ONCE UPON A TIME
At 7:35 p.m
On 29th October
JOURNEY BEGINS.......
ACKNOWLEDGEMENT Firstly we would like to thank NIFT for giving us such a great platform for learning and understanding about such crafts, we would like to thank our centre co-ordinater Mrs. Jayati Mukherjee for giving us the opportunity to learn and enhance our knowledge in the field of craft. We would also like to thank our mentors for giving us their valuable time and guiding us. Mrs. Jayati Mukherjee for Technical Drawing, Mr. Chirapriya Mondal for Documentation, Ms. Radhika Kishorpuriya for Design Development and Prototyping, Mr. Souvik Bose for Craft Study & Mr. Sumantra bakshi for Research Methodology. And last but not the least We are thankful to all the artisans who helped us during our craft cluster programme.
INTRODUCTION The ancient people of Bengal were different in race, culture and language from the Aryans. The original inhabitants of Bengal were non-Aryan. And it is this culture that is largely reflected in Bengal's long running tradition in mask artistry. Though is a lot of ambiguity about the origin of masks in Bengal, it is evident that masks were of great religious importance owing to the belief in spells. Tribal priests would wear these masks and exhibit various magical skills. Mask-making began not too long ago, when artisans across the region practiced this art form; from 1990 attempts were made to unify them under the wings of theMahishbathan Gramin Hostoshilpo Samiti.Thus over the timescale of hundred thousand years, masks became a popular prop in Bengali culture , many of them being used in various dance forms performed to appease the demon gods and to usher in peace as well as prosperity.
CRAFT BASED DESIGN PROJECT
ABOUT THE CRAFT CLUSTER The Craft Cluster Initiative of the National Institute of fashion technology is a carefully developed formula for integrating the crafts sector of the country with the mainstream. NIFT, with active support from the Ministry of Rural Development, Office of Development Commissioner (Handicrafts & Handlooms) and National Centre for Jute Development is developing and implementing a craft cluster initiative towards the overall progress of craft, the cottage industry and vocational activities. The intention of the project is to involve NIFTs professional capabilities in the areas of design, technology, marketing and management along with external expertise, and synergise all developmental activities by various government and non-government agencies.
LOCATION OF UTTAR DINAJPUR
Kaliaganj is a city and a municipality in Uttar Dinajpur district in the Indian state of West Bengal. Map is showing the location of Uttar Dinajpur
HOW TO REACH KALIAGANJ FROM KOLKATA
There are no flights between Kolkata to Kaliyaganj. By train: There is direct train between Kolkata and Kaliyaganj. You can take Radhikapur Exp from Kolkata to Kaliyaganj. RAIL DISTANCE
DRIVING DISTANCE
464KM
408KM
DEMOGRAPHY As of 2001 India census. Kaliaganj had a population of 47,639. Males constitute 52% of the population and females 48%. Kaliaganj has an average literacy rate of 70%, higher than the national average of 59.5%: male literacy is 76%, and female literacy is 64%. In Kaliaganj, 12% of the population is under 6 years of age.
General
West dinajpur district - North Bengal - Raiganj Wildlife Sanctuary
Subdivisions
Islampur - Raiganj
Municipalities
Dalkhola - Islampur - Kaliaganj - Raiganj
Community development blocks Rivers Transport Railway stations Lok Sabha constituencies Vidhan Sabha constituencies
Islampur subdivision - Chopra, Goalpokhar, Goalpokhar II, Islampur, Raiganj subdivision – Hemtabad, Itahar, Kaliaganj, Raiganj Mahananda NH 31, NH 34 Dalkolha, Radhikapur, Raiganj Raiganj, Chopra, Islampur, Goalpokhar, Chakulia, Karandighi, Hemtabad, Kaliaganj, Raiganj, Itahar
TYPES OF CRAFT
The people of dakshin dinajpur usually follow these two main crafts:WOODEN MASK BAMBOO MASK WOODEN MASK The ecstatic wooden mask of Kushmandi in Uttar Dinajpur district is associated with the Rajbangshi community of the area. Around 150 artists are into making wooden masks locally called as "Mukha". The wood is generally sourced from the Gamar trees. These masks are a part of the costume of the traditional Gomira dancers who perform it during Chandi Puja. It is a dance cum mime performed by various ethnic groups of Dinajpur. The themes of the masks are generally spiritual, historic and religious. Bold demonic look is the characteristic feature of the masks. An annual festival is held by the crafts persons during the month of December where they showcase their crafts. BAMBOO MASK Mahishbathan in North Dinajpurs Kushmandi block is famous for bamboo masks based on popular folk and mythological characters like Moshan, Narorakshas, Hanuman, Chamkali, Chamunda etc., with bamboo vases, trays, incense stands, pen stands also being manufactured by the artisans here. Mask-making began not too long ago, when artisans across the region practiced this art form; from 1990 attempts were made to unify them under the wings of theMahishbathan Gramin Hostoshilpo Samiti, and scholars from different parts of the world come here to observe the age-old intricate process of bamboo-carving. Bamboo pieces are kept submerged in large reservoirs containing water mixed with mulberry gum powder, bleaching powder and sal; the pieces are taken out after a week and sun-dried. The price of a mask depends on the type of wood it is carved from – with timber varieties such as Gamari, Sal, Mango, Pakur, and Mahogany mainly being used.
STUDY OF EXISYING PRODUCT WOOD CRAFT MATERIALS Gamar wood TOOLS Hammer Chisels of different sizes and shapes MOTIFS AND HISTORICAL SIGNIFICANCE OF THE MOTIFS The wooden masks are meant for use in Gambheera dances or Palas (musical folk theaters), as the carvers, or the performers, treat each mask philosophically, by considering it as the Mukha (face), rather than a Mukhosh (mask) – the belief being that it comes alive as soon as one puts his face behind it. The ancient people of Bengal were different in race, culture and language from the Aryans. The original inhabitants of Bengal were non-Aryan. It is this culture that is largely reflected in Bengal's long running tradition in mask artistry. Though is a lot of ambiguity about the origin of masks in Bengal, it is evident that masks were of great religious importance owing to the belief in spells. Tribal priests would wear these masks and exhibit various magical skills. Thus over the timescale of hundred thousand years, masks became a popular prop in Bengali culture , many of them being used in various dance forms performed to appease the demon gods and to usher in peace as well as prosperity.
COST OF PRODUCTS
The price of the mask depends upon the type of wood, it is carved from, its intricacy, material costing and finishing.
IMPROVISATIONS ON DESIGN
Earlier the artisans used basic traditional designs and motifs which were only used in making mukha, they were not aware of the fact that this craft can also be incorporated in making products which the next generation thought of exploring it in different way,by reducing the size of mukha as well as incorporating the traditional designs in useful and decorative products.
MAJOR ACHIEVEMENT
Workshops done with the crafts persons targeted increasing marketability through innovation in existing product ranges like reducing the size of wooden mask, Sitalpati using reactive dye and also development of new product range like utility items. The rural craft hubs are also being developed aiming at evolving the craft villages as tourism destination offering authentic experience of indigenous life. Village festivals are being organized to create local ‘recognition, attracting visitors, developing new partnerships including media and benefitting the larger communities around craft villages. For the recognition of craft and artisans participation of the crafts persons in different national and international fairs and exhibitions are being facilitated. Department of MSME&T, Government of West Bengal has partnered with UNESCO to unleash the potential of craft sector of the state in terms of employment, enterprises,
BAMBOO MATERIALS Bamboo TOOLS Hammer Chisels of different sizes and shapes TREATMENT AND PREPARATION OF RAW MATERIALS Bamboo pieces are kept submerged in large reservoirs containing water mixed with mulberry gum powder, bleaching powder and sal; the pieces are taken out after a week and sun-dried then after processing & resize the beautiful masks born with the beautiful artistic hand work of the village artisans. These ornate bamboo masks adorn a large number of homes in all over the India. MOTIFS AND HISTORICAL SIGNIFICANCE OF THE MOTIFS Bamboo masks are based on popular folk and mythological characters like Moshan, Narorakshas, Chamkali, Chamunda, Hanuman etc. with bamboo vases, trays, incense stands, pen stands also being manufactured by the artisans here. COST OF PRODUCTS The price of the mask depends upon the type of bamboo, it is carved from, its intricacy with timber varieties, material costing and finishing.
INITIAL FINDINGS AND EXPLORATIONS SUMMARISED DATA :-
80% people in the village are educated and among them maximum are higher secondary pass
80% people in the village are educated and can read and write
70% artisan is involved in craft related activity throughout the year
30% of crafts man are involved in farming and another different work apart from handcraft
60% of the craft has been practised by the family for 10- 25 years
Among the crafts person 80% are male
Maximum craft members monthly income is 7500 – 10000 only
They are not so aware of savings only 50% of them do keep some amount in post office as banking system is not nearby.
All of them have their own house
50% of house are made of Clay
70% of crafts man makes products depending on Traditional design
The designs are mostly their own deign 80% makes products of their own design only
Most of the families got their houses inherited
70% of people has recently bought mobile
60% of Crafts man are skilled and 30% of them are master craftsman
60% of craft man wants new and innovative design
Now most of them have internet
The price of the products mainly depends on raw material and labour cost
60% of them sells their products in melas and fes vals.
EXPLORATIONS
Mukha has been incorporated on products like lampshade along with the stand., can be used as a decorative item as well.
A tree shaped structure made out of gamar wood is used as a lampshade keeping the traditional touch of the craft.
CRAFT BASED DESIGN PROTOTYPING
TECHNICAL DRAWINGS
A
C
B
Technical drawing of cup stand drawn in AutoCAD, which shows:A as Front View B as Top View C as side view
A
C
Technical drawing of bottle and glass stand showing:A as Front View B as Top View C as side view
B
A
C
Technical drawing of knife stand drawn on AutoCAD, which shows:A as Front View B as Top View C as side view B
A
C
Technical drawing of towel hanger showing:A as Front View B as Top View C as side view
B
A
C
Technical drawing of towel hanger showing:A as Front View B as Top View C as side view
B
A
C
Technical drawing of sauces stand which shows:A as Front View B as Top View C as side view
B
PROCESS IN MAKING PRODUCTS
1. CUTTING DOWN THE SHAPE
5. FINAL PIECE
2. USING CHISEL TO GIVE THE PROPER FORM
4. USING SANDPAPER TO SMOOTH THE EDGES
3. ARTISAN FINISHING UP THE PART OF PRODUCT
1. CUTTING OF THE REQUIRED SHAPE
2. CUTTING OUT THE EXTRA WOOD
3. GIVING DEPTH TO THE FORM
1. DRAWING THE DETAILING OF THE FORM
2. ARTISAN ENGRAVING THE REQUIRED DESIGN
3. FINAL PIECE
KITCHEN ACCESSORIES RANGE DESIGN INSPIRATION: EGYPTIAN FINAL PRODUCTS
Towel Hanger Made out of gamar wood
Cup Holder Made out of bamboo and wood
Bottle & Glass Holder Made out of bamboo & wood
Napkin Holder Made out of gamar wood
Sauses Stand Made out of gamar wood
Knife Stand Made out of wood
FUTURE SCOPE Handicrafts of Uttar Dinajpur embody rich heritage of aesthetics, creativity and artistry. The sector represents economic lifeline of the vulnerable sections of the society, with women accounting for around 50% of the artisans and a significant number belonging to the weaker sections of the society. The craft needs to get recognised worldwide, with the help of print media and social media. Also exhibition can be held in different part of our nation so that n number of people are aware of the heritage of the craft & also with the help of foreign exchange programme.
THE DAYS TO REMEMBER
The day we le
for kaliaganj, our college bus,
Radhikapur Express train , that local bus, those streets, friends, ďŹ ghts, group work , si ing on top bus, sleepless nights, less work more fun , sharing rooms, high on life , crying , laughing. All this will be missed .........
the