontal drum sander Dust collector •Tool Maintenance For the mechanical lathe machines, artisans do oiling to the electric motor bearings and oscillating rod bearings from time to time. There are certain instances when it gets jammed and then they dismantle and assemble it again after removing the dust particles. The tools which the artisans use are usually bought from the junk yards which are usually blunt, they try to reuse it. Another option is to rent the tools from nearby hardware stores, where the artisans get a tool kit for rent at the price of Rs 90
per month. They use auto motors and set up lathe. The tools do get blunt after continuous usage and hence in bigger workshops artisans have electric grinders to sharpen the tools and in small workshops rub tools against stone to achieve sharpness. Artisans many a times make components themselves. •Areas where technological intervention can be used Wood seasoning: As of now the unorganized sector and even few of the organized players use traditional methods of wood seasoning. But there are various machines that can be used to make this process faster instead of waiting for months to make this process naturally. One such machine identified that can be beneficial for the Channapatna lac turney industry is the High frequency vacuum dryer machine. Potential usage of nanotechnology in wood drying: Treating poplar boards with Nano metals affects the drying behavior According to a study done by university researchers in Iran after a detailed study they concluded that silver and copper nanoparticles may have the potentiality in improving the drying quality in convective wood-drying kilns.
Keeping the Hopes Alive
Traditional Process and Tools 1. The ivory wood is set to the manual turning tool. 2. The manual lathe used on the work piece which functions based on the hand movements given by the craftsman. 3. While the wood turns on the lathe, the craftsman starts pruning and carving the work piece. 4. Pruning and carving is done using different types of tools. 5. Lac stick is pressed on the surface of wood for uniform application of colour. 6. Cactus leaf is used to smoothen the surface of the wood. 7. The colorful toy is ready to be removed from the lathe.
Technical analysis The art is not very technical and neither does it incorporate a lot of technology in its manufacturing process. The toys are still made according to few standard shapes and sizes but the measurements and sizes are made to a small degree of precision. •Tools details: (with local names) •Square headed chisel: Matulay •Round headed chisel: •Marking tool: Bayergay •Bow for hand lathe: Patri •Jaw of hand lathe: Muday •Vice or tool rest for hand lathe: Dubbay •Stool for hand lathe: Kalmadey •Clamp: Chandrika •Chisel: Bacchii •The components of Tools •Wooden handles •Steel blades 75
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•Traditional Machine A Moroccan hand lathe has been used traditionally and still used by artisans in the unorganized sector and those who work in the backyard of their homes. •The Story of Lathe A wood turning lathe rotates a piece of wood mounted between two fixed points. The wood is shaped by tools held against the rotating wood and finished with sand paper. While commercial wood turning lathes are available, wood turning has been practiced from at least the 6th century BC and possibly for several hundred years.
The string of the bow is wrapped around the work piece and a reciprocating motion is created by moving the bow forward and backwards. Whereas the strap lathes requires two people to work it, the bow lathe requires only one. The drawback is that less power is available and the turner has only one hand to control the tool. Some expert artisans also use their foot to help steady the tool. The efficiency and productivity through this lathe is very small. We have witnessed the artisans using the bow lathe in Neelasandra. All people in the backyard of their homes primarily use this Bow lathe.
•The Bow Lathe Also called Moroccan lathe is very similar to the strap lathe but the power is supplied by a bow.
•Motor Lathe During Industrial revolution, wood lathes began to become
mechanized. At the end of 19th century, electric motors began replacing mechanical power generation and line shafting. On the motor lathe the belt was attached to the motor the pole on the top. The motor caused the belt to rotate and when the belt was attached to the shaft of the lathe, the lathe rotated. One end of the lathe had the place to fit the wood and on the other end there was a fan made of plastic bottle to provide the workers with air. There are more advanced lathe machines with CAD that enable superior production capacity of upto 500 products in an hour but those machines are neither needed nor feasible for small production units at Channapatna.
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Post Production
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or export products the construction process takes place as per the specification of the buyer. The entire bulk is reviewed by producing a pre-production sample, which is approved for further production by the quality team of the manufacturer. Production involves three phases training, production and quality. Training period is based on the efficiency of the worker. It can extend from 0-3 months, 6 months or even years for a trainee to orient himself to the
production process. Production process begins after approval of the PPO, a regular lathe machine with a 3bhp motor can run 10-12 machines. Each artisan is granted with a skill, few do components of a toy and few are involved in coloring and some in mixing of colors. Turning process has most number of women in Maya organics.
Packaging
Retailing
The in house packaging process is carried out only at Shilpa, the products after they are manufactured are packed for domestic and export market by the manufacturing setup itself. FOB (freight on board) method of payment is followed by Shilpa for international and local vendors.
The exported goods are usually sold in the buyer’s name. Each manufacturing unit has its own retail store in and around Channapatna (Katerpillar – Mysore highways, MO [Maya organics own label] – Bangalore). They do not have a target audience, they are a niche segment. Their prime customers are those who appreciate the art and artisans, most of them are loyal.
Services CHANNAPATNA
Till date there is no complaints registered from the customers after usage of product in the retail store. In case of exports the rejected pieces are sold in the retail outlet of the manufacturer (Maya organics)
Keeping the Hopes Alive
Working conditions Exposure to dust – Since it is a medicinal tree, the dust has no after effects, but the employees are provided masks. Waste disposal – The dust is usually sold at Rs 3/ kg for Agarbatti production, the blocks are used as firewood. Pay structure – Most of the artisans are paid consignment basis, per piece rate.
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STRENGTHS
The distinct art form of making the toy i.e. turned wood work, The sheen from the lacquer colours. The GI held by Channapatna products that prevents similar toys from being produced anywhere else in the world. Karnataka Handicrafts Development Corporation providing marketing support to Channapatna artisans. The dyes used are natural and organic. They are hand crafted and appeal to a niche audience who prefer such goods. Karnataka State Small Industries Development Corporation Limited (KSSIDC) and Export Promotion Council for Handicrafts (EPCH) set up a Crafts Park in the late 2000s in Kalanagara and introduced mechanized facilities for production.
Attrition rate, especially in women workers. Limited reach outside Karnataka and south India. Quality problems in terms of the finishing of the product, chipping of the wood during transportation and the seasoning of the wood. Long and expensive training periods after which artisans often leave or go independent Machinery
WEAKNESSES
OPPORTUNITIES Expansion of the product line from toys to home dĂŠcor and more. The massive export potential due to its demand in the international market. Exploiting e-commerce channels to increase reach. Tapping the unorganized sector of these artisans. Putting efforts into marketing and increasing awareness about the product nationally. Spreading awareness about the art itself. Karnataka government had sanctioned a sum of Rs 650 lakh for the project, which is open to all exporters and artisans. The ready availability of Chinese toys in the market acting as substitutes. Imitations in the market which closely resemble the real product. Use of black poster colour instead of indigo due to its high price.
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THREATS
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SWOT ANALYSIS
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“Chanapatna toys even adorn the shelves of the White House in The United States of America. Michelle Obama, during her recent trip to India was very impressed with these toys from Channapatna and bought some of them to take back to the White House as mementoes.” “The toys of Channapatna feature in every major exhibition showcasing Indian crafts and goods.” “Microsoft India is one of Channapatna’s biggest customers! Apparently, they source a lot of
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mathematical games and puzzles as part of their drive towards education to all children and use these toys to impart knowledge and education to the under privileged children of the emerging markets of the world.” “In the 2015 Republic Day parade, when US President Barack Obama was the guest of honor, Channapatna toys were featured for the first time in the State’s tableau, and took home the third prize.”
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“In Chennapatna the Russian Doll Designs are being replicated using Hale Mare wood�
DID YOU KNOW ? 83
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THE SILK CULTURE
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The Curtains behind the spotlight.
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ehind the spotlight of the toy making craft the curtains hide a few other crafts that seem invisible to the naked eye. It was an afternoon of roaming in the mohallas when a strong smell hit our nerves. It wouldn’t be justified to describe it as a fragrance, but it was rather something that caught our attention. We wouldn’t move forward without interrogating on the same. This lead us to a small house, atleast that’s what it looked from the outside. With raging curiosity, we stepped inside, and witnessed an amazing sight. As we entered we saw a tandoor, where 4 people were boiling something in the pans. As the smoke cleared we could see what they were boiling. It looked like some insects. On asking we got to know that it was nappa’s cocoon that they were boiling. As we moved away we saw various stations where there were motors were running and ladies were separating the boiled nappa’s cocoon and attaching a strand to a reel which would spin and make a roll. Further bigger machine would spin the small rolls into a
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bigger yarn. Working since 1980 Chaudhary Faiaz, owner of a small scale home run family business, employing about 10-12 local people. Faiaz ji has had this business run by his family for two generations, having eight members in his family, all the males supervise the business. They hire people, teach each one of them all the process from the beginning to the end, train them for a few days and after the training is complete the employees become permanent. They get paid around Rs 200 – 500 per day for working for 6-8 hour a day on an average. Syed Khurram, son of Mr Faiaz guided us through the process of silk reeling and other important details. They obtain the insects from Khariyat – Tipu farms. Government also provides some subsidy on these cocoons. There are basically two kinds of nappa’s cocoons: one white in colour and the other in yellow colour. The white cocoon is slightly better in quality, and also stronger than the other one; Thus it is sold at higher price compared to the yellow cocoon. After obtaining
the insects they are kept in a moist environment for more than 10 days. During this period the insect goes into another stage of its lifestyle, where it covers itself with its saliva and starts forming layers around its body making a cocoon. When the layer is thick enough, the cocoon with the insect is boiled in hot water so that both can be separated. After this, the residue is given to the work station where with the help of the spinning mechanized motors the strands of silk is rolled into a reel. Eventually all these rolls are attached together into a bigger reel, where all the strands are spun together to make a yarn. 1kg is sold for Rs 2600. In about 10kg cocoon around 2 to 4 kg of silk yarn is produced; To which the Chinese silk gives a competition – they produce 5 to 6 kg of silk yarn in the same amount of cocoon, which is sold at a lesser price but the quality is lower compared to nappa silk.
Tipunagar 20th July 2016.
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THE MODERN SILK FACTORY
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e also saw a contrasting image of silk reeling, after exploring a bit more a strange harsh sound made us stop outside a house. We couldn’t find a door, but peeped through the window. About on 6-7 mechanized machines silk reeling was going on. Being questioned about our invasion by the owner of the building, he showed us a way in. He introduced us to a person named Chand Pasha, who was the manager there. He guided us further and shared various details. We couldn’t converse with the workers because of the
language barriers but they sure didn’t mind posing for the camera. They would buy the reels of silk from Bengaluru, spin them into yarns and send them back to Bengaluru. Sold at the price of Rs 3000 per kg. This business employed around 9 people – divided into 4:5 male female ratio. Each receiving payment of Rs 400 per day. The work was easy as it was fully mechanized.
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BAMBOO CRAFT
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ne more Hidden craft we found while wandering around the railway station in a place, known as Alakeri. It was the weaving of bamboo done by a person named babu. His condition didn’t look good. He was only able to make Rs 100-150 per day, while he would have spent the entire day on working on tokries of different different sizes, used all over India for various purposes. He and his old mother had been working since past 50 years and only made enough money to build their own house.
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eft school at the age of, 6 because of the financial problems his family had. Inheriting the passion for cutting and shaping colourful stones into beautiful rings, from his family. He started working for his owner along with his father. Learning all the required skills from his father is now a master in stone crushing. He is now single handedly making 10-12 beautifully cut stones ready to be made into a pretty hand jewelry. Having a family of three children and a wife, Sandel wishes to earn enough to send his children to school. He buys 1kg stones, usually for about Rs 1000 – 1500 from some middle men, who buys it
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from the jungle. Not reveling much about the source. 1gm of the processed stones are sold for Rs 50 – 100, which are used further in making rings. People from Jaipur buy it. The process includes grinding, naice coating and buffing. Even after putting so much of effort, he only gets Rs 300 that too every Sunday. The working conditions are fine; He works in a small hut, on the floor and has a high density, single yellow bulb placed right above his working place, hanging low from the roof. The only problem he had was due to the heat and density of the light, which eventually causes strain in his eyes and makes it very weak day by day.
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The story of a stone crusher
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Artist Interviews
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SALMA Age: 45 Sex: Female
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alma has been an inspiration for many artists in the toy town. Being associated with the craft for more more than two decades now, she is a respected and known personality in the Channapatna toy industry. She found her interest in toys at an early age. Being a women of the Islamic community she had to overcome many obstacles to enter into a male dominating industry. She was demotivated, but her love for the toy making craft proved to be strong, strong enough to shut the mouths of the critics. She paved the way for many to follow in her footsteps. A member of 10+ Self Help Groups, her contribution to the artist community is notable. Participating in varoius exhibitions world wide has given her a perspective of about the appreciation of the art of the craft around the globe. She has represented India in many craft
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exhibitions globally, and the response she received from the global market is notable. She thought that the Chinese toys might have greatly affected the Channapatna toy industry but Salma was surprised to have experienced, that during an exhibition in China, in which she was supposed to be exhibiting her designs for a period of four days she received great response and she was sold out within a matter of few hours. One thing that made her stand by the test of time was the fact that she kept changing her designs as per the requirements of the market and kept upgrading herself with the new technology.
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Only master craftswomen of Channapatna 97
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his young artist was a delight to talk to. He loves what he does. Painting has been his passion since childhood. It was a financial setback that urged him to employ himself as an artist at Bharat Arts and Crafts to support his family. Learning has been a continuous process throughout the 15 years and that he has been practicing the art. The only thing he ever wished in return for the years he has devoted for the art, is to recieve some appreciation and recognition as an artist. Living in a family of seven and being the only earning member of the family, he has lived a life lifting all the responsibilities with pride. It’s a matter of pride for him to be one of the very few painters who are still in practice. The past decade has been a tough time for the painters he says. Most gave up to the economic crisis and moved into the nearest
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cities like Bengaluru and Mysore in search for jobs, ranging from security guards to auto-rickshaws drivers in the city. The government and its policies have failed to do any good to the artists and the development of the art. Peer expresses his disappointment towards the government which according to him has been a silent spectator in the midst of the sea that washed away the shores of the art. He is entitled to an artisan quarter by the government which he never received. His sheer unhappiness about infiltration of Chinese toys in the Channapatna toy market can be felt in his words too. The only help he expected was that the government atleast bans the import of such low quality and cheap products that is destroying the market. Even after all the hardships he faced he says it’s his love for the art that’ll make him keep practicing it in the years to come.
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Age: 30 Education : Middle Primary ( 6th standard dropout due to poor financial condition of family) Daily Earnings:â‚š 220-250
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Suhail Parvez Bharat arts and crafts
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n his own words, he said “Channapatna, also known as the toy town has been facing some basic difficulties over the years. Raw material sourcing and uneven power supply are the major ones. There has been no support received whatsoever regarding these issues. We need the base support to strengthen our craft and the community. The awareness of the craft being practiced in Channapatna is more in the European countries and in the US than in India. True Indian art and craft is hardly present in the Indian homes, but is available in the White House in Washington D.C. The art of making Channaptana toys is a unique form of art that is hardly found anywhere else in the world. The wood used for the craft i.e; Ivory wood (locally known as Hale mara) can be hardly used in any other industry. Also our craft has a rate of nearly zero percentage of wastage. Even the saw dust is used in the incense stick making and mosquito repellent coil making industries. The toy town has contributed to the economic growth of the nation. Channapatna is known to the world longer than it has known Bengaluru. The history of the town boasts of its richness in itself. Few years back the entire town was solely making toys for a living. The now quiet mohalla’s used to have the essence of a small scale industry in every house. Even the female members would be seen
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making toys, it was a family business. The situation has changed drastically over the past couple of years. There used to be huge demands for hand painted napkin holders in the international market, especially from the hospitality industry. 4-5 star rated hotels from around the globe would place orders with us. But suddenly the export scenario has collapsed and it has greatly affected the artist at a level, where they had to move to other professions to earn their daily bread. There is still huge market for the Channapatna toys worldwide but sourcing the raw wood from the forests is a big challenge now with the interference of the police mafia in this region. Nothing reaches the town if their pockets are not filled. A public-private amalgamation can do wonders for channapatna. Also a certification course initiated by the government can attract the educated youth to work in this sector. Everyone demands some sort of certification, as it adds to the value of the work. We want designers to come in and contribute to our craft community by providing us with new designs. Each new design has a minimum life cycle for 6 months in the market. A few new products can make sure an artist has enough work to feed his family and this can help revive the craft.�
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Animator and proprietor of Bharat arts and Crafts 101
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Points to Ponder
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hannapatna cluster has survived through the thicks and thins over the years since its inception. It has mechanized it processes and increased production capacity. Though a lot has been done for the organized sector and labor has become more or less skilled by practicing the art every day, the unorganized sector yet remains untapped and overlooked. The real charm of Channapatna is that the craft is not practiced in large-scale industries and factories, but within the confinements of small houses. In reality, the entire toy making industry is a smallscale industry. Some are so small that the work is done right outside the homes of these skilled artisans. But the majority of them shop are where four to six people can work together. This aspect has certainly made a mark on the international circle. Nearly all the toy factories (big and small) are open from Monday through Saturday except for national or state holidays and the
small factories are open on Sunday. Even if they are closed, the owner might open it if interested travellers come along. Toys can be bought directly from the toy factories for a cheaper price, though you can still bargain if you want to. The village of Neelsandra, which specializes in bead making is still under the laps and is not able to connect to the market, mainly because of lack of infrastructure and proper channel of distribution. The only product that the village is confined to is the car seat cover. It needs government assistance in form of subsidies and training programs to learn to develop new products and use of machines. Due to the high procurement costs of raw materials, the cost of production is high and in turns the price of the final product. This had enabled Chinese wooden toys to invade the market. It poses a great threat to the native products. The main reasons for the dip in
popularity were the inability of the artisans to recognize and keep pace with changing demands in the toy scene, their inability to advertise on a mass scale and the influx of inferior, mass-produced, cheaper Chinese toys in the market. When the quality and safety of Chinesemade toys came under the scanner, especially with rumors circulating about their use of toxic lead paint, the safe and reliable Channapatna toys found new markets. Government should thus provide subsidies for raw materials to reduce the cost and prices. This will increase the domestic sales and exports. The cluster needs more recognition and awareness throughout the country and globally. Also the artisans should be awarded for their work, which will enhance the appeal of the products and leave a mark of Channapatna on the traditional handicrafts map.
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Conclusion
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hannapatna has the potential to emerge as a huge contributor to the national economy but sadly the negligence of the government is killing this town. The government is unable to curb the Chinese market penetration which has affected the toy market is a drastic manner. The policies made in the centre never reached the one who was to be benefitted through it. Money never disappears in thin air, it takes the form of moisture for the one who sweats for free. All an artist seeks is appreciation. Appreciation for his skill, for his hard work and we are unable to give it to them. We need to understand that what they do is special and promote that speciality wherever possible. The pride for the art is missing. People appreciate this craft around the globe but we Indians have failed to promote it within our land. Again the question arises, Who is at fault? Who will take the responsibility? The same government who funded us for the craft cluster study could have rather spend the money directly on uplifting the lives of the artisans and provided them with better living conditions. The policies are not working.
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A
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Admissible - acceptable or valid, especially as evidence in a court of law. Ancillary - providing necessary support to the primary activities or operation of an organization, system, etc. Artistry - creative skill or ability. Audited - conduct an official financial inspection of (a company or its accounts). Auromine- yellow coloured dye Axle - a rod or spindle (either fixed or rotating) passing through the centre of a wheel or group of wheels.
Gauge - an instrument that measures and gives a visual display of the amount, level, or contents of something. Geographical Indication - is a sign used on products that have a specific geographical origin and possess qualities or a reputation that are due to that origin. Glitch - a sudden, usually temporary malfunction or fault of equipment. Grevillea robusta – Biological name for Silver Oak
B Billets - a place, especially a civilian’s house, where soldiers are lodged temporarily. Buffing - polishing something
Hale mara - Soft wood used for making Chanapatana toys, featured by its softness and moist nature. Hoblie - defined as a cluster of adjoining villages administered together for tax and land tenure purposes in the states of Karnataka and Andhra Pradesh, India.
C
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Centric - in or at the center; central. Chisels - a long-bladed hand tool with a beveled cutting edge and a handle which is struck with a hammer or mallet, used to cut or shape wood, stone, or metal. Closepet – areas in ruling time of Tipu Sultan. it was then called closepet after sir Barry close (1756–1813) in pre-independence times. Confinements - restrictions Counterfeits - made in exact imitation of something valuable with the intention to deceive or defraud.
Inherent - existing in something as a permanent, essential, or characteristic attribute. Jurisdiction - the official power to make legal decisions and judgments.
D Destitute - extremely poor and lacking the means to provide for oneself. E Epigraphy - is the study of inscriptions or epigraphs as writing; it is the science of identifying graphemes, clarifying their meanings, classifying their uses according to dates and cultural contexts, and drawing conclusions about the writing and the writers. Envisages - contemplate or conceive of as a possibility or a desirable future event.
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K Kale agar – Black wood Kusum - Schleichera oleosa L Lacquerware - decorative articles, typically made of wood, that have been coated with lac. Lathe - a machine for shaping wood, metal, or other material by means of a rotating drive, which turns the piece, being worked on against changeable cutting tools. Lal agar - Red wood Lithophane - a kind of ornamentation of porcelain visible when held to the light, produced by pressing designs into it when soft. M Mitre - a joint made between two pieces of wood or other
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material at an angle of 90°, such that the line of junction bisects this angle. P Pandanus odoratissimus – Biological name for screw pine Permissible - allowance, permission Pinus sp. - Biological name for Pine Procurement - the action of obtaining or procuring something. P.P.O. – Preferred Provider Organization Prerequisite - a benefit, which one enjoys or is entitled to on account of one’s job or position. R Rakthchandana – Red Sandalwood Resonance - the power to evoke enduring images, memories, and emotions. Reimbursement - is a repayment for money you’ve already spent. Rhodamine - rose coloured dye Rose wood - Dalbergia latifolia S Siphon - a tube used to convey liquid upwards from a reservoir and then down to a lower level of its own accord. Once the liquid has been forced into the tube, typically by suction or immersion, flow continues unaided. Scrutiny - critical observation or examination. Sycamore - a tree with leaves divided into five parts and seeds that turn around slowly to the ground when they fall Sarpanch - Head of a particular village Splinters - a small, thin, sharp piece of wood, glass, or
similar material broken off from a larger piece. Superfluous - unnecessary, especially through being more than enough. T Taluqdar - is a term used for Indian landholders in Mughal and British times, responsible for collecting taxes from a district. It may convey somewhat different meanings in different parts of Bangladesh, India and Pakistan. Taluq - a subdivision of a district; a group of several villages organized for revenue purposes Turnary - consisting of three or groups of three Translucence - permitting light to pass through but diffusing it so that persons, objects, etc., on the opposite side are not clearly visible. Talegiri - is an aromatic monocot species of plant in the Pandanaceae family, native to Polynesia, Australia, South Asia (Andaman Islands), and the Philippines. It is commonly known as screw-pine. Tenoner - a woodworking machine for making used to made mitre Tableau - a group of models or motionless figures representing a scene from a story or from history; a tableau vivant. W W.E.F. - World Economic Forum Wrightia tinctoria – biological name of Hale mara wood.
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Bibliography •https://www.google.com.pg/search?q=obama+channapatna+toys+republic+day+2015+india&biw= 1366&bih=667&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwim6fH84_
zJAhWDPo4KHfgXCzEQsAQIIw#tbm=isch&q=obama+with+channapatna+toys+re public+day+2015+india •http://www.thehindu.com/multimedia/dynamic/02286/23bg_chennapatna_e_2286219c.jp g •http://www.thehindu.com/news/national/karnataka/surge-in-sale-of-channapatna- toys/article7759821.ece •http://www.mouthshut.com/review/Channapatna-review-lsmmptmqnr •https://en.wikipedia.org/wiki/Channapatna_toys •http://craftspark.org/about-us.html •https://www.google.co.in/search?q=channapatna+corporate+sector&biw=1093&bih=534&source= lnms&tbm=isch&sa=X&sqi=2&ved=0ahUKEwi_q_CZyvzJAhVVBI4KHazCC0cQ_AUIBygC •https://www.facebook.com/Aatike/ •http://www.thehindu.com/news/national/karnataka/surge-in-sale-of-channapatna-toys/article7759821.ece •http://www.dnaindia.com/lifestyle/report-traditional-karnataka-channapatna-craft-sees-a-revival-2113942 •http://planningcommission.nic.in/reports/peoreport/cmpdmpeo/volume1/150.pdf •http://www.mondaq.com/india/x/366528/Corporate+Governance/Corporate+Social+Responsibility+ Indian+Companies+Act+2013 •http://www.channapatnacity.mrc.gov.in/sites/channapatnacity.mrc.gov.in/files/SStreetsweepingtender.pdf •http://www.indiamart.com/mayaorganic/aboutus.html •http://www.plymouthart.ac.uk/documents/Gent__Christine.pdf •http://craftspark.org/infrastructure.html •https://www.vtpckarnataka.gov.in/activities/aside-scheme/ •http://www.business-standard.com/article/economy-policy/interest-subsidy-for-ssi-loans-raised-inkarnataka-115061200921_1.html •http://globalbizresearch.org/chennai_conference/pdf/pdf/ID_C486_Formatted.pdf •\http://kpsc.kar.nic.in/Bio Data Raghunandan Ramanna.pdf •http://www.wipo.int/edocs/mdocs/sme/en/wipo_smes_hyd_07/wipo_smes_hyd_07_www _91823.pdf •http://www.fao.org/docrep/x5859e/x5859e04.htm •https://en.wikipedia.org/wiki/Varnam_-_Handcrafted_in_Channapatna •http://www.pucl.org/Topics/Gender/2007/channapatna.pdf •http://www.indianmirror.com/culture/indian-specialties/channapatnatoys.html •http://gaatha.com/channapatna-toys-history-process/ •http://www.telegraph.co.uk/finance/recession/4511451/China-outraged-after-India-bans-all-toy-imports.html •http://timesofindia.indiatimes.com/india/China-made-Channapatna-toys-They-sell-by-the-dozen/articleshow/49117213.cms •http://epch.in/ •http://www.thenewsminute.com/article/tragedy-channapatna-land-wooden-toys-india CHANNAPATNA
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•http://www.researchandmarkets.com/research/q6j5g2/toys_market_in •www.cauveryhandicrafts.net •http://www.thenewsminute.com/article/tragedy-channapatna-land-wooden-toys-india •http://www.indianmirror.com/culture/indianspecialties/channapatnatoys.html •http://www.beontheroad.com/2011/02/incredible-world-of-toys-at-channapatna.html •http://www.bloncampus.com/columns/brand-basics/the-channapatna-toy-story/article8691097.ece •http://www.businesstoday.in/magazine/cover-story/revival-channapatna-toys-comeback/story/201836.html •http://www.citypopulation.de/php/indiakarnataka.php?cityid=2942109000 •http://www.censusindia.gov.in/2011census/dchb/2930_PART_B_DCHB_RAMANAGARA.pdf •https://en.wikipedia.org/wiki/Channapatna •http://www.census2011.co.in/data/subdistrict/5607-channapatna-ramanagara-karnataka.html •http://fashion.mithilaconnect.com/social/220-6-popular-traditional-toys-in-india •http://www.livemint.com/Leisure/zYEgmRno5tPeWYhSok8nJN/Channapatna-Karnataka-Back-in-the-game.html •https://seemaawasthiblog.wordpress.com/tag/south-indian-kolu/ •http://www.dsource.in/resource/channapatna-toy-ii/introduction •http://www.karnataka.com/festivals/dasara-dolls/ •https://bindumadhavi.wordpress.com/2011/03/16/gombe-habba-the-doll-festival/ •https://en.wikipedia.org/wiki/Golu •http://villagemap.in/karnataka/bangalore-rural/channapatna.html •http://ourhero.in/cities/channapatna-803239 •http://www.onefivenine.com/india/villag/Ramanagara/Channapatna •http://www.thehindu.com/todays-paper/tp-national/people-prefer-channapatna-toys-tothose-from-china-artisans/article4000936.ece •http://www.brainsail.com/1218/article/festivals-of-karnataka •http://www.youthkiawaaz.com/2016/06/channapatna-toy-industry-floundering/ •http://maaati.com/images/RoadSaga/Channapatna%20Chapter.pdf •http://www.newindianexpress.com/cities/bengaluru/Doll-Tradition-Alive-DespiteOdds/2014/09/25/article2447618.ece •http://www.sindhindia.com/p/karnataka/ramanagara/channapatna/channapatna-2/ •https://www.namastecraft.com/blog/channapatna-a-land-of-wooden-toys/ •http://www.deccanchronicle.com/nation/current-affairs/240416/this-town-does-not-toywith-drought.html •https://lbb.in/bangalore/festival-of-dolls/#!/
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THE TEAM
PRASENJIT SINGHA
HISAM PUTHALATH
GOKULKRISHNAN
CHANNAPATNA
ISHITA SRIVASTAVA
ASHISH KUMAR
Keeping the Hopes Alive
PRASENJIT SINGHA
(MAIN COORDINATOR, INVESTIGATOR, CONTENT WRITER)
ISHITA SRIVASTAVA
(INVESTIGATOR, CONTENT WRITER)
HISAM PUTHALATH
(GRAPHIC DESIGNER, ILLUSTRATOR, PHOTOGRAPHER)
GOKULKRISHNAN
(PHOTOGRAPHER, GRAPHIC DESIGNER, VIDEOGRAPHER)
ASHISH KUMAR
GRAPHIC DESIGNER, VIDEO EDITOR)
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A week at Channapatna was a different experience in itself. The organised but chaotic market, the skilled but poor artists, and the simplicity. It touches one’s soul. The hospitality we experienced is worth mentioning. They might not live in houses as big as their hearts but their life is special. What they do, they do it with pride. The gallis and mohallas are the identity of the town. An afternoon Chai would provide us with the refreshment for the day. And the long bus journeys never would have been easy without the numerous games we played as a family of friends. The landscapes would never disappoint, each day was a new experience. The hills and lakes and the rains we chased. Channapatna gained a place in our hearts. For all it has given us, the morning rush to catch the bus, all was worth it. Thou shall remember it.
FASHION COMMUNICATION 2014-18 CHANNAPATNA
National Institute of Fashion Technology, Bengaluru