Lakshagraham- Lacquer Toys , Varanasi by Nitin Gupta

Lakshagraham

National Institute of Fashion Technology Raebareli

Craft Cluster Documentation on Lacquer Toys

Lakshagraham

Department fashion and lifestyle accessory design (Batch 2015-19)

Copyright@ 2017 NIFT All right reserved, No part of this document covered by the copyright hereon may be reproduced or used in any form or by any means graphics electronic or mechanical including photocopying, recording, taping and scanning without the permission of the copyright owner. National Institute of Fashion Technology, Raebareli

Declaration We hereby declare that the information given in this document is authentic and the copyright to reproduce this document in any form is reserved to NIFT Raebareli. The diagnostic study was conducted between 18/09/2017 to 28/09/2017 and the information is valid for the year 2017-18. Akshika Singh Anisha Pramanik Kirtika Arora Navneet Singh Nitin Gupta Shikha Ranjan Trishala Joshi K.K Babu

(Assistant Professor) NIFT Raebareli

Praveen Srivastava

(Center Coordinator) NIFT Raebareli

National Institute of Fashion Technology, Raebareli

Acknowledgement Firstly, we would like to extend our gratitude to the Ministry Of Textile and National Institute of Fashion Technology to give us this opportunity to get familiar with this craft. For making this cluster project possible we required a lot of guidance and help from many people and we would like to thank all of them for making our cluster project possible. We would like to thank our mentor Mr. K. K. Babu, Assistant Professor, with his constant guidelines, we are able to shape our final outcome of this project. We would also like to thank our Course Coordinator Mr. Praveen Srivastava, Assistant Professor, for his appreciation and extending support. Furthermore, we are grateful to all the artisans who helped us through this project with their patience.

Preface Childhood memories are the root of all the upcoming moments we create, those are most precious and naughtiest moments lived. The stage of the innocence of life which offer so much happiness and we can say that happiness delivered to everyone through the beautiful toys. The city â&#x20AC;&#x153;Varanasiâ&#x20AC;? is one of the vibrant colored lands to go back again to the old memories were we use to play with wooden toys. The artisans, who craft beautiful lacquer toys are meticulous and eco-friendly. An attempt has been made to cover most of the parts of the craft including the History and the Origin, Demography, Geography, Social, Economy, Case Studies, Success Story, and Cultural status of the town, Livelihood, Problems faced by artisans, Various schemes provided by the Government. The craft document connects us to the lifestyle of artisans, who struggle day and night just for their basic needs like food and shelters. Due to the introduction of technology in the market, crafts in the present era are degrading down to a great extent. Thus, through this document, we have made an attempt to create awareness among the readers about this beautiful craft of our country.

Contents

1. Objective 2. Introduction 3. Varanasi

1 3

i. ii. iii. iv. v.

History Economy Location Geography and climate Culture of Varanasi

7 9 10 12 14-15

i. ii. iii. iv. v. vi.

History of lacquer toys in Varanasi Raw materials Machines Tools Process Product description with uniqueness and traditional trends

19 20-23 25 26 29-33 34-35

i. ii. iii. iv. v. vi.

Geographical indication tag for Varanasi wooden lacquerware and toys Government schemes Supporting agencies Lacquer in other states Case study 1 – Maya organic Case study 2 – KHDC

39 41 41 42-45 47 49

i. ii. iii. iv. v.

Demographics of artists Results and discussion SWOT analysis Gap analysis Today’s scenario

56 57-61 63 65 66

4. Varanasi wooden lacquerware and toys

5. Review of literature

6. Success story – Rameshwar Singh 7. Limitations in research 8. Primary analysis

9. Suggestions 10. Conclusion 11. Annexures

i. Questionnaire ii. Artisan profile

12. The team 13. Bibliography

51 53 55

68 71

74-75 77-103

105 107

Objective • The purpose of this project is to find out the major problems which are faced by the artisans of Varanasi Lacquer toys. • To find out the daily life issues of lacquer toy artists. • How to increase the product development and find out some solution for artist growth. • To create awareness about lacquer toy and grab attention towards it. • To know the reason behind the decreasing number of artisans in lacquer toys. • To identify a method of managing the wood waste produced in a productive manner. • To provide suggestions to the present situation of the craft and to know the opportunity for the artisans in this craft.

Introduction “Lakshagraham” this name is derived from Sanskrit langue.“ Laksha” means lacquer and “Grahma” means house and the entire meaning is related to the house of lacquer. Lacquer toys are made of wood and they come in different sizes, shapes, and colors. These toys attract many people and lacquer toy from Varanasi are perfect to play with and perfect to decorate our houses. Wood carving started after ivory carving, when the government banned the use of ivory. Varanasi is considered as the oldest living cites in India. This city is also popular for Ganga Ghats, culture, food and for many other crafts like Banarasi sarees and lacquer toys. Varanasi is house of lacquer toys, many artist made beautiful wooden toys and for some of the families toys making is only one source of income. The main purpose of this craft cluster was to find out the current condition of the artists, their problems and future of lacquer toy in Varanasi. Also to experience what expertise and creativity lies behind the innovative pieces of wooden craft.

VARANASI

â&#x20AC;&#x153;Varanasi is older than history, older than tradition, even older than legend, and looks twice as old as all of them pit together.â&#x20AC;? - MARK TWAIN

HISTORY Varanasi or Banaras is one of the most famous and constantly inhabited city in the world. It was originally known as the Kashi. Taking a look at the archaeological evidence, the remains of the city dates as early as year 1200BC. Some shreds of evidence even indicate that city could be existing since 3000BC or even older.

which enhances the cultural richness of the city. According to the Hindu mythology, Kashi was created by Lord Shiva and it is still known as â&#x20AC;&#x2DC;City of Lord Shivaâ&#x20AC;&#x2122;. Frequent references to the city can be found not only in Hindu Vedas, Upanishads and Puranas but also in Buddhist texts. Gautama Buddha has given his first sermon at the holy place namedÂ Sarnath, situated near Varanasi.

This ancient city of Varanasi has seen human civilizations emerging and developing

ECONOMY

In Varanasi, approximately 29% of its population is employed. In the 29% of the population, nearly 40% are working in manufacturing units, 26% are employed in trade sector, 19% are employed in different services, 8% are employed in transport sector and the remaining 7% are working in agriculture and construction. People working in manufacturing are into spinning and weaving, metal, printing and publishing, electrical machinery and a broad variety of industry sectors. Many weavers are migrating from their profession due to the decreased demand for Banarasi sarees due to the imported sarees. A major diesel locomotive factory is handled by the Indian railways in Varanasi. Also, large power equipment manufacturers like DLW and BHEL have their plants in Varanasi. Tourism is a significant industry of Varanasi. Millions of domestic tourists and lakhs of foreign tourists visit the city for religious purposes.

LOCATION

Varanasi is settled on the banks of the Ganges in the north India. It comes in the Uttar Pradesh state and has a distance of 320 kilometers south-east from Lucknow, the state capital. Varanasi lie alongside NH-2, which connects Varanasi to Kolkata, Delhi, and Agra, and is assisted by Varanasi junction railway station and Lal Bahadur Shastri international airport.

Varanasi is situated at an altitude of 80.71 meters in the center of the Ganges valley. Coordinates of the city are 25.3176Â° N and 82.9739Â° E. Being settled in the Indo-Gangetic plains, Varanasi serves highly fertile land due to the low-level floods that continuously replenish the soil. The city lies between Ganga confluences with the Assi stream and Varuna stream. The distance between them is around 4 kilometers and fulfills as a sacred journeying for Hindus. Varanasi has a hot and humid climate in the summers as it rests at the Tropic of cancer. Monsoons in Varanasi are assisted by torrential rains and high humidity. On the other side, the temperature sinks down in the winters.

CLIMATE & GEOGRAPHY

CULTURE OF VARANASI Varanasi is an antiquated city of India, also known as â&#x20AC;&#x153;city of godâ&#x20AC;?, positioned near the edge of the Ganges. Due to the roadside markets and Hindu temples, Varanasi becomes one of the most populous city. Varanasi is well known for its tremendous culture and a favored destination for wanderers and tourists. The prominent residential areas of Varanasi are settled in the stretch far from the ghats.

the fusion of archaeology, traditions, various religions, religious places, sculpture, and history. Many museums of Varanasi have preserved ancient arts and cultures. Varanasi has become the center of teaching for all the religions as it has a great diversity of educational institutions. The culture of the city is also intimately related to Indian classical music, drama and other activities.

Varanasiâ&#x20AC;&#x2122;s prosperous culture is the center of attention for people because it includes 14

FOOD Apart from being the most religious hub, Varanasi serves mouthwatering food. Popular street food of Varanasi includes puri sabzi, aloo tikki, kachaudi, dahi bhalle and pani puri. It is well known for its kullhad chai and kullhad lassi topped with malai or cream. Famous desserts include jalebi, Gulab jamun, lal pedhas and safed makhan toast. ART AND CRAFTS Art and craft of Varanasi date back to thousands of years of illustrious past of existence. Prominent crafts of Varanasi that catch the attention of tourists are Banarasi sarees with magnificent Zari brocades, textiles, clay and woodwork, handicrafts and jewelry. Heirloom fashion has its own worth, splendour and atavistic embroidery techniques, known as ‘khinbab’ and ‘kal balta’. In jewelry and artifacts, ‘minakari’ is the most popular and exclusive art of the city. The works of the weavers and other artisans showcase the patterns, motifs, and weaves of the past. The work of artisans is spellbinding because of the amalgamation of traditional techniques and designs with contemporary elements.

MUSIC AND LITERATURE Varanasi has a number of noticeable Indian writers. Some of the popular literature writers are Kabir, Ravidas, Tulsidas, and Kulluka Bhatt. Sushruta is a remarkable surgeon and writer, who resides in the city and has written Sanskrit text surgery. Varanasi is also prominent for its authentic Ayurveda treatment and Panchakarma. Apart from literature, art admirers, chroniclers and musicians make the city ebullient and engross people. Popular musicians are Bismillah Khan, Ravi Shankar, Gopal Mishra, Sitara Devi and Kishan Maharaj. EDUCATIONAL INSTITUTES Varanasi also has popular educational institutions namely, Banaras Hindu University, Mahatma Gandhi kasha Vidyapith and Sampurnanand Sanskrit University.

VARANASI WOODEN LACQUERWARE AND TOYS 16

HISTORY OF LACQUER TOYS IN VARANASI Varanasi is considered as the oldest living cities in India and it is well known as the cultural capital of the country. In ancient times, the Ganges ghats are believed to be saintly and devout for religious festivity. People from diverse traditions, cultures, religions, and communities came to this city and settled here. As a large number of people from diverse cultures came to the city, people start getting involved in art and crafts. This further resulted in offering work to the people at their home. Initially, the toy makers did not surpass in wood carving. Wood carving started after ivory carving when the government banned the use of ivory. All the craft work including wood carving and lacquering is traditionally done by the man of the family. The women of the house act as a helping hand in the crafts by coloring and decorating the products. There are a group of artists who only perform their skills in making of the wooden toys while some other group of

people only get involved in the job of painting the toys. According to the survey, the artisans believed that lacquer toys started when a ruler of Rajasthan state was descended by the Mughal emperor, supporters of the previous ruler- the common people, had to leave their houses and start a livelihood in the forest. To earn for their families people started making wooden toys and selling them to the king and in the market. This art of making wooden toys start getting popularized and a lot of variations were done in which wooden toys were made on manual lathe machine and colored from lac. This craft was admired by the market and encouraged people to do more in it. This was the birth of lacquer toys and its popularity gained pace and it began in Banaras and other states of India as well. This craft is now practiced by people and has been practiced from many generations. 19

Lacquer craft requires both synthetic and natural raw material. Hence forest is the main source of raw material. These forest provide basic raw material like different types of leaves, wood, and lac which is produced from a tree (organic fluid). The synthetic material includes paints and pigments. 20

RAW MATERIAL

The most common wood used for making lacquer toys in Varanasi are Keria and Eucalypts tree wood. Keria wood is the most suitable wood for toy making as it is a light colored wood with less fibers. This wood was sourced from Bihar. After Government banned Keria in1989, artisans started using Eucalyptus wood for toy making in Varanasi. Eucalyptus wood has a reddish tone with more fibers in it, hence making it difficult to work with. The artisans purchase the Eucalyptus wood in â&#x201A;š1300 per quintal while the Keria wood costs only â&#x201A;š600 per quintal.

Lac is a natural resin which is produced by microscopic insects which are popularly known as Lac or scale insects that lives on the particular variety of trees in India. It comes in two color: golden and dark brown. Golden- yellow is used for making light colors and dark brown is used for making dark color like green, purple, black etc. It has a strong sticking quality. Lac has a very low melting point and is used by friction application as a surface finish. It can also be brushed or sprayed and even can also be dissolved in sprit. When lac is kept in open space, it polymerizes and becomes a hard and durable substance just like plastic, which helps in protection of the lacquer toys from decaying.

Kewda leaf is also known as screw pine leaf which is a polishing agent. The tree grows locally and it is easily available in market all over Varanasi. Trees are found on the coast and along the river banks, field, ponds and canals. The leaf is an important component in lacquer toys polishing. It gives a translucent finish to the product. The cost of the leaves varies from ₹20 to ₹100 per bunch.

Some other raw materials used are: • Pen or Pencil is used for sketching on the wood. • The Adhesive is used for joining the wooden parts together. • Distemper is used as the first coat on the wooden toy before it is painted in color • The Brush is used for painting the wooden toys.

MACHINES POWER LATHE Initially, manual lathe machines were used and locally known as koon. On the manual lathe machine two people used to work at the same time. One would help in rotating the wooden piece with a rope from one end and the second person use to carve the wood on the other end. This work gets interchanged when carving of one end is completed. Later the wood got replaced by metal in the manual lathe machine.

The headstock of the power lathe has a revolving axle which has two belt pulleys attached to it. The belt runs over a pulley mounted on a revolving shaft that is driven by an electric motor. On the power lathe, the production time is reduced because the artisan can use both the hands to operate the turning tools.

Lacquer toys increasing market has led to the introduction of electric power lathe machine. One end of the lathe is fixed and the second end is adjustable. The adjustable end has a movable wooden base block.

• • • •

Other machines used are:

Chakel - use for wood cutting. Hangada - use for turning and painting Drilling machine - use for making holes Khada - for applying golden and silver paint

TOOLS Some of the common tools used are • Rukhana, Banki, Chaursa, Batali and Barma - for making holes • Nakhalau (gouges) - for turning wood • Chausi (chisel) - for finishing while turning wood • Kaus - for supporting sections of wood while turning. • Sainiyuu - for making grooves • Prakar (compass) - for measuring radius and marking circles. • Kaanch paper (sand paper) - for finishing • Basula - to peel off wood • Aari (cutting tool) - for cutting • Reti (filler) - for filling • Hathoda or hammer

PROCESS STORING Wood logs are brought for making lacquer toys. In Varanasi wood is brought from Rae Bareli, Bihar, Saharanpur and Punjab. The artisans buy wood from nearby place, Khojwa. The artisans donâ&#x20AC;&#x2122;t have extra space for keeping the wood so they have to manage and store it in their houses.

tools until octagonal sections formed. Now the wood is ready for turning process. TURNING AND SHAPING Cutting tools are used on the rotating piece of wood so that thin continuous chips are peel off uniformly to create desired shapes. SAND-PAPERING Once the desired shape is formed, the rough surface is finished with sandpapers. While the wood is still attached to the power lathe for turning until the surface of the wood will become smooth and uniform.

CUTTING Wood is in the form of logs at the initial state. These are square in the section. The edges of the seasoned square section of the wood are then chiseled and superfluous wood is removed by the dexterous use of hand or power lathe and suitable cutting

Lac is washed with water 1kg of lac + 50 gram of rhodamine + 5grm of colors + A resin (used as an adhesive), locally known as loban Rhodamine is added to make color thick and non- transparent Heated until it is viscous Dried and converted into sticks 30

LACQUERING Lac is a sticky resinous material, secreted by Laccifer lacca (lac insect). These insects feed on Ber, Dhak and Kusum trees in India. Branches covered from the insects are cut, harvested as sticklac, crushed and filtered. The material is washed for several times to remove impurities and then dries for about 1-2 hours. It is further melted on steam heated grids. The molten lac passes through markin cloth for filteration. Filtered material is transferred to steam heated kettle where the lac melts and passes through a roller. The thin sheets of lac are cut into pieces and these dry flakes are ready to be sold in market. In Varanasi, the lac makers buy dry flakes from Kolkata at â&#x201A;š100 - â&#x201A;š150 per kilograms. Dry flakes locally known as chapra are stuck to a stick with loban (resin gum) and heated repeatedly over burning charcoal. Dry flakes and loban are added several times while heating. Different chemicals are added to give color to the lac. Rhodamine is a common chemical which is with other chemicals. For adding color titanium-di-oxide (white), auramine (yellow), acetic acid (orange) and metallic green (green) are added. The lac is heated until it get mixed completely with the chemicals. After the completion of heating process the colored lac is stretched into long sticks which hardens on cooling. Major tools used by the lac makers are tarazu (weighing machine) and hammer. The lac makers of Varanasi receive orders from Gorakhpur, Patna and Ballia. 31

PAINTING After carving and lacquering, painting is done. Vivid colors are used to paint the body. First of all, they immerse the toy in distemper. Two coats are applied, followed by a lacquer coat to bring shine on the surface of the toys. Painting is done with reference to a sample toy in which some variation can be made in colors or patterns. Painting is done in batches. Brushes made of squirrelâ&#x20AC;&#x2122;s tail are used for fine work. One color is prepared at a time and is applied to a batch of toys. After it dries, then the next color is applied. 20 pieces are painted in a day by a painter.

POLISHING Final touch is done by the kewda leaf which is pressed over the wood while turning it and polish the product. Buffing is done to maintain translucency to the finished product. Other materials used in finishing are caster oil, paraffin oil and some other chemical pigments. VARNISHING Clean varnish is used to give a finish look to the final product. It is a rich orange hue, transparent. PRE-ASSEMBLY AND ASSEMBLY ELEMENTS Afterwards all the components go through pre-assembly and are checked. This is followed by the assembling of the components.

In most of the families, the painting job is done by the women of the house. Many artisans pay a reasonable amount of money to the painters for painting the product. 33

A tremendous variety of wooden toys are made in Varanasi which can be classified into different categories namely, cultural, religious, traditional, animals & birds and modern toys. In each theme, the toys are treated in a different manner. If we consider religious toys, they are predominantly two dimensional, carved with hand and painted gaudily. They showcase Indian patterns and motifs. These toys depict mythical and pious stories of the past. If we look at the cultural theme toys, they depict different classes of society, the daily activities and lifestyle of the people in pastoral India and also some ancient professions which are popular. Examples of cultural theme based toys are â&#x20AC;&#x201C; women going to well to draw water from it and men wrestling in the ground. The modern toys are predominantly three dimensional which are made by turning and showcase modern themes and patterns.

PRODUCT DESCRIPTION WITH UNIQUENESS AND TRADITIONAL TRENDS RELIGIOUS – Lacquer toys of Varanasi have an exceptional religious theme in which artisans showcase deities from Hindu mythology. The characters from Indian mythology, Mahabharata and Ramayana are depicted by the artisans. Gods and goddesses riding on their vahanas (vehicles) are carved and painted in great detail.

craftsman is fond of experimenting with their craft, which helps them to bring up new innovative ideas to deal with. Examples – camel, elephant, horse, pig, fish, lizard, peacock and parrot. TRADITIONAL AND MODERN – Apart from the evolution of toys in the different categories, some basic toys remains same from which every child wants to play in their childhood. The perfect example of the previous statement is a kitchen set for girls. Although a large number of the variety of modern toys is present in the market, still every girl dreams of playing with the kitchen set imagining herself cooking, cleaning and doing the other activities. Apart from the kitchen set, spinning top locally known as lattu has still not lost its popularity. Such toys grab us back to the oldest and simplest form of toys that our grandparents also used to play with it. Examples – kitchen set, lattu, dolls, jhun jhun, joker, kiddu, damrug, puzzles, wind chime, latkan, wall hangings, dabba, dibbi, powder box, photo frames, stationery and birds feeding.

CULTURAL – The real culture and tradition of India can be seen in its villages. Numerous activities like marriages, cultivation, bullock carts, wrenching water from well and much more are still prospering in the rural areas of the country. Artisans of Varanasi makes special vermillion oval or round shaped containers called sindura which are widely used in marriages. So, toys portraying the cultural theme mainly showcase the culture of the rural India. ANIMALS AND BIRDS – In Indian saga and myths, animals play a very powerful role. There is a great number of stories of sovereign and his queens supporting the faithfulness of their animals. This has made animals emerge in the toy form. Also, every 35

REVIEW OF LITERATURE

GEOGRAPHICAL INDICATION TAG FOR VARANASI WOODEN LACQUERWARE AND TOYS

A request for geographical indication tag for Varanasi wooden lacquerware and toys was proposed in September 2013 by Balaji Handicrafts Cooperative Society Limited, and Khilauna Udyog Sahkari Samiti Limited and facilitated by human welfare association. Their request for G.I. tag was permitted in November 2014. The beauty of the wooden toys lies in the hands of the craftsmen who carve and paint the wooden toys. The wooden toys showcase the vista of life and they are made according to the understanding of the craftsmen. Tiny and detailed products of Varanasi are special, which includes gods and goddesses, and animals.

GOVERNMENT SCHEME • The USTTAD also known as Upgrading the skills and Training in Traditional Arts/Crafts is a new development scheme that has been launched by the central government in Varanasi for the traditional artisans. • Artisans will be offered with skill development and marketing strategies. It will certify growth of traditional artisans. • The Minister of Minority has registered master trainers who will be provided with training from NGOs under USTTAD about the new technologies and marketing strategies. Later they can train the young artisans who are willing to join the craft. • It will ensure linkages of the craft with national and as well as international market. • It will provide help to skilled and unskilled artisans to market their products and challenge the larger firms. • It will also provide jobs and better future for minority communities

SUPPORTING AGENCIES • • • •

Hastkala Vikas Sansthan Human Welfare Association Balaji Handicrafts Cooperation Society Limited Khilauna Udyog Sahkari Limited

LACQUER IN OTHER STATES OF INDIA

CHANNAPATNA Channapatna toys are a notable form of wooden toys that are produced in Channapatna which is located in Bengaluru rural district in the Karnataka state, India. This traditional craft is preserved as a GI (geographical indication) under World Trade Organization, administered by the Karnataka government. Channapatna is well known as Gombegala Ooru meaning toy town due to the popularity of these wooden toys. One of the best characteristics of Channapatna wooden toys which make them exceptional is the ecological colors used on them

and they are primarily made of non-toxic vegetable color dyes. The toys are perfect for children since they arenâ&#x20AC;&#x2122;t dangerous for them and they are basic, bright colored, safe and captivating. Channapatna wooden toys are made up of ivory wood, which is present in abundance and is of less weight. Ivory wood is closed grained so it is easy for the artisans to work with it. JAMMU AND KASHMIR Lathe cum lacquer woodwork is well known in Anantnag and Jammu city. This craft is performed 42

by the artisans of Kana Chak named village about 15 km far from Jammu. Handicrafts department of the state has made efforts to resuscitate this craft. Items made from the lacquer are table lamps, candle stands, flower vases and bowls of various sizes and shape. The characteristic of lathe cum lacquer of Jammu that makes it exceptional from others is that the artisans use hand-driven lathe machines locally known as kharadi.

craft. Udaipur, Jaipur, and Bassi in Chittorgarh district are the centers for lacquer toys. In Bassi, a majority of the village is engaged in the making of lacquer products. The craftsmen use doodhia wood because it is soft and it can be easily shaped. To give a superior look and increase the durability of the wooden toys, they are lacquered and polished with flowering cactusâ&#x20AC;&#x2122;s leaves. In Rajasthan, there is a great variety of toys that comprises of kitchen sets, cradles, lanterns, small vehicles, gramophones, clock tower and many more.

RAJASTHAN Rajasthan is popular for its wooden lacquerware 43

ETIKOPAKKA, ANDHRA PRADESH Etikoppaka is a village situated in Vishakhapatnam, Andhra Pradesh. Lacquer toys are made at this place and are generally known as Etikoppaka toys. ‘Ankudi Karra’ (Wrightia tinctoria) tree’s wood which is soft in nature, is used in the making of wooden toys. Etikopakka toys have been registered as Geographical Indication from Andhra Pradesh by the GIR (Geographical Indication Registry). Natural dyes are used to color the wooden toys. The natural dyes are acquired from lacquer which is mixed with vegetable dyes to give the colorless lac a color. Items made in Andhra Pradesh are canon toys, bullock cart, god and goddess toys, cooking vessels, table lamps, tabletop accessories and candle stands.

Pangara and hale wood are used in making vegetables and fruits which looks entirely natural. A great variety of products are made which includes chess sets, little dolls, board games, candle stands, and fruits and vegetables. BIHAR In Bihar laquerware is very unique due to its ritualistic connotation. Large quantities of shell and raw lac is produced in forests of Bihar. Kusum, bararey and palash are three kinds of lac produced and out of which the best lac is kusum. The Laheris community of bihar makes special vermillion oval or round shaped containers called sindurdans which are widely used in marriages. Also round conical nose ring boxes are also given to the brides at their weddings with fertility and longevity symbols engraved on the body. Other ceremonial objects include bangles, dry fruit and chapatti boxes which are mainly of red and black colour.

PUNJAB Hoshiarpur, Batala Quadian in Batala district, and Jullunder are the main centers of Punjab where skilled artisans of wooden lacquerware are found. Initially, Punjab was popular for the ‘arbi’ (cloud work) on wood but now the work is finished in nakashi style in Jullunder. The nakashi work includes engraving with the help of needles so that the design is displayed in various different colors. Purple-colored lac was popular earlier, nowadays white, black, yellow and red colored lac are frequently used. They create products like boxes, containers, chairs, stools, legs for beds and many more.

GUJARAT The lacquer ware of Gujarat has its own specialties. Lacquer work in Kutch region has zigzag pattern illustration. You can see colorful waves beautifully blending into each other creating an exquisite piece of art. Sankheda lacquer work has its own distinct style due to its unusual designs and colors. After turning, violet cast is given and then the designs are painted with Kalai or tin emulsion. Then a coating is given with akik (hard stone) for a glazing effect and then a final coat is given with transparent Lacquer which makes Kalai work underneath gleam giving fiery yellowish golden effect. Generally geometrical and floral patterns are used.

MAHARASHTRA Sawantwadi is a taluka in the Sindhudurg district of Maharashtra. Sawantwadi is a place which is long established for its popular lacquerware craft. 44

WEST BENGAL The bright colored lacquered toy is popular all over in the state of West Bengal. For lacquering, articles are revolved on the lathe and the lac stick is pressed against it. For polishing leaves of flowering cactus are used. Sometimes oil is also used for better polishing. Either a single color is applied all over the article or bands of different colors are applied. Sometimes minute details are also given using a fine tip brush.

CASE STUDY 1

MAYA ORGANIC “Maya organic is an initiative for subsistence development involved in developing a network of artisans, micro-entrepreneurs, and workers indulged in producing exquisite quality wooden products.” It is a member of the World Fair Trade organization and also registered a non-profit company under section 25. It was established in 2004 with the aim of eliminating poverty and putting a stop to child labour. With time and experience company realized that key for achieving their goal is providing sustainable livelihood to the working poor. They provide skill training, skill enhancement , product development and marketing support to small entrepreneurs and artisans. “Ensuring quality and involving stakeholders in the decision making processes is essential for sustainable growth. Just by ensuring quality in all our products we

are able to generate a consis tent market.” says Shahida, from Maya organic. The products made are marketed under the name MO. MO products are fully hand crafted and are non toxic. They use natural dyes blended with lac to colour their products. The toys are made according to the international toys safety standards. All the wood chips and wood dust generated as waste is given to incense stick industry to use as raw material. Products are sold both nationally and internationally, all thanks to World Fair Trade. Apart from that they also participate in several exhibitions and also market through website. Apart from this they have also worked towards women empowerment. 50% of the MO employees are women. Educational support, health and hygiene awareness and basic business skill are given 47

to them. “In the beginning it was very hard to convince their parents and guardians to send them for training out of their homes. Once they completed their training and started earning to contribute some income to their families the whole scenario in the families has changed. Women started gaining respect in the family and also they became an important member in the house hold decision making process.”

“Great things are not done by impulse, but by a series of small things brought together.” – VINCENT VAN GOGH

CASE STUDY 2 48

KHDC In 1964, Karnataka State Handicrafts Development Corporation Limited (KHDC) was established. In this organization, Government of Karnataka and Government of India are shareowners. The aspiration of the organization is to protect, prosper and popularize the craft- Channapatna lacquerware and toys. Before the existence of KHDC, Channapatna lacquerware and toys faced many problems and had no marketing plans. It was at the edge of vanishing when KHDC got involved with this craft and gave artisans training about the change in trends and marketing strategies. This helped in the development of the craft and artisans. New designs and innovative products were taught to the artisans by master craftsmen so that great designs are shaped by the artisans. Help to the artisans was

provided by the Government of Karnataka by making a lacquerware craft complex which consisted of 32 turning lathe machines. To start a production center KHDC cooperated with Dutch Government in 1985. The production center consisted of 30 turning lathe machines with the facility of a house for 126 artisans and their families. KHDC also supplied raw materials to Channapatna to support this craft. In a survey of 148 employed women in Channapatna lacquerware and toys, 27% of the women artisans are contributed by the KHDC complex. With a lot of efforts made by the KHDC, a large number of people are engaged in this craft and it has encouraged the artisans to do well. Apart from dolls, Channapatna wooden toys include bullock carts, historic cars, bikes, and scooters, trains and animals. Other products that are made comprises of candle stands, 49

wall hangers, jewelry, keychains, and beads. KHDC plays an essential role in the evolution of lacquerware and toys in Channapatna. The little steps and contributions made by them had lead to the big success of this craft.

Mr. Rameshwar Singh who started like any other artisan is now successfully running an NGO named Balaji Handicrafts. His journey to come this far has not been easy but with his vision, hard work and determination to do something for the craft have always kept him moving. Lacquer toy was an ancestral craft, his father and grandfather used to earn their livelihood from this. He has been working as an artisan since 1984. He has completed his B.com. After graduation, he had a choice to get a job and work but he wanted to take his legacy forward. He tried to build contacts with exporters and then started taking orders from them. Slowly and slowly he expanded his work and started attending programmes and exhibitions con ducted by the govern-

ment.

for ward with the same zeal. He himself motivated his son, who has been a Foreign trade student to apply all of his knowledge in taking his work forward.

He also states that one of the reasons behind his success is that he never let go of any of the opportunities to participate in craft-related programmes and all that has served as a base due to which people recognize him as an artisan. Recently, in July 2017 he was one of the 15 artisans that were sent to Channapatna by the government to explore more in lacquer toy and implement the same in Varanasi. He told us that there they learned about the use of non-toxic lacquer colors and the seasoning process of wood.

He was also one those few people who initiated the request for the GI tag that Varanasi lacquer toy has now. Presently his NGO is working on starting the platform base lathe machines in Varanasi so that more and more women can be involved in the craft.

S U C C E S S S T O R Y

He believes that now the senior artisans should act as a backbone for the future artisans so that they can take the front seat which will motivate them to take the craft 51

LIMITATIONS IN RESEARCH

• This document is written very carefully and with utmost attention but still, it may contain some limitations and flaws. • Quantitative research requires a large number of people and we have interviewed only 53 artisans. So, the result may be restricted. • Since the analysis consists of 53 artisans, the result cannot be applied to a large population, but it can only be suggested. • The extent of the considerations are compromised and compact. • The outcome may be limited and contains some flaws because the artisans answered the questionnaire which had close-ended questions.

PRIMARY ANALYSIS 54

To collect primary information three tools where used. Questionnaire, interviews and photography were employed to collect the primary data. There are 53 respondents that filled the questionnaire.

DEMOGRAPHICS OF ARTISTS • The majority of the artisans practicing the craft of lacquer toy in Varanasi belongs to the Hindu community. The Hindu community holds 96% of distribution of artists in the cluster whereas Muslim community comprises only 4% of it. • The existence of business activity of this cluster dates back to as long as seven decades. 15% of the artisans of the cluster are above the age of 60 years and are practising the craft since their childhood. • Out of 53 artisans 92% of it are males. Only 8% women are involved in the craft. Women involved in the craft is considerably low as compared to men because firstly, it is a male dominant craft and secondly, women are not comfortable using the electric lathe machine because there is a fear of accidents due to their flowy clothes.

RESULTS AND DISCUSSION

1. Educational background: From the analysis we have found that only 6% of the artisanâ&#x20AC;&#x2122;s sample fall under no education. 23% of the artisanâ&#x20AC;&#x2122;s sample have completed their secondary education where 56% have not com pleted. 11% have done higher secondary education and 4% are college graduates.

6% No Education

56% Less then Secondary

23% Secondary

11% Higher Secondary

4% Graduation

2. From the analysis we have found that 92% have an ancestral inclination of the craft whereas the remaining 8% have taken training from their fellow artists. None of the artistian reports to have learned from any kind of training centres.

92% Ancestral

8% Non Ancestral

3. The output per day depends upon the size of the product. Considering the small items like lattu, artisans can make up to 100 pieces per day while 30 to 40 pieces of large items can be made. 4. The next section of the questionnaire gives us the information about development and evolution of the lacquer toy craft. There is no considerable development that has been reported from the artisans. For few of the older craftsmen who have used the hand driven lathes modern lathes were a technological change but for other no such technological happened. 5. The next set of questions tell us about the required space and conditions suitable for lacquer toy craft. They use the rooms of their residence to practice the craft. According to the responses , the minimum requirement of space is two small rooms. One room is required to carry out the processes and the other room is used to store raw materials and the waste generated. Large wood logs are also stored outside the houses in open which often leads to rotting of wood due to moisture and expansion due to heat. Also there is no waste management. The time that they spend to work is between 6 to 8 hours.

6. Income sources: From the analysis of the artisanâ&#x20AC;&#x2122;s sample we have found that 79% of the families are depended only on the craft for their livelihood whereas 21% are involved into other activities too.

79% Craft

21% Other than Craft

7. Electricity consumption: Use of lathe machines consumes a lot of electricity which results into high electricity bills. From the analysis of the artisanâ&#x20AC;&#x2122;s sample we have found that 32% of their total incomes goes into paying for the electricity and the left over goes into buying raw materials, repairing of machines, buying tools and their other daily expenses.

32% of total income goes into electricity

8. Future generations: From the analysis we have found that only 14% of the artisanâ&#x20AC;&#x2122;s sample want their future generations to continue in craft whereas 86% want their children to study and apply for jobs.

86% No

14% Yes

9. Income per month: From the analysis we have found that 76% of the artisan sample fall under 5-10 thousand rupees per month whereas 13% has below 5 thousand rupees per month while 11% has an income more than 10 thousand

76% 5-10 Thousand

13% Less than 5 Thousand

11% More than 10 Thousand

10. The next set of questions tells us about the raw material and tool requirements of the lacquer toy craft. The raw materials required are eucalyptus wood, lac and kewda leaf for polishing. No problems are faced while procuring the raw materials. However the price of wood and colour is quite high i.e. 1,300 rupees per quintal for wood and 400 rupees per kg for colours. The tools that they use are mainly chiselling hand tools. They use 2 machines i.e. Lathe and wood cutting, which are easily available in the market. The faults in machine due to wear and tear get repaired in the local market itself. 11. The next set of questions tell us that the artisans suffer from frequent injuries. For first aids they mostly do self treatment or go to private hospitals. 12. On asking about the training centres and teaching computers to their children almost all the artisans are interested in working in training centres and also agreed that computer knowledge could be provided to their children so that they help them in getting customers.

92% Yes

8% No

SWOT ANALYSIS

STRENGTH • It is the craft heritage of India. • The skill and expertise of craftsmen is immense and can be explored a lot. • Registered as a geographical indication. WEAKNESS • Expensive raw material. • The ban on keria wood. • Bad quality of raw material. • Future generations are seeking other job opportunities. OPPORTUNITIES • Can use natural dyes. • International recognition scope. • Expand product approach in home decor. • Can adopt a good waste management system. • Marketing can be done on its advantages over plastic products. THREATS • Chinese sell more as they are cheap.

GAP ANALYSIS

GAP analysis is performed to acquire a gap between the actual performance and the desired performance. The outcome of the analysis is that the performance of the artisans can be boosted if the working conditions are improvised by providing electricity to the artisans in low prices and proper shelter for the storage of the wooden logs and a seasoning plant. The raw materials required in this craft is very basic but the availability of Keria wood in Uttar Pradesh is restricted, which is â&#x201A;š600 per quintal. The available wood in Varanasi for this craft is eucalyptus (â&#x201A;š1300 per quintal) which is very costly for the artisans to afford and there are no wood depots in the city. The colors (â&#x201A;š400 per kilogram) available to the artisans are expensive and contains toxic components in them. In Varanasi, most of the artisans make repeated designs and are afraid of making new designs. They believe that introducing innovative products can lead to market failure and material wastage. But if there is more variety in products, it will increase the sale of the wooden toys. If the above-mentioned steps are taken into account, it will increase the productivity of the craft. 65

FAVOURABLE FACTORS: The favourable factors for wooden lacquer toys in Varanasi are the easy availability of raw materials. Artisans working on this craft have appreciable skills and their determination towards their work is immense. Recent schemes launched by the central government will help the artisans to market their products in a better way.

NON-FAVOURABLE FACTORS: The non-favourable factors for wooden lacquer toys in Varanasi are the tendency of wood to develop cracks due to overheating during the summer season. The raw materials are easily available but the expensive costs make it difficult for the artisans to afford it. The ban on the Keria wood had lead problems for the artisans. Due to lack of a seasoning plant, most of the wood gets ruined in the monsoon season. Also, the future generations do not want to continue this craft because of the low profits obtained.

TODAYâ&#x20AC;&#x2122;S SCENARIO

• Artisans are mostly working on very basic products and hence should increase their approach towards new designs and home decor fields. • Lathe machines set up on raised platforms can be used so that women can also work and contribute in the craft equally. This system is also ergonomically very correct as it will maintain a better sitting posture while working. • Wood depots can be set up so that raw material can be provided to them at lower rates. • Electricity charges can be reduced for the craftsmen so that their disposable income could increase. • Beneficial waste management systems can be adopted like Rangoli colours can be made by blending colours in wood dust or dust and wood chips can be sold to the incense stick industries. • Future generations can be provided craft trainings and computer educations so that they can contribute in selling and marketing of products. 68

SUGGESTIONS

CONCLUSION Varanasi is one of the places in India which preserves Indian heritage and art since ages. It is a legacy that is now in our hands and so itâ&#x20AC;&#x2122;s our responsibility to carry it forward with the same pride. Varanasi lacquer toy craft has huge potential and can serve as a major contributor to the Indian economy. The policies and schemes made in the centre are not reaching to those who are to be benefited by these. We need strong and long-term solutions so that they can overcome their problem and cherish the skills they have. There is still so much left to be explored when comes to lacquer toy in Varanasi. It is saddening to see that the art is losing its pride and the artisans are losing their hopes. People around the globe are showering their appreciation to our crafts but have failed have to do so in our own land. Its high time now that the citizens and government should realize its importance and motivate and promote it so that Varanasi lacquer toy can also flourish to its full potential. 71

ANNEXURE 1. QUESTIONNAIRE 2. ARTISAN PROFILES

LACQUER TOY ARTISAN SURVEY QUESTIONNAIRE National Institute of Fashion Technology, Raebareli Fashion and Lifestyle Accessory department

The purpose of this survey is to examine the conditions in which artisans are working and problems faced by them while working on lacquer toys. This survey is conducted by NIFT Raebareli students. The questionnaire asks about your personal details and questions related to craft cluster – lacquer toys. Thank you for your cooperation.

1. PERSONAL DETAILS: a) Name – b)Age – c)Religion –

d) Sex – e) Education – f) No. of members in family –

2. INCOME DETAILS: a) Modes of income – b) Salary (per month) – c) Least income in which season – 3. a)What is the traditional inclination of lacquer toys?.................................................................................................... ............................................................................................................................................................................................... b) Did ancestors did the same craft? Yes

4. a) Any technological changes have occurred in this craft? If yes then what changes have occurred, if no then mention problems faced by you............................................................................................................................................. Yes

b) Would you like your child to continue in the same craft? Yes

c) Anybody in the house uses a smartphone or computer? Yes

Yes

d) If computer is taught to your children, would it increase the sales of lacquer toys?

5. a) Is working space is sufficient for you making toys? Yes

b) Where do you store the raw materials and is the space sufficient? Mention problems if any............................ .................................................................................................................................................................................................. c) What machines are used in this craft?....................................................................................................................... d) Names of tools used...................................................................................................................................................... e) What raw materials are used in this craft?.............................................................................................................. f) What are the main sources of getting the raw materials? What is the price of the raw materials? ................................................................................................................................................................................................. g) What is the process of making wooden toys?............................................................................................................ .................................................................................................................................................................................................... .................................................................................................................................................................................................... .................................................................................................................................................................................................... .................................................................................................................................................................................................... .................................................................................................................................................................................................... ............................................................................................................................................................................................. h) What is number of people required to do work?

i) How many hours do you work in a day? .....................................................

4 or more

6. a) What are the existing challenges and your difficulties?.............................................................................................. ................................................................................................................................................................................................... b) What are the health hazards? Where do you prefer going for your treatment? .................................................... .................................................................................................................................................................................................... 7. a) Is this craft evolving? Yes

b) How is the government helping in the progress of lacquer toys?............................................................................ c) What kind of help can be provided?............................................................................................................................. 8. Are there any training centers for lacquer toys? If yes then, do people attend these trainings? Yes

.................................................................................................................................................................................................... 9. a) Is the waste produced by this craft useful? Yes

b) If yes then how and if no then what do they do with it?.......................................................................................... ....................................................................................................................................................................................................

ARTISAN PROFILES