Colloquium Paper by Randheer Kumar

CRAFT CLUSTER of Ranchi, Jharkhand

Report submitted to Department of Fashion Communication NIFT-Patna

Guided By Mr. Deepsagar Verma Asst. Prof. & CC-FC & Rashmi Thakur Asst. prof. & SDAC

Submitted By Fashion Communication 2015-2019

Department of Fashion Communication National Institute of Fashion Technology, Patna

Published in the year 2018. National Institute of Fashion Technology Patna (Ministry of Textiles, Government of India) Mithapur Farms, Patna Bihar- 800 001 Tel: +91-612-2360087 Fax: +91-612-2360078 Website: www.nift.ac.in/patna Text and Images ÂŠ NIFT Patna This document is originally submitted as a part of academic learning to NIFT, Patna and is for academic purpose only. The opinion expressed in the document is solely those of the author and NIFT does not bear any responsibility for the nature of its content. Reproduction of any part of this document must acknowledge the author and NIFT Patna.

ACKNOWLEDGEMENT First and foremost we are thankful to National Institute of Fashion Technology, Patna for giving us the opportunity to pursue this research work. We take this occasion to convey our heartfelt gratitude to our Research Guide Mr. Deepsagar Verma (CC-FC) and Mrs. Rashmi Thakur (SDAC) for their supervision, advice and encouragement in every stage of our research. Their insightful suggestions have helped us in generating new thoughts and carrying out our research successfully. Academic interactions with them since our Masters have helped us in shaping our research career. We are also thankful to them for keeping faith on us and for being extremely supportive during our days of difficulties. Without their all time guidance and encouragement this thesis would not have been possible. We also wish to express our sincere gratitude to Mr. Sanjay Shrivastava (Director, NIFT Patna) for providing us with this wonderful opportunity. We acknowledge with thanks the constant motivation and help which I have received from faculty Mr. Dharmendra Kumar (Asst. Professor, Dept. of Fashion Design) throughout this entire industry internship project. From the core of our heart I am thankful to our parents. Their love, warmth, constant support and inspiration have not only oriented me towards our research work but also given us a platform and confidence throughout to overcome all hurdles and face any challenge. It is for them that I have been able to reach this stage of life today. We are running short of words to express my heartiest feelings for them. We would like to express our heartiest gratitude to all the people in the villages where we have carried out our work. They have not only provided us with valuable information about their craft tradition but also extended their full cooperation and help. We would also like to give our deepest gratitude to all the students of Semester â&#x20AC;&#x201C; 7 for supporting each other throughout the research and combine the topics together in group discussions to understand the importance of each of the topics covered. This journal is an effective outcome of team work and has valuable inputs by each of the students of FC 7. They have definitely guided and helped each other enough to understand the significance of a professional work environment, professional ethics, time management, and to nourish the creative writing skills to a far better extent based on research work, relevant technical knowledge, general knowledge, vocabulary skills, and decision makings that has been able to succeed them in the different spheres related to these centuries old artforms and take esteemed initiatives in order to save them from becoming languished. We find it important to thank all the staff of the Library, Administrative section, Academic section of National Institute of Fashion Technology, Patna for extending their help in various ways. The successful completion of this research would not have been possible without the help and support of all the student of Fashion Communication(2015-2019).

PREFACE This journal is a collection of research papers which are based on different craft clusters such as ‘Basketry’, ‘Terracotta’, ‘Godna’, ‘Cane and Bamboo’ and ‘Wood carving’. An attempt to introduce these clusters into their own kind of perspective, certain skilled observations and explorations have been done by the students of National Institute of Fashion Technology, Patna (Fashion Communication, Batch – 2015 to 2019) commemorating their set of circumstances to explore these age-old art forms. The conception of colloquium paper has not only helped in foregrounding these crafts and artforms, but has also evoked a lot of awareness about the prerequisites and ambience of the Indian artisans in terms of the design interventions, their socio-economic status, their market reach and market position, the design history and magnificence, the support of governmental and non-governmental bodies or schemes in order to bring these artforms in light. By and large each of the topics covered underscores the procedure of the crafts practiced, its magnificence and its extinction to be enlivened again. Introduction to the artefacts, materials, artisans, technique and other valuable deets regarding these exquisite crafts of Jharkhand from Ranchi District has been given scrupulously, keeping a single factor in mind that the readers must know about these specific art forms in details. Apart from the elements of the art forms covered in this journal, this journal will take you closer to the depths of rural Indian culture, amalgamation of the urban and rural India for livelihood, interaction and innovation in context to the traditional design panorama and people of India. It will help you understand the significance of the artisans, for each of the activities they conduct. For this journal to be an optimistic realm of information and current scenario of the artisans and artforms of Ranchi District Jharkhand, the students feel that they owe a lot of it to their troupe of good observers, spokespersons, writers, photographers, graphic designers and illustrators who have worked wholeheartedly in order to reach to the crux of each of the clusters and lead up to the genesis of such valuable colloquium papers. These papers will be the strapping guidelines for those who will be willing to put their efforts in order to uplift the artforms to the next level.

List of Students NAME

S. NO.

CRAFT

AKANKSHA KUMARI

Cane & Bamboo

AAYUSH SINGH

Godna

ABHINAV ANAND

Basketry

ADHYA AYUSHI

Godna

ADITYA WADHER

Cane & Bamboo

AMIT RAJ

Wood Craft

ANMOL KOHLI

Terracotta

ANTARA

Basketry

ANUSHREETA JAISWAL

Godna

ARSLAAN FIROZ RAZA

Godna

ATUL KUMAR

Cane & Bamboo

DEEPANSHI AWASTHI

Cane & Bamboo

HARSH VARDHAN

Wood Craft

JUVIN CHAUDHARY

Terracotta

KUMARI DIVYA ANAND

Wood Craft

MADHU LATA

Cane & Bamboo

MAUMITA NANDI

Godna

NISHANT KUMAR

Terracotta

NIVEDITA RAJ

Terracotta

RAJEETA PRASAD

Cane & Bambo

RAKHI KUMARI

Godna

RANDHEER KUMAR

Terracotta

RISHIKANT KUMAR VAIBHAV

Godna

RITY SUMAN

Wood

SAPNA KUMARI CHOURASIA

Basketry

SAURABH SHANDILAY

Wood Craft

SAVI KUMARI

Terracotta

SHRUTI VYAS

Wood Craft

SHWETA KAUSHAL

Terracotta

SONALI RANJAN

Wood Craft

SONI KUMARI

Basketry

VIJAYA PATEL

Basketry

VIKAS KUMAR

Cane & Bamboo

YASHASWEE SINHA

Basketry

Scope of Anagra Cane & Bamboo Craft Revival with Government’s Help -Aakanksha Kumari Abstract

The purpose of this paper is to study about the findings of the Angara Cane and Bamboo Craft Cluster in connection with its structure and functioning, productive capacity and income generation and their relation with the Government projects and schemes. The study reveals how and why in spite of various efforts by the Central and State Government, the artisans in this region are not performing up to the mark and remain unorganized; producing non-mechanised product. Most of the artisans of the cluster primarily depend upon traditional techniques of production. There are no sufficient promotional measures to attract the consumers from the outside markets. Besides, bare minimum credit facilities have been provided to develop the industry. Ironically enough, there is a growing demand for bamboo products in the local market. The artisans of the identified cluster have been manufacturing different types of cane and bamboo craft items like various kinds of bamboo baskets. The study concludes that government support is the urgent need to promote livelihood through cane and bamboo based products. Emphasis is to be given for the the design intervention of the craft. Government should play lead role in marketing the cane and bamboo products. This study is an attempt to explore the role of government in promoting cane and bamboo craft of Angara. The specific objectives of the study are toa. Explore the structure and functioning of the Angara cluster. b. Assess the productive capacity, income generation the challenges faced by the artisans. c. Study the existing relationship between the government and the artisans. d. Work out the scope of development of the craft and artisans with the help of Central and State Government.

Key Words

Craft Revival, Government Schemes, Craft Cluster, Innovation, Traditional Skill, Employment Generation, Marketing Strategy

Literature Review

Dr. Rabinjyoti Khataniar (2011) examined that the potentiality of Cane and Bamboo based cluster in terms of income and employment generation can never be overlooked. These products are ecofriendly and can thus protect the green planet. It has a global interest yet the market isn’t yet explored totally. Thus, every effort must be made for all round development of this industry. Government concede is a dire need to produce more products. Dash & Kumar (1996) observed that failure rate of village co-operative industries was very high in Tamil Nadu and Assam. The reason for this high rate of failure according to the study was traced to illiteracy, lack of leadership, weak financial base, inadequate credit, non-availability of raw materials and proper marketing support. According to Hashmi (2012), despite the strengths and demand of Indian handicrafts, the Indian handicraft export comprises of a meager 1.2 % of the world’s market for handicraft & 1.5 ~ of the country’s overall exports. The empowering development measurements at the large scale level never again stand genuine when small scale level needs are overlooked. Jadhav (2013), studied despite the strengths, the Indian Handicraft industry faces a number of problems in the country such as low literacy and education levels, lack of modern technological skills & lack of adequate finance. The planning commission acknowledges the fact that the unorganized sector that constitutes about 93% of the workforce doesn’t have a structured system to support acquiring or upgrading of skills. Ghosh (2010), studied the development opportunities of handicraft industry. Since most of the artisans in the handicraft industry belong to the economically backward classes of the society, financing entrepreneurial projects & paying attention to developmental needs of the fraternity remain some of the major concerns. Low literacy 1

and education levels add to the inability of artisans to access resources from modem sectors. Centre for Management Development, (2004), studied the handicrafts problems and prospects. Study reveals that the Government marketing agencies for handicrafts are charging extra for the crafts supplied by the artisans to an extent of 50 to 60 % to cover the overheads of the agencies. This has lead to an increase in the ultimate price of the crafts retarding sales and preventing the ·growth of handicraft sector. The study also revealed that the artisans were unaware of the social schemes provided by the Government. It was stated that the absence of skill development training affected the product quality improvement, design change and product expansion. Nagori (2012) revealed that, though sufficient work has been done on the aspects of marketing of rural products through organized retail format, only few studies have been conducted on seeking and feedback from consumers regarding their propensity to duly rural consumers regarding their propensity to duly rural handicraft product in his paper frame work of rural marketing.

The study reveals that how the artisans are deviating from their traditional craft of cane and bamboo, looking for a finically stable occupation. As shown in the graph 1.2, the craft used to be practised by most of the families in the cluster furring the year 2000 due to the high demand of the products. They were making the same old designs and were selling them at very low profitable prices though. The number of artisans took a new height during 2003-05 when Ministry of Textiles; for the first time arranged a series of Design Development workshops for the artisans of Angara with the help of an organisation called “Society for Rural Industrialisation” (SRI). Around 100 artisans were taught the techniques, skills and concept to make and explore new products and designs which led to value addition and were also provided with the Artisan Insurance Card. After that workshop, SRI tried to give the artisans the benefits of their learned skills which helped them take part in different exhibitions conducted by the government. They also provided a market linkage of the artisans to the Jharcraft.

Methodology

The study is exploratory in nature and dependent on primary as well as secondary sources of information. It was conducted using focus group interview method to gather data extensively and intensively. Around 10-15 respondents from different households and around five SRI officials jointly participated in an unstructured-indirect interview. The households of the cluster were the ultimate unit of observation. The selected group had a common background and all of them were involved in the practice of cane and bamboo craft. The idea was to focus the discussion on the problem areas in a relaxed, non-directed manner and the objective was to foster involvement and interaction among the group members during the interview, which would eventually lead to spontaneous discussion and the disclosure of attitudes, opinions, information on artisan’s personal data, standard of living and welfare, benefits received from Cluster Development Initiative etc. The secondary sources of information like Annual Report, Angara Cane & Bamboo Craft Cluster, book and journals, internet websites, etc. were also utilized wherever necessary.

Data Analysis 2

All these proved to be very beneficial to the development of the crafts until the artisans started facing financial crisis. The payments for their products reached them very late due to heavy paperwork backing it which led to their deviation from the craft. The graph of number of people practising the went the lowest in 2015. Their poverty had them focusing on instant money rather than focusing on the bigger picture. The artisans of Angara are changing their occupation from handicrafts to some others like farming, auto driving etc because there is inconsistency in the market, funding and demand of their products and they cant make very good profit out of selling their goods

consistently. As shown in graph 1.1, only 25 % of the people are still continuing to keep the craft as their main profession, out of which 90% are the women who don’t have any other occupation option. Very few government projects reach to them which too make little to no difference in their situation due to their illiteracy and lack of awareness. The profit they get by collaborating with the government schemes reach them too late. Due to these reasons, they are planning to not even teach the craft to their future generations. Most of the artisans are unaware of the government schemes and programmes which are launched for their welfare (refer graph 1.3). This makes them deprived of many good opportunities to establish their craft on a big platform.

is able to form 92 plus Artisans & 6 SHGs from around ten families of 20-25 villages supporting the strong work force. The Cluster has been manufacturing the traditional cane and bamboo craft items like bamboo baskets etc. and had also collaborated with a SHG called Society for Rural Industrialisation (SRI) under a Ministry of Textiles project .Moreover, It is a household based industry where the household member of any age group and sex can involve in the process of production. However, it is losing its momentum day by day due to the fact that there is no design intervention and marketing plan to attract the a new group of consumers. The popularity of other financially stable occupations among the artisans has brought the cane and bamboo craft at the verge of extinction and the problems faced by them needs to by addressed by the Government urgently. At present, the office of Development Commissioner (Handicraft) is implementing the following seven schemes for promotion and development of handicraft sector:

• • • • • •

Discussion

The Chota Nagpur plateau region is thickly populated with bamboo grooves and the tribes of the region are masters in making exquisite baskets, cane products and other utility items. The tropical climate of this region has a tradition of bamboo craft and the availability of abundant raw material has enabled the locals to master this ancient craft. The Angara cluster

Baba Saheb Hastshilp Vikas Yojana Design and Technology Up-gradation Marketing Support and Services Research and development Human and Resource Development Handicrafts Artisans Comprehensive Welfare Scheme

AHVY (Baba Saheb Hastshilp Vikas Yojana) Scheme introduced a comprehensive cluster approach for the development of the handicraft clusters, with a focus on empowerment and sustainability of artisans. The scheme provides support to handicrafts Clusters, with the artisans being the focal point. It follows an integrated approach to development that begins with conducting a diagnostic study & preparation of detailed project report for five years of implementation and mobilization of artisans into Self Help Groups (SHGs). It promotes development of selfsustained handicraft clusters, managed and sustained by artisans and their collectives (SHGs, Federation etc). The Angara cluster has been benefited by this scheme in the past. Despite the efforts of the Government in the past, there are still a bunch of problems that has stopped the growth of the craft and the artisans: schemes among the artisans. 3

• • • • • • • • • •

Lack of financial literacy. Lack of entrepreneurial skills, financial and marketing skills, management skills. Lack of exposure to markets, technology, designs. Lack of comprehensive brand and logo for Handicraft. Lack of integrated value chain development with regulations and awareness. Lack of information and knowledge about the schemes among the artisans. Poor implementation of schemes at the local administrative level. Lack of comprehensive database on artisans, crafts, producers groups. Lack of recognition of artisans identity. Lack of infrastructure support.

The ultimate objective in terms of converting the artisan SHG into a self-sustained community- based enterpriser has not been achieved so far in the Angara cluster. Broadly speaking, the artisans are no/ limited role in the selection of the implementing agency & sanction of project, preparation of the project report, identification of project interventions etc when it comes to the formation of the development plan. This translates into a development plan for the Cluster that may not necessarily be in line with the requirements of the artisans, who are in fact the end beneficiaries. There is a strong need for involvement of the Angara artisans in the preparation of the detailed project report by the implementing agency especially in identification of the project interventions, sequencing of activities, and developing the activity-wise implementation plan. The artisans may be organised in the form of Special Purpose Vehicles (SPVs) to ensure stakeholder participation, sustainability of operations as well as ensure that the artisans derive benefits from the Welfare Scheme. Also, easy credit facility should be provided to the needy artisans to undertake bulk production and an advance amount of money for their products should be provided to them to give them a sense of security and motivate them for doing the further projects. Moreover, they should be provided with the membership of Craftmark under MSSS, CHCDS and DTUS schemes, which would help them in the innovation of design and application. Craftmark is linked to several buyers in the domestic and 4

international market including ecommerce platforms. It would enable Angara artisans to access these markets and take advantage of the economic opportunities with improved competitiveness for comprehensive brand, logo, standard. Conclusion The study concludes that how government support is the urgent need to promote livelihood through cane and bamboo based products in Angara cluster. Government should play important role in marketing and production of the cane and bamboo products by proper formulation and implementation of its schemes. Awareness should be spread among the artisans to understand their role and the benefits they can get by that role. References http://www.craftclustersofindia.in/site/index. aspx?Clid=607 http://planningcommission.gov.in/aboutus/ committee/wrkgrp12/wg_handi1101 https://www.switch asia.eu/fileadmin/user_upload/ Project_Downloads/Batch_5/Going_Green/ Going_Green_- _Final_Policy_Gaps_Study_“Draft Consultation Paper on Handlooms and Handicrafts for 12th Five Year Plan”, Planning Commission of India, October 2014 http://texmin.nic.in/sites/default/files/ AnnualReport2017-18%28English%29.pdf http://www.jharkhand.gov. in/documents/10179/144122/ UrbanDevelopmentSchemes http://www.craftmark.org/our-services https://www.studymode.com/essays/IndianHandicrafts-Growing-Or-Depleting-47769462.html Centre for Management Development.2004. Study on Handicrafts - Problems and Prospects, Trivandrum. Hashmi.S.K.2012.Market for Indian Handicrafts: Excel Journal of Engineering Technology and Management Science (ISSN 2249-9032), I (1), Pp: 6, 7 Dash.A.P 1996.Development of Industrial Cooperatives in Informal Sector Need for Policy Change.Co-operative Perspective.Bombay, Vol.31 (2) Nagori N. (2012), Marketing of Rural Handicraft Products through Retail Format a Synthetic Review, Annuals of Management Research, 2, (1), pp.45-59.

Godna - Design Intervention -Aayush Kumar

Godna a lovely tradition of painting bodies with memories and love . As this traditional art used to be very influencing during its golden era . The era where godna (body tattoing ) was in culture , people used to have faith on godna because it relates their feeling with god . A tale was told by the people of those era that , every single human being born with an empty hand and even die same , every single penny you earn floats away , every relationship you trusted and think that will catch your hand forever leaves you , you die with memories and memories. people used to say â&#x20AC;&#x153;your body doesnt leaves you until your soul flew awayâ&#x20AC;?. So godna is somthing that will be you untill your body burns into ashes . Now people used to write their family members , god/goddess , loveones names in their body in a hope that may be they meet again in heven , love always poke people to cross boundries and do any thing for their lovebeing. As seed turns into plant than tree , similarly life and life style changed , Now generation came who thinks doing godna is a taboo , which cant be removed lifetime ,so they started creating a new mindset / mentality for godna which used to be socially accepted . Earlier our ancistor used to be very knolagable in terms of every things whether its relationships , medicals , bussiness or any things . Godhna is vey anticeptic helps in curing lots of desease . A single niddle used to be in the hand of artist and used to dipped in every human blood who does godna in their body. During the Golden era of india , when king and queen used to rule their kingdom , those time specific works were assaigned to specific caste people, So that there will be a thought of equality in the mindset of their people , godna are done by trible people who are untouchable called dalits. New generation people are very concious about themself they dont want outdated godna in their body which wont be removed till end, also scares from the single niddle that is pluged in every one who comes to create godna . Godna was replaced by tatoo , which was influenced by western culture . Indian have a bad habbit of excepting western culture very fast , People trusted machines than hand( godna artist ) when they consider body as first priority . Godna is mixture of lines and dots in form of shape

texture and text which somewhere just keeps on repeting. It become a very common style for every one . Now people dont remember why they started doing godna in their body , Godna used to be their body ornamentations . people started switching them self to tatto , which was mordenized , attractive , trendy and can be removed easily. So godna artist started switching themself to different places for new jobs and works because they were not able to earn from the traditions they got from their ansictor, But there are some people who still are working with godna / standing with godna for their livelihood with hope that people would again understand the value of godna We work for the upliftment of the traditional arts that are being vanished day to day ,Godna as an art was famous because the whole memory was created by just using lines and dots . we can alive godna by creating texture , symbols , artforms and implementing it on textile .even we can collaborate with graphics designers and group of godna artist who can combine together on same plateform to promote godna .With the help of graphics designer they can again stand in their art plateform and start their own. we can also ask godna artist to learn new techniques and style from new generation tatoo artist.

Basket weaving E-Commerce -Abhinav Anand

Abstract

India is a country of great cultural heritage and India’s cultural diversity provides plenty of remarkable art and craft products. Handicraft industry uses conventional manual methods instead of advanced technology for making various items. It is an unorganised, decentralised, labour intensive cottage industry. Though handicraft industry employs millions of artisans, It is still miniscule with respect to the global industry. This scenario is changing with the advent of E- commerce initiatives at government as well as at private or individual level. In this paper, an attempt has been made to highlight the role of E-commerce in the development of rural artisans in India by illustrating some efforts of Government and Non-Government agencies, Groups and In- dividuals in uplifting the socio-economic standard of the rural artisans through basketry. Strengths, Weaknesses, Opportunities and Threats/Challenges faced or to be faced by rural handicraft artisans adopting E-commerce have also been analysed in this paper.

Keywords

Basket weaving, Handicrafts, E-Commerce, Rural Artisans, Rural Development. India is a country of great cultural heritage and the Indian handicrafts have a prosperous history of several centuries.History testify the fact that the artisans of India were known worldwide for their skill and craftsmanship. The carvings on-the temples provide the proof of the skills, knowledge and involvement of handicraft artisans in their art. Exports ofIndian hand crafted goods have taken place from time immemorial. This sector, which forms a major part of this- rich cultural heritage of the country, utilises the traditional skill of artisans in various crafts such as wooden ware, metalware, textile weaving & printing, marble & stone crafts, leather works, Basketry, jewellery etc. This skill is handed down from generation to generation in the form of family tradition.True to its name, the “Handicraft” (crafts made by hands)industry uses conventional manual methods instead of advanced technology for making various items. It is an unorganised, decentralized, labour intensive cottage industry.India’s cultural diversity provides plenty of 6

remarkable art and craft products. Indian handicraft industry is labour intensive and is generally decentralised and spread all over the country. Though handicraft industry employs millions of artisans, it is still miniscule with respect to the global industry. This scenario is changing with the advent of many websites promoting the E-commerce of Indian handicraft industry. Government has also initiated various efforts to provide market opportunities to the artisans doing business in unorganised sector . India is one of the largest users of Internet across the world and expected to cross US in the coming years. Hence E-commerce has huge hidden and untapped opportunities for the businesses as well as local artisans. It has changed the way business is done and transacted by providing a global marketplace. E-commerce present a great marketing platform to the domestically produced products. It also provides scope for the expansion to the exporters. The much widened gap between artisanal clusters in India and the potential market is covered by E- commerce activities.

Objective.

In this paper, an attempt is made to focus mainly on the following objectives: To explain the concept of Rural Artisans and basketry; To highlight the role of E-commerce in the development of rural artisan.

Basket Weaving: Old Tradition to New Art Form

Basket weaving is a form of artwork that is common among the Native Americans in the South- western United States. At the same time, it may possibly be the oldest textile art known to mankind. Therefore, the baskets we see today are a development of an art handed down through the generations. Throughout time, one thing has remained constant: women have traditionally been the basket weavers in Native American tribes. Women basket weavers, therefore, have developed their skill over the thousands of years from making useful household products during prehistoric times, to the present, where their work is sold on a commercial market to Native American collectors. Women of the tribe were the weavers from the start

for practical reasons. Traditionally, the tribal women were in charge of domestic affairs. They therefore became in charge of basket making because it was their form of storage for household goods. This invention was their solution to the need to have unbreakable containers for their constantly moving lifestyle. The tribes roamed and needed containers that would be easy to carry, useful in storage, and that would not break. Basket weaving became the perfect solution. Baskets do not break, as pottery can, so they are easy to travel with. It was not until tribes began to remain stable that pottery came about since there was not the need for unbreakable containers and dishes. The variety of shape and size meant that baskets could be used for almost any household task. For instance, baskets can be made three feet tall to hold grains, or they can be made only inches tall to store personal belongings.

Role of E-Commerce in the Development of RuralHandicraftArtisans

Indian cultural diversity provides remarkable art and craft products. Basketry, Carpets Weav- ing, wood ware, bamboo products, marble sculpture, bronze sculpture, leather products, paintings, zari goods, embroidered goods and jewellery are few of the most desired handicraft products from India. Rising demand ofIndian handicrafts in US, Britain, Canada, Germany, Italy, etc. provide great opportunity. Each industry need handicraft such as fashion industry, real es- tate, home decor etc. For Internet tech savvy buyers online is the easiest way to find and shop for various handicrafts. Also E-commerce is one of the most promising channels in todayâ&#x20AC;&#x2122;s marketing scenario for selling handicrafts. It makes sure easy availability of goods at global level.E-commerce is the buying and selling of goods and services, or the transmitting data, over an electronic network, primarily the Internet. These business transactions are categorised into Business to Business (B2B), Business to Consumer (B2C),Consumer to Consumer (C2C), Consumer to Business(C2B). Now new E-governance concepts have also been evolved, i.e., Business to Government (B2G), Government to Business (G2B), Consumer to Government (C2G),Government to Consumer (G2C) and Government to Government (G2G). E-commerce processes are conducted using applications, such as E-mails, Fax, Online Catalogues and Shopping Carts, Web Services, etc. Like any digital technology or consumer- based purchasing market, E-commerce has evolved over the years. As mobile devices became more popular, mobile commerce has become

its own market. With the rise of sites like Facebook, Twitter and Pinterest, social media has become an important driver of E-commerce. India has experienced remarkable growth in information technology and E-commerce. The online market is offering different goods and service ranging from tour and travels, movies, hotel reservation, matrimonial service, electronic gadget, fashion accessories and groceries. According to the e-bay census guide 2011, India is home to 3311 E-commerce hubs, 1267 rural hubs, 391 export hubs and 2217 import hubs. The emergence of Information Technology in the last century as a prime driver and facilitator of change in the socio- economic development of the people has revolutionised lives across the globe. With the advent of Internet, international boundaries have melted away and the dream of a global village is eventually becoming a reality. Electronic Commerce or E-commerce is becoming a very attractive proposition for any entrepreneur including the rural poor, as internet offers the equal growth opportunities to small and big businesses. The advantages of conducting business over the web are many. The ones that specifically appeal to the problem domain at hand are outlined below: The major advantage that the Internet offers for a business is its global availability. Even a little known enterprise channelize the vision of expanding its market reach beyond geographic boundaries and local customer segments. Global and local E-commerce participants have launched websites that offer Indian consumers a range of products. The Internet allows an enterprise to conduct its business at a very low cost. The cost for operating and service support can be reduced greatly through the use of internet. It facilitates greater visibility; once the enterprise and its products are better known, more business flows in. Consumers are more willing to experiment with new forms of retail purchase and feel confident to search for and buy goods online. Inter- net penetration, the use of broadband, etc. are making it easy for consumer to shop online. Accuracy, speed, convenience and availability have remained prominent characteristics of the various elements of IT and Internet framework.

Godna A dying art? Or a medical marvel? -Adhya Ayushi

Abstract

We Indians have forgotten that the diversity of our culture was what scared the western world. The rulers of India took pride in claiming to own the lands of such wealth. As the years went by the western people started influencing everything that we did. Slowly and steadily everything and anything that we did had a bit of the western influence. People from the west were smart enough to proclaim their culture to be superior than that of any other in the world. This mindset influenced people to give preference to the western culture over their own. This was one of the reasons why most of our crafts which were once considered to be the wealth of our country started drifting away into oblivion.

Keywords

Tattooing, Myth, Medicine, Revolution, Modernisation, Traditions

Introduction

Godna as we know is a traditional form of tattooing which is very similar to the modern tattoo art but different in its own ways. Before it became a part of the main stream culture, Godna was a perpetual form of ornamentation native to many tribes in India and across the world. This lovely craftsmanship was and is done on the canvas that is the human body. The far-fetched idea behind this traditional craft was ornamentation of women. When they died these tattoos covering their body was the only form of ornamentation they could carry into their afterlife. The other, rather significant, purpose of this craft was identification of tribes from the other. The craft, mainly done on women was something women felt proud of. Having endured all that pain for an eternal mark of beauty was an achievement in itself. Most women felt incomplete without this artform stamped on their bodies. It used to be a sacred ritual and it was believed for the women who could endure the pain of Godna, child birth would not have been that much more difficult. There was once a time when every woman in the community was adorned with this beautiful art. However, it is far less prevalent in todayâ&#x20AC;&#x2122;s society. 8

The aboriginal tribes of India from north-eastern states as well as Bihar, Orissa, Jharkhand, Chhattisgarh, Madhya Pradesh, Andhra Pradesh have been practising Godna as a part of their mainstream culture. Apart from the tribes of Jharkhand, Godna is widely famous amongst other castes of KurmiMahto, Naai, Karmakar, Malakar, Kamsakar and lower communities. This tribal art form illuminates a lot many hidden chapters in context to Indian culture.

Prevalent myths

A myth prevalent in the Gond tribe of Jharkhand describes the origin of Godna. Lord Shiva once invited the Gods to a feast. A Gond God was also invited as one of the guests. His wife, the Gond Goddess, was sitting in a separate group with Parvati. The Gond God went in to fetch his wife amongst the many ladies. Out of sheer mistake he put his hand around Parvatiâ&#x20AC;&#x2122;s shoulder. Shiva knew it being a mistake chuckled, but Parvati was furious. She demanded the tribal women to wear specific tattoo marks to distinguish themselves from other castes. Since, then tattooing has become an important part of the tribals lives. Another mythical story found in the region is that Yamaraj (God of death) was confused about the sex of the dead when their spirits went to his kingdom. For this he desired that his daughterin-lawâ&#x20AC;&#x2122;s body be marked with black ink so as to distinguish her from others. She looked extremely attractive in her new avatar. Yamaraj then ordered her and his son to go to the earth in Godanhari attire and roam around the villages singing praises of the tattooed parts of the body to the people. They did as they were commanded and since then Godna marks are considered to be a wealth of people that they can take with them even after death. A Myth related to Godna also states that when a spirit appears before the Gods, it is checked for Godna marks, if it fails to reveal any Godna marks, it is sent back to the earth for rebirth and it does not attain salvation. Another historical incidence of Oraon tribe emphasises a lot on the genesis of Godna art in this tribe. The kingdom of Oraons was located at Rohtasgarh. Once upon a time, the Turks attacked them and lost the battle. Out of ecstasy, they started celebrating by

drinking rice beer. The Turks necessarily thought of attacking them again when they were blinded by the celebrations. The daughters of the Oraon tribal king, Singi Devi and Kaili Devi however got to know about the plans of the Turks. They prepared an army of strong powerful women in the disguise of men and fought bravely against the Turks, winning the battle. A milkmaid from the Oraon tribe who used to send milk to the tents of the Turks clarified to them that they had lost the battle to women. This left the Turks awestruck. To further verify the fact, the Turks went to the riverside where they saw the women troupe washing their faces with both their hands, which was a typical mark of feminism at the time. Seeing this the Turks attacked for a third time. But this time they attacked the women. Again, for a third time they lost the battle to the Oraon tribe. They finally accepted their defeat and went away. To mark the victory and brilliance of courage loaded battle fought by the women of the Oraon tribe, the sign of three identical lines were engraved on the forehead of the women of the Oraon tribe, which was followed traditionally in the later years. The publicly accepted beliefs varied from tribes to tribes of Jharkhand. The females of Jharkhand were categorised under different communities based on the design of Godna on their body parts. Godna was mostly seen on the forehead and earlobes of the tribal women. Apart from forehead, it was engraved on hands, legs, chests and other body parts as a pure ornamentation activity and had no particular connection with any cultural rites and melioration. It was a compulsory tradition for the ladies of Oraon, Munda, Khadia and other tribes. Females of Oraon and Khadia tribes used to engrave three straight lines on their forehead. It was engraved following a lot of celebrations during the period of adolescence. In few tribes like the Oraon’s and Munda’s, at the age of 5 or 6 years, young girls were tattooed on different body parts. Among adolescent boys, the new members of the community were tattooed and were known as ‘Singa’. For the women of this state, Godna is revered as the most valuable ornament. They engrave three or four lines of garlands on their chests. In order to save themselves from the persecution of various kings and rulers in the past, people used Godna on their face and other body parts to look unpleasant and repulsive in appearance. Gradually it became a fashion and was accepted as a form of body adornment. The Santhals believed that if one does not bear the

pain of Godna in their lifetime, then in the afterlife they would be given monstrous creatures at the doorstep of heaven that would slowly devour them. The Ho tribe believed Godna to be a symbol of purity. It was considered auspicious when marked on the foreheads of women and a mark of welfare on the chests of men. They considered it to be the authentic identity of one’s soul and anyone who defies the ritual is not accepted as trustworthy. The Khadia tribe believed that engraving the mark of ‘1’ on the body part of a young boy signifies his audacity whereas, marks of Godna on young girl symbolises her societal advent and state of adolescence. The Baiga tribe believed it to be a permanent ornament that stays with the body forever even after death as an eternal property. They have a firm faith that the almighty takes away everything but cannot do so with engravings. The design of ‘Dhandha’ (six dots connected in a line) on the back, is a special mark by the almighty on the back of the reincarnating soul. Traditional female artists of Godna belonging from the Malhar community state that the tribes of Jharkhand majorly inscribe patterns of Boot Jhangri (lentils of green gram), Kadamkali, and earthen flowerpots with flowers and leaves, Sun, crops, etc. as the designs of Godna on their body. People of Munda tribe used to inscribe Godna on their forehead, lower lips and at the two extreme edges of the eyes. The presence of husband or male members of the respective communities is considered inauspicious while engraving Godna on the female members of the tribes. The ink is made from kajal powder extracted from niger seeds mixed with fresh mother’s milk. The patterns are drawn using bamboo sticks. It is then engraved onto the body using needles so that the ink penetrates the skin. To enable the penetration of the ink small stones are used to tap the needle when placed on skin. Though it being a painful process, the tribal people do not take any medicinal drug after engraving the design. All they do is rub some turmeric mixed with mustard oil to reduce the inflammation. Dewdrops are also used as pain killing medicine which is applied with the help of small twigs of soft grasses. Sometimes they use fresh dung from a calf to prevent infections on the tattooed parts. Hardly any chemicals are required for making Godna. It is a very painful procedure. Godna is not immediately visible after being tattooed. Blood oozes out from the particular body part after being pricked with needles and then it intumesces causing pain. After applying turmeric paste, within a 9

week or so the designs of Godna start emerging onto the body parts

Is mythology the only reason Godna was practiced?

These mythological aspects determine why Godna was and is in practice. However, as we know every ritual and cultural practice has a deeper meaning to it. The mythological tales prevalent are told just to lure people into following the practice. Similarly, these tribes had a much more deeper meaning that they believed in to be the reason behind the practise of the craft. They believed that Godna done on the specific ailing body part helped heal the ailment or minimise the agony. The tribal women were said to tolerate the extreme physical torment of Godna so that they could tolerate the unbearable pain of child birth. One of the most surprising claims that the traditional tattoo artists of the Malhar tribe made was that Godna was used by the artists to treat diseases like Goitre, Arthritis, Rheumatism, Non-Alcoholic fatty liver disease, Hydrocele related disease, Human hookworm diseases. Now as we all know Arthritis is something that science has accepted as untreatable. So, it is astonishing to find out that a tribe of people who are far fetched from any kind of scientific exposure accepting such claims. They accepted that the science that they had was beyond the understanding of any of the modern sciences. They also claim that despite of the speculation of the craft being an unhygienic form of art there have been no cases of any kind of blood infections which on the contrary have been often caused by the modern methods of tattooing. Now let us examine a little about arthritis. Arthritis is a broad term that covers a group of over 100 diseases. It has everything to do with the joints. The places where our bones connect, such as wrists, knees, hips, or fingers. But some types of arthritis can also affect other connective tissues and organs, including the skin. The word is used to describe pain, swelling and stiffness in a joint or joints. According to the Centers for Disease Control and Prevention (CDC), there is no cure for most types of arthritis. However, they say that â&#x20AC;&#x153;Early diagnosis and appropriate management are important, especially for inflammatory types of arthritis.â&#x20AC;? However, the Malhar tribe claims to have found a way to treat one of the diseases that has been affecting one out of every five people. One of the techniques to 10

help ease out the pain of arthritis is acupuncture. It is an ancient Chinese medical treatment that involves inserting thin needles into specific points on your body. This is supposed to reroute energies and restore balance in your body. Acupuncture is the most researched complementary therapy and is recommended by the World Health Organization for treatment of over 100 different conditions. It is thought that acupuncture has the ability to reduce arthritis pain. There are many kinds of herbal supplements on the market that claim to be able to reduce joint pain. Some of the herbs are touted for arthritis pain. The special mix of herbs and the unique techniques used in Godna to treat every other patient is what does the miracle. They say that each kind of arthritis has a special and unique technique. They practice the art on the affected joints to do away with the pain. The herbs and the needle combined trigger the affected area and somehow the ailing joint is healed. The combination of herbs is what triggers the healing process. The tapping of the needles on specific targeted locations is what helps the medication reach the affected area. Well, this is yet to be claimed accurate by medical sciences. There is no scientist that has done enough research on this topic. However, the tribal people believed that their combination of herbs could do the marvel that modern sciences were unable to comprehend. Could this be the reason why this craft survives? We have clearly seen that people have been moving away from the traditional craft due to various reasons. So, is this the ray of hope that this craft needs to sustain in this modern world? It is very difficult to convince people to bring this art back into practice due to the lack of knowledge about this craft. But is it possible to make people believe in the craft again? We, as a community have no idea what lies underneath the ragged exterior. This craft is worth conserving not only because of its charm but also because of the possibilities that it brings with in terms of medicine. We should think of those possibilities and carry out researches to prove out the claims of these artists. It is really astonishing to see that such an important craft is dying without any proper research being done for people to understand its true significance. Is modernisation tarnishing our culture? The effect of modernisation and conversion of

tribalism into other faiths and religions lead to the abatement of Godna amid the tribal culture. The only hope that remains for the revival of this art is the youth which is getting attracted towards its modern implication in the form of tattooing. The younger generation is unaware of the cultural loss that their community is facing. Not only this, if the artform is dead, so is the cure of one of the most sought-after disease. Not only are people unwilling to get marks tattooed on their bodies in the traditional form, but the people are also unwilling to teach the art form to their younger generation. This is mostly because this art is hardly getting them any money to even fulfil their bare necessities. The common masses have also given up hope on this art form as they find this craft rather unsanitary. However, is this reason enough to do away with this incredible art form? We Indians have a tendency to get easily carried away with the western culture. This is the sole reason why so many Indian traditions are on the verge of extinction. The western culture here points out to the modern methods of tattooing. This new art form has taken over the world and has reduced the native tradition to a point where not many people have even heard about it. Godna is a craft that not only is a form of decoration but has the ability to cure something that the western science has still not understood. The mythologies that were prevalent had helped sustain this craft for so long cause lets be honest. What are people most afraid of? God! Right? The people practicing this craft failed to circulate the benefits that it brought with it and are now looking for other job opportunities that would sustain them and their families.

we so lost?

Reference

http://intangibleheritage.intach.org/godna-tattoo-artby-women-of-the-baiga-tribe-of-madhya-pradesh/ http://www.ishankhosla.com/work/godna-typeface-made-tribal-tattoos http://www.vinart.in/art-forms/godhana/ https://www.thebetterindia.com/58170/india-tattoo-tradition-history/ https://theculturetrip.com/asia/india/articles/tattooedtribes-art-meets-tradition-on-the-canvas-of-the-body/ https://www.researchgate.net/publication/322686341_Tribal_Heritage_Conservation_in_ Jharkhand_from_an_Anthropological_Viewpoint Handmade in India Research paper of Sadhna Chouhan Professor, Deptt. of Drawing & Painting, Maharaja Bhoj Government P.G. College, Dhar (M.P) https://www.medicalnewstoday.com/articles/7621. php

The age-old art of body embellishment that is Godna has unfortunately been confined within the tribal and rural domains of Jharkhand, and is now on its verge of extinction. The varieties of design specifications marking the mass acceptance of Godna amongst the tribal communities is worthy of great admiration and there is a huge requirement of uplifting their social status in order to popularize and corroborate the authenticity of conventional Godna art form. We should be asking ourselves these questions- Are we so lost in the modern world that we are not ready to appreciate our own traditions? Are we so lost that we have turned a blind eye towards a craft so scintillating that has the ability to cause a massive breakthrough in modern medicine? Are we so lost that we are not ready to accept our own culture? Are 11

A study on employment generation opportunity through Cane and Bamboo Craft for the youth -Aditya Wadher Abstract

This paper considers how the craft of cane and bamboo craft has failed to generate interest and employment for the young generation of the village. It discusses the emerging need for saving the heritage of craft through infusing employment benefits among the generation. Exploring ways to change the traditional mindset and inculcate the ideas and knowledge for the modernistic approach towards art and craft. The goal is to revive the craft by converting it into an income generating tool. The outcome of the paper is a better understanding of the craft, youth, and employment. Research methodology This paper is based on the first perspective of primary research conducted via interview. The paper aims to suggest that craft of yesteryear and youth of today have a huge gap and don’t connect with each other. Keywords Cane and Bamboo Craft, Employment Generation, Opportunity, Youth. Introduction “Handicraft is the second largest source of employment in the country, after agriculture. Yet India’s hand industries are in a crisis of misunderstanding.” -Crafts Council of India-2011 ‘‘‘Crafts can be defined as “those activities that deal with the conversion of specific materials into products, using primarily hand skills with simple tools and employing the local traditional wisdom of craft processes. Such activities usually form the core economic activity of a community of people called ‘craftsmen’.” ( Professor M.P. Ranjan ) A craftsperson is one who is skilled in a craft technique and though he may produce a number of similar objects, each one however expresses the maker’s creativity. 12

(Jasleen Dhamija-2003) Indian Craft has been a traditional knowledge, it has been passed down in families from generation to generation. For the majority of the rural sector of India, handicraft is the second biggest source of income after agriculture. People are still dependent on the traditional and indigenous skill of production of the craft. Craft is a unique expression of one’s heritage and it has been following since the inception of the country. However, with the advent of new technology, it had become rather difficult for craftbased products to compete with the products all around the world. For the first time, the unique craft is being compared with other craft online and thus the value of it has been going down. The new issue that the craft industry face today is the value recognition, neither the maker nor the buyer realizes the true value of the craft and hence it has been declining. Propelled by such tragic loss, the market value of handicraft has slipped and fewer people are coming on-board for the craft, both to learn the skill and to buy the product. Thus forcing artisans to abandon the craft and move to cities or for low, unskilled labor in the other industry. The inception of the research was the Aangara craft cluster of the Gundari Pokha district of Ranchi. The cluster is famous for the tradition bamboo craft that has been performed there for generations. The area is around 30 km away from the capital city of Ranchi and is only connected by road. The nearest railway station is the Tatisilwai railway station. Being a part of the hilly area, the area experiences a moderate climate, it has hot summers and cool winters. Rainfall is average throughout the rainy season and people are mostly dependent on the rain for their agriculture. Growing rice and wheat are common in the area along with seasonal vegetables for private consumption. The area does have electricity and it is a semi-developed village having some modern day amenities like proper road, pakka houses, bank, water, and internet. Inhabitants are mostly local Munda tribes. Most of the families in the village, still stick to the traditional joint family setting with the eldest

residing over the family. The knowledge is passed through the generations in a traditional manner. Almost all the members of the family are involved in bringing food to the table, men would work in farms while women would do the craft, the children would help their parents and the grandparents would also be involved in the craft. Moreover, the youth would prefer doing a job/ service at local stores or in the city. Education is given a big priority and everyone in the village is aware of the importance of it. The village has a couple of schools for children while youth would move to cities for further studies. More and more youngsters are migrating from the traditional craftsmanship to getting educated and working for companies in cities. Over the time the major occupation has seen a shift from craft to farming and then finding a perfect balance between them. However, because of the uneven market and manufacturing quality, the focus from craft has shifted to farming with people spending 9 to 10 months in agriculture. Framers have shifted from growing bamboo to growing food crops and cash crops instead. They would clear the nearby forest for getting the bamboo or buy from the local supplier to save time and effort. On the other hand, while the elders are just holding on to the tradition, the women have taken it upon themselves to revive the craft, they learn the valuable craft and pass it down to their children, after finishing their household duties, they would sit and make bamboo baskets and soup and other materials. They are the only part of the community that has fully endorsed the craft. On the contrary, the youth have a certain dislike towards the craft. Growing up, they have seen the disadvantage of it and migrate to different fields with the help of the education provided to them. They see less effort and more income in other fields than craft. Apart from jobs, they would open grocery stores and work for shop owners or in other government jobs as their major occupation. With the shift in generations, the generation of the last few decades have been wanting to improve their family living condition and thus selected this option. Moreover, with new jobs, they have brought in new progress and development to their village along with a higher standard of living. The government on one point have tried to capture the attention of youth with lucrative offers in craft training and development under the Ambedkar Hastshilp Kala Yojna but they failed to address the major issue which is marketing and selling. Hence we see the new generation trying to make the most out of their

skills. Research Design SRI-society for rural industrialization is an NGO that has been a part of the Angara cluster for past 30 years. It was flagged by the late president of India, Dr. A.P.J. Abdul Kalam. They have been intervening in the local area, bringing in new methods and technology for the craftsmen to improve their technology. On top of it, they have provided them with vocational training and design development courses too. They conduct a workshop, every six months in which members from the Aangara cluster would come and learn and make new products for either Jharcraft or other government parties. .The workshop includes a number of activities related to the exploration of the handicraft which trains people and promotes the value of the handicraft. A data collection report is then made which includes valuable feedback and figures for their next goal. The participation includes mostly female youth population. For the sake of this research, personal interview was selected as the major tool, a set of 10 artisans were picked from a pool of 250 families. The participation includes people of all age groups ranging from old men to the female youth. Apart from understanding the artisans, special interviews were conducted with B. Paria the head architect of S.R.I. â&#x20AC;&#x2122;s design and intervention department. The final data is analyzed with the help of interviews for both participants and the head designer in which they are asked about their experiences, learnings, marketing issues, manufacturing problems, sourcing difficulties etc and a comparative analysis is made between the views and experiences of both the parties to get a better perspective of the problem. The interviews were then shifted to group discussions between both the parties so as to ascertain a certain level of precision and narrow down on major issues. Why Craft has failed to bring about new employment to the youth. The cane and bamboo craft has been the vital source of recognition and employment for the people of Aangara but with the shift in time, the craft didnâ&#x20AC;&#x2122;t evolve and was stuck at version 1.0 while the world moved to a version 5.0. Thus it became difficult to capitalize on the tradition. The youth started disliking the craft due to following reasons â&#x20AC;˘

Uncertainty in the market for craft related product. 13

• • • • • •

Low source of income and low perceived value of the craft. Failed to adapt to the modern 21st century. Production, Marketing, and logistics related issues. Observed the families dive into poverty due to investing in the craft. Education opening up new field options. Failure of government promises.

Uncertainty in the market for craft related product The uncertainty of a particular market and customer has been a huge challenge. Especially when the craft doesn’t have a wider radius and only cater to a small local target audience with menial day to day cheap products. Add on to this the pressure of competition and we end up with a highly empty customer segment with more competition than the customer. Furthermore, the craft industry works on orders which restrains continuity and hence there is no particular say as to the steady flow of demand which has a great impact on production economy and thus this uncertainty affects poorly to the craftsmen. Having low investment, the craftsmen always prefer to attain the return on investment as fast as possible however due to the following uncertainty this R.O.I. is never fulfilled. Apart from this the agency that provides the order, Jharcraft has been notorious for extending the salary deadline and taking months to process. These all factors negatively affect the craftsmen and demoralize him/ her towards the craft and its explorations. This is one of the reasons why artisans have shifted craft from a major source of income to a secondary source or rather a hobby and are involved in activities like farming for their income. The only reason the handicraft is still practiced is to keep alive the tradition and keep the heritage alive. Low source of income and low perceived value of the craft. Craft has always been handy alternative towards every other mass manufactured product. It has been a major alternative throughout the history of the Indian sub-continent. However once it was used to be the best product and at the forefront of the market but in time, it’s magic fell short to the might of polyethylene and other carbon fibers. From being the major player to becoming the fallen hero, the craft has suffered a lot due to the arrival of polyethylene. Not only did it replace bamboo products as a cheap and long lasting alternative but also was supported 14

by the major manufacturer and got a high level of technological advantage. This left the craft market redundant and ultimately forcing the craftsmen to lower the price considerably. Hence, this started a chain of events which on the long run lowered the value of craft in the minds of the customers thus changing the perception of the craft forever. Now, it is being viewed as low priced and customers are always seen negotiating the price of the product. Once a product which was equivalent to art piece is now sold in dozens. This made the profit margin very slim and thus making survival difficult for the craftsmen. Failed to adapt to the 21st century The evolution of the handicraft is unable to compete with the growing demands and methods/process of the 21st century.Where the world is moving towards e-commerce marketing the handicrafts are sold in small shops and haats. The reason why craftsmen are unable to promote their crafts widely beside there are no major investments made by the craft council of India to the craftsmen to promote social marketing and branding of the crafts. The craftsmen fail to adapt to the use of technology for large-scale production so to enhance the quantity and quality of their crafts instead they choose to stick with their traditional methodology for the production and marketing of their products. Even if they are provided with a set of new technologies which can ease the manufacturing process they are unable to incubate and the technologies are left just like that. Production and marketing of the handicrafts are unable to reach a wider scale of audience because of lack of promotion and branding over social networks. Production, Marketing, and logistics related issues. Bamboo takes 2-3 months to process, it requires tedious process and hand skills to make it production ready. The time-taken and to get the raw materials and improve its quality through processing is both costly and time-consuming. Moreover, supply is limited to the rural area while the demand hovers over the urban area and due to the lack of appropriate transportation and subsidies for craftsmen, these products are only limited to villages and seldom see city lights. Even if they do manage to get into the city sphere, they sell the same products. What they do forget is that the target audience change and so do the product. However, failing to understand these basics have put the craft in jeopardy. On top of this,

the craft has to be transported and logistics cost, thus lack of appropriate players and subsidies have also caused hindrance in the advancement of the craft. Observed the families dive into poverty due to investing in craft. From old times the families of the craftsperson follow the tradition of taking the craft forward, the bloodline is forcibly asked to take the craft as a scope for income and opportunity.Families which are into the tradition of craftsmanship face a net loss every year because they fail to meet with the growing economic demands. They are unable to switch to any other profession because they have involved their whole life in learning and practicing the craft.because of less branding and production the families are diving into poverty and are unable to educate their children to take professions other than craftsmanship.the craftsmen are therefore ensure to take the tradition forward Education opening up new field options. Education has been given a priority in Aangara and this has brought new hope to the youth, they have rebelled against the traditional and the problems that it has caused. With the arrival of education, it has given the youth a new line of sight, they now venture into numerous fields apart from the craft. These new work sites have given new opportunities. Youth have started migrating to cities and generating far more revenue than they could have done through craft. This has further triggered a trend that made this migration more effective. However, education has also empowered the youth and some have wished to stick to the traditions and strengthen the craft, however, due to lack of capital appropriate mentoring and exposure they fall short of launching anything. Failure of government promises. Lucrative government schemes and offers have always attracted the craftsmen but over time people have grown skeptical to these offers, although NGOs have tried changing the perception yet it’s still the same. The craftsmen expect a steady help from all aspect- financial, material, design, sales, logistic, etc. for a steady shift of technology but what government provides is a one time support and then pulls the plug. This incapacitates the craftsmen both through his time and capital. NGO, on the contrary, have tried to provide an incubation period for these artists but these time period affect their day to day business adding to the NGOs also run out of cash to

support the artists. The uncertainty in the market of bamboo crafts, its low source of income, low perceived value of the craft, failed to adapt to the modern 21st century, issues in production, marketing and logistic combined with ability of the occupational environment to drive the families into poverty have been enough causes to drive youth away from the craft in general. With the advent of education opening up new field options to the youths and failure of government promises it has become hard for the craft to survive. Youth is the key for prolonged survival of the craft. If the link in the generation is broken, the craft will start losing its heritage and end up as a mear history. Proposed solutions to bring youth back to the craft. As a rural industry the traditional industries of India could generate employment with low capital investment. The performance of these industries are measured in terms of their potential to create large employment opportunities. Being labour intensive in character, these industries are capable of absorbing more labour per unit of output as well as investment. This was also observed by P.C. Mahalanobis in his studies on rural development. He found that with any given investments, the employment possibilities would be ten or fifteen or even twenty five times greater in small industries in comparison with corresponding large industries. Since these industries are mainly concentrated at rural areas, they could also play a predominant role in the poverty alleviation programmes of the country. In order to bring about a 360 degree change, major renovations in the mindset has to be brought along with superior technological changes to update the craft field back to version 5.0. Along with proper government support for sustainability and long term base development. Thus focusing on the following factors • Increasing government support and incubation phase. • Bringing in MNC’s . • Strengthening through education.

Increasing government support and incubation phase

Extending the incubation phase for 5-6 years will help train the craftsmen in a better way besides it 15

will allow the possibilities to explore the craft with various techniques and technology. This incubation phase is necessary for the craftsmen to stand on their feet without the support of the government. Changing existing government strategies by increasing government support to provide help and investments for better production, manufacturing and branding of the crafts this will ensure crafts strength and will also increase the economic of the market. Planning a set of monthly wage for the craftsmen while they are in their incubation period so that their monthly economy is not hampered. Along with this adequate start up opportunities and investor meetings would help fuel the young with necessary ingredient, therefore making the field enough lucrative for the youth to be attracted to it.

Bringing in MNC’s.

Craft has seldom seen the ray of light when it comes to technological advantage and it’s been ages since any major changes have affected this industry. This has pushed back the advancement through decades. Thus, it is highly necessary that breakthrough technology be introduced in this field through the induction of Multinationals. One one hand they would provide a nation wide platform, logistics and technology while on the other they would help them with steady flow of income and constant product requirement. Coupled with appropriate branding and marketing algorithm. MNC’s with their huge infrastructure will be the vital ingredients for the survival of the craft. This modern change will speak to the youth and help connect better with them, therefore gaining their attention and attracting them towards their heritage. Strengthening through education Education has and always will always act as a catalyst. When combined with the technological advancement of MNC’s and better and improved government Better education system will help the craftsmen know about their field well and also explore various possibilities and profits of their craft.better knowledge along with skills will provide a number of solutions to empower the craft and also promote their crafts on large market scale Employment opportunities for youth in craft is a good alternative for the present jobs provided that the renovations in the field be brought in terms of technological advancements and improved government incubation. This would help bring the 16

tradition back alive, upgrade the craft and most importantly help in employment generation.

References

1. Din, T. M., Mir, L. A. and Bhushan, S. (2014). Analysis of Current Scenario and Contribution of Handicrafts in Indian Economy. Journal of Economics and Sustainable Development, 2.Iyer, K. S. (1999). Handicrafts of India and Its Artisans. Janapadham, 30, p. 2. Indian Textile Ministry (2012) Government of India. 3.Rao R (1979) Small Industries and the Developing Economy in India. New Delhi: Concept Publishing. 4.Sarvamangala R (2012) Challenges and Opportunities for Rural cottage, and Handicraft industries in India Paripex. Indian Journal of Research. 5.Ghouse, S. M. (2012). Indian Handicraft Industry: Problems and Strategies International Journal of Management Research and Review, 2 (1) 6.https://www.researchgate.net/ publication/316110698_Handicraft_Sector_The_ Comforting_Sector_of_Employment_Review 7.http://shodhganga.inflibnet.ac.in/ bitstream/10603/31920/11/11_chapter%203.pdf

E-Commerce for craft revival-Wood Craft -Amit Raj Abstract India is a country of huge cultural heritage and India’s cultural diversity provides many exceptional art and craft product. Craft trade uses standard manual strategies rather than advanced technology for creating numerous products. it’s an unorganized, localized, labour intensive industry. Although handicraft trade employs a lot of artisans, it’s still minute with reference to the worldwide trade. This situation is ever-changing with the appearance of E-commerce initiatives at government furthermore as at personal or individual level. In this paper, an effort has been made to focus on the role of E-commerce within the development of rural artisans in Republic of India by illustrating some efforts of presidency and Non-Government agencies, teams and people in rising the socioeconomic commonplace of the agricultural artisans through E-commerce. Strengths and Opportunities of adopting E-commerce have additionally been analyzed during this paper.

everywhere the country. Although handicraft industry employs a lot of artisans, it’s still minute with relevance the worldwide trade. This state of affairs is dynamic with the arrival of the many websites promoting the E-commerce of Indian handicraft trade. Government has conjointly initiated numerous efforts to produce market opportunities to the artisans doing business in unorganized sector. Craft reflects the culture and talent of native population and thus the country. India is one amongst the foremost wanted destinations for handicraft thanks to variation in culture and folks World Health Organization produce varied forms of craft. Different places in India famed for various handicrafts like Ranchi for Wood Craft. Handicraft trade is one amongst the largest employers in rural Asian nation. Several artisans work on full time and plenty of on half time basis to provide these merchandise with hands. Low initial investment, potential for export and foreign earning are few of the factors that are serving to this trade to grow further.

Introduction India is a country of great cultural heritage and also the Indian handicrafts have a prosperous history of many centuries. History says the actual fact that the artisans of India were better-known worldwide for their talent and craft. The carvings on the temples give the proof of the abilities, information and involvement of handicraft artisans in their art. Exports of Indian hand crafted product have taken place from past. This sector, that forms a significant a part of this wealthy cultural heritage of the country, utilizes the traditional ability of artisans in numerous crafts like wood ware, metal ware, textile weaving & printing, marble & stone crafts, animal skin works, jewelry etc. This talent is handed down from generation to generation within the variety of family tradition. True to its name, the “Handicraft” industry uses standard manual ways rather than advanced technology for creating numerous things. It’s associate unorganized, localized, labour intensive industry.

Power of E-Commerce Industry specialists accept that worldwide exchange right now depends upon more on E-commerce along with antiquated medium for exchanging. In spite of the fact that there’s no typical definition of Ecommerce characterizes exchanges since the deal or buy of items or services, whether between businesses, families, people, governments, and distinctive open or individual organisations, conducted over computer-mediated systems. The goods and services are requested over those systems, but the payment and thus the ultimate conveyance of the decent or service may be conducted on or off-line. India is one among the foremost vital clients of web over the planet and anticipated to cross Joined together States inside the coming back a long time. Hence Ecommerce has huge covered up and undiscovered openings for the businesses advance as local artisans. It’s adjusted the way commerce is wrapped up and executed by giving a worldwide marketplace.

India’s cultural diversity provides lots of outstanding art and craft product. Indian handicraft trade is labour intensive and is usually localised and unfold

E-commerce is blessing an amazing offering platform to the locally made item. It conjointly provides scope for the development to the exporters. 17

SWOT Analysis Strength • Large, diversified and potential market. • Proximity and accessibility to the potential customers • Large product variety • Need low capital investment Weakness • Inadequate information on new technology. • Lack of promotion of product. • Less interest of young people in craft business. Opportunity • Online retail • Potential source of foreign revenue. Threat • Industrial Brands of market • Critical success factors a) User-Friendly website: The projected business incorporates a web site whereby the handicraft search and dealers will post their product therefore on reach worldwide folks to sell their product. The website needs to be developed on the basis of UI UX design so that it will fill the latent needs of the target audience. The website can use the latest AI technology and SEO to increase the reach and find the traffic on net and with the upcoming Google Duplex it will also create a interactive bridge between customer and product. b) High security for transactions: The proposed business deals with e-commerce handicraft whereby people around the world can see and purchase but the customer always make sure, whether the website is secure or not. It will give high security for the customer service. c) Product images and information Good images and required information of product needs to be conveyed in sober way so that the customers are better informed when they are doing their shopping. India is one amongst the necessary suppliers of 18

handicrafts to the world market and has shown its importance since years. Handicrafts don’t mean to trust solely on the handicraft, innovation, and technology may also be collaborated with the mind frame of the artisans for more improvement in this sector.

Supply Chain Management (SCM) -Anmol Kohli Supply chain management (SCM) is the broad range of activities required to plan, control and execute a product’s flow, from acquiring raw materials and production through distribution to the final customer, in the most streamlined and cost-effective way possible. Logistics vs. supply chain management The terms supply chain management and logistics are often confused or used synonymously. However, logistics is a component of supply chain management. It focuses on moving a product or material in the most efficient way so it arrives at the right place at the right time. It manages activities such as packaging, transportation, distribution, warehousing and delivery. In contrast, SCM involves a more expansive range of activities, such as strategic sourcing of raw materials, procuring the best prices on goods and materials, and coordinating supply chain visibility efforts across the supply chain network of partners, to name just a few. Supply chain complexity The most basic version of a supply chain includes a company, its suppliers and the customers of that company. The chain could look like this: raw material producer, manufacturer, distributor, retailer and retail customer. A more complex, or extended, supply chain will likely include a number of suppliers and suppliers’ suppliers, a number of customers and customers’ customers -- or final customers -and all the organizations that offer the services required to effectively get products to customers, including third-party logistics providers, financial organizations, supply chain software vendors and marketing research providers. These entities also use services from other providers. The totality of these organizations, which evokes the metaphor of an interrelated web rather than a linear chain, gives insight into why supply chain management is so complex. That complexity also hints at the types of issues that can arise, from demand management issues, such as a release of

a new iPhone that chokes demand for old iPhone cases; to natural supply chain disruptions, such as the halt of transportation in the U.S. in 2015 due to extreme winter weather, or California’s drought and its effect on crops; to political upheaval, such as the strikes in India that throttled movement at its largest container port. With all the hullabaloo about the Supply Chain profession, I think that we need to make a solid distinction between art and craft. Art is a result of a person’s innate, creative talents whereas skill in craft can be acquired with experience. Craft can be called skill sets. In craft, more practical thought is needed whereas in art, it is being innovative or pioneering beyond basic supply chain concepts or techniques. Art, in the supply chain, revolutionizes to the point where the rules of the game change to accommodate it. By way of example, how supply chains can leverage digital capabilities to support new business models and improve performance is truly revolutionary because value can be a profit multiplier. The art of supply chain management (SCM) is not easy to implement because it runs counter to the ingrained logistics functionallyoriented thinking about how supply chains organize, operate, and add value. Yet art is needed in managing flexible and uncertain supply chain environments. For example, when customers value distinctive or unique output (in other words, all customers don’t want the product or service to perform or be performed the same way), this is art. Craft involves technique and implies the application of human intelligence. As an example, acting quickly and decisively to capitalize on given supply-chain opportunities is craft at work. A craft may be defined as a skill at making the logistical functions useful within the supply chain, whereas art is a representational expression of ideas, passions and experiences that seeks to add value. Unlike craft, art is known to come out of the heart and soul — creativity. In Gartner’s 11th annual global Supply Chain Top 25 in 2015, they indicated that “some the leading companies are tracking customer satisfaction measures, and their supply 19

chains are not just collecting data concerning the details of the sale, but also the patterns of usage and resulting sentiment of the end user,” which is artful. Craft comes out as experience and needs considerable supply chain event exercise to deliver consistent and sustainable world-class practices. It is based on a person’s skill sets developed over time. More to the point, craft work is skilled work. One of the 2015 Gartner Supply Chain Top 25’s Key Trends was that “the more mature supply chain organizations have dedicated teams and established playbooks for assessing the current and required capabilities of new businesses and determining the best transition roadmap… strategies tailored to different business units, while others differentiate by major geography or individual markets” which involves the application of technique or craft. Supply chain managers must have the tools (craft) to accomplish their task. Managing supply chains like any other discipline is an art because it is the ability to do things in light of the reality that pertains to the given situation. SCM is a craft with a systematized body of knowledge and universal application as well as an art that requires specific skill to be applied as the situation demands. It implies putting knowledge into practice (wisdom) by a person who possesses a highly specialized set of expertise and skill sets. In summary, art is a result of a person’s innate, creative talents whereas skill in craft can be acquired with experience. In craft, more practical thought (pragmatics) is needed; whereas art is more related to supply chain aesthetics (perspective or aggregate of fine qualities). And what we term art can be described as “perspicacity-based work” while craft applies to “credentialed and/or certified supply chain professionals doing their thing.” The need to know how to effectively manage the end-to-end, forward and backward flow of materials and information through your supply chain is both art and craft. Therefore, as a person engages in the supply chain over a period of time, we allow them to go from being technically competent to a point where they have mastered their craft by practicing it for many years. From the above discussion, it is clear that SCM is a mixture. The artistic element and the craft component in SCM are intricately linked. Since they complement each other, it’s not an either art or craft situation. It is both art and craft! Today supply chain management is the place where art and craft 20

must be able to employ a plethora of ever-changing technology. How do you measure up? Market Analysis Present Marketing Scenario and competition: • Artisans are mostly dependent on mediators, traders and exporters for the marketing of the product. • Almost all the units have their own local outlets, which do not fulfill their needs. On the other hand, most of them donot have direct linkages to the larger market for the sale of their products. • The use of inferior quality local paint and other materials makes it difficult to be sold in todays International Market, which has turned absolutely corporate in nature. • Clay dolls are facing unhealthy competition from products made of plastic and fibre glass. • There is no proper costing procedure. • Role of mediators is not decided. Buyer’s Behavior: • Customers value handicraft products and appreciate the uniqueness of the product. • The most valued features are ethnicity and authenticity. • Future Demands -- good quality and new range of products. • More inclination towards traditional designs and patterns. SWOT Analysis Strength • Low investment infrastructure. • It is a symbol of Craft Heritage. • Scope of blending clay doll with other crafts of utilitarian pottery etc. • Traditional design, style and motifs, which are the most important elements of this craft, add a lot of value to this craft. • Raw material is available at low cost. Weaknesses • Regular degradation in the quality of design and painting at production level. • Completion of orders not on time due to laborious and time taking process. • Presence of moisture absorbing component in body. • There is no protocol to check the quality of the products and process at various level.

• Fragileness of products creates difficulty in transportation. • Lack of infrastructure for storage of raw material, dried models, fired products and finished ones. • No testing lab for research and technical suggestion. • Appropriate process of costing is not followed by some artisans. No costing idea about the product. Sudden changes in prices. • Artisans are mostly dependent on mediators and exporters for marketing of the product. • The units do not have marketing arrangement for a larger direct sale of goods. • Due to illiteracy and unawareness they are less capable in communication and not able to avail the benefits of government policies.

chamber to prevent unfired products from moisture. Finishing: scope to develop new and better tools for finishing.

Opportunity • There is an urgent requirement of new design interventions in the field of content, body composition, tools, and machines. • Scope to develop new design patterns according to the need of the current market. • More scope in handicraft export market. • Easy availability of raw material. • Provision of loan and profitable policies for small units.

Painting and decorating: develop new content, designs and patterns according to the target market. reduce dependency on exporters for designs.

Threats • Lack of Unity. • Due to the gradual degradation of quality, there is a large rejection in the exports. Finally, it reduces the possibilities in the international market. • Unhealthy competition with cheaper dolls made of plastic and glass fibre. Similar looking products – made in other mediums – are available in market.

Checking: scope to develop some technique or some solution to check the articles for cracks & defects before forwarding them for firing. Loading into the furnace: need to design the furnace for even firing and equipments to control and regulate temperature. Firing: scope to design a furnace substitute of wood and coal kiln, more efficient and eco-friendly. Unloading: need a research lab which can analyze the problems and defects, sees only after firing,suggest the required solutions.

Packaging : required interventions for cheap and organized packaging. need to realize the value to use the GI mark for identification on packaging and exhibitions. Display/merchandizing: better display and retail outlets. website, package graphics, brochures and branding may help. End buyer: develop new product range according to target market in or outside country.quality control is a must.

Conclusion Scope of Interventions – Summarized Raw material: need interventions in raw material to reduce porosity. Clay processing: need equipments for even mixing of all raw materials need to research some of traditional methods of preparing clay. Mould making: training for making better moulds. need to design a system of numbering and record. Mould casting: design the space and infrastructure from the production point of view. Drying: need to design insulating and heating 21

Women’s craft guilds for now...What Next? -Antara Sinha Objective: This study attempts to understand the importance of Basketry craft in the context of women’s activities. The study also caters to understanding the women’s motivation to work for this craft in their own comfortable craft guilds (an organization of people who do the same job or who have the same interests or aims) and lesser interest of the younger generation for this craft to continue working on. The younger generations of artisans are looking elsewhere for more lucrative options. Thus, while conducting a week of ﬁeldwork in October’2018, I have tried to give equal consideration to the craft and the craftsperson, especially because the nature of traditional crafts is intrinsically interwoven with the nature of the culture in which it develops. Abstract: Basketry continues to be a highly praised craft within the Navatoli group. Basket has been one of the humankind’s oldest art forms, and it is certainly an ethnic and cultural icon filled with myth and motif, religion and symbolism, and decoration as well as usefulness. Basketry includes a wide range of objects from nearly a soop that is used for the festivals like Chatth (especially in Bihar) or for household purposes, to tokri’s and baskets. Now, the younger generation of the basketry working people is not into the making of such products which will surely lead to a decline in the craft on a whole. The old aged women are there preserving the material culture of the Navatoli people, and also provide a forum for groups of Navatoli women to gain greater economic self reliance through craft work. There is an attempt to preserve the material culture of the Navatoli people, and also provide a forum for the group of women to gain greater economic self-reliance through craft work. But the question that arises here is that the younger generation is not into working for this craft anymore. Reasons can be many depending on which way they have taken it to be. On discussing it came out to being not interested in working for it and that they’ve seen it since their childhood and don’t find it to be the only medium to earn for their livelihood and also that they haven’t been taught as those aged 22

women’s were trained there (through an initiative taken by the government and Jhar craft) and that is what is still functioning. The women are working day and night to earn a living for themselves and their family. Thus, women have formed the weaving tguilds in the village itself that they are able to work, seeing each other work with the motive to instigate the younger generations to work and help preserve the basketry craft in this big world! But the question that remains is that WHAT AFTER THEM? Key Words: Basketry, myth and motifs, guilds, Navatoli INTRODUCTION: Basket is one of the oldest art form, created by the humankind which is an icon that is considered to be ethnic and cultural filled with motif, myth, symbolism, religion and decoration. It encompasses of variety of objects. All the ancient civilizations have produced baskets. The ancient Mesopotamians used to consider baskets as the children of gods and the basis of our mother earth. According to them, the world began when a wicker raft was placed on the oceans and soil was spread on the raft to make the land masses. The Egyptians have used baskets to hold baked loaves of bread. The Roman used to cultivate willow for their baskets. While the Chinese and Japanese count basketry among their many handicrafts with ancient origins. Not only the ancient civilizations have used basketry, the craft of basketry gave rise to pottery making because baskets were used as molds for the earlier pots. Thus, the history of pottery and basketry is interwoven. Baskets and woven mats are the oldest and most diverse plant-based crafts found around the world. Basketry cluster that happened to be situated in the outskirts of Ranchi city, there is a major cluster of basket weavers concentrated in the village Navatoli which is 25kms away from the main city of Ranchi. Majority of people living there earn through this medium of craft. However, this craft is performed mostly by the women of the tribe. The women are working since

the morning to earn a living for themselves and their families. The younger generations are no more interested in working on the crafts. They are more into studying and prefer going out for work, which is further leading to less people being attached to crafts and a decline for the craft in future. Earlier bamboo was grown in their village only. But now it’s not being that helpful. And even if they think about planting a bamboo now, it shall take 20 years to get a perfect bamboo, reason being the slow growth of the bamboo plant. The task of collecting and selling of bamboo’s and grasses rests mainly outside the domain of women. The men and sons of the family are into getting bamboos from distant places because it’s another tough job, on their own part. It requires strength to carry and a lot of money is to be paid. Thus, leading to another problem of excess of expense in comparison to what they earn. There are men who help the women by cutting down the bamboos and peeling it off, making it a little easier for the women to work ahead. The women get to work ahead where they fold, cut and weave and make it to a final finished product. While, having a conversation with the artisans, they enlisted a lot of problems that they are facing at their part. Right from working all day and everyday to not earning that much amount as a payback for the kind of hard work they put up, further arousing the issue of their future generation, who are not so interested and keen learner to work upon the craft, which is leading to the dying part of the craft, less input from men in the craft now. While talking to the future generation about why they aren’t interested in working on this, they enlist many problems that I’d like to highlight and further present some solutions for it which according to me can arise a bit of interest so that we can continue to preserve this craft. For supporting my document, I had planned on taking one to one interview with the artisans.. dividing them onto two basis : The old aged artisans and the younger generation. For the old aged artisans, the questionnaire was all about what do they do? How much do they earn? What are the different products do they make? What are the problems are they facing on daily basis? Do they think that after them, there is any future of this craft in that region? What are their expectations from this craft? While for the younger artisans, the questionnaire revolved all around what do they want to do in their

lives? Why are they not interested in working for this craft? What changes do they prefer, which can help them to work for this craft? What facilities can be taken from any of the official authorities to make their life easy? The problems which the younger generations face are : (a) No source of interest to work and continue making tokri and soop. (b) Old medium which doesn’t provokes them to build a future in it. (c) Find it a lesser medium to earn. (d) Want to get out of the place and work outside. (e) No growth and learning. (f) Requires manpower. Suggestions: After considering the problems faced by the newer generations of the tribe, not being so inclined towards the craft. Here are some suggestive initiatives that can be done from our understanding of this problem are as followed: (a) Requirement of an institution. organization where Central Govt, State Govt and Private Organization can partner to implement various schemes in the region. These schemes should work like catalysts to empower the artisans through promotion of operations. Artisan’s participation is the key factor in implementing the schemes to the grass route level. (b) They can be encouraged to work for the craft and take their hard work into the markets, national trade fairs and haats directly. So that there can be a direct business to consumers and no way round, which surely lessen their earning at present. (c) A feedback mechanism for the artisans will help in understanding the status of cluster as well as create awareness between them about the schemes and other activities. (d) Though many efforts have been made but the impact has been diluted. A common platform can be created for all the stakeholders to come under one umbrella so that the repetition of activities can be avoided. By doing this optimum utilization of resources can be achieved. Central and State government bodies and organizations can work in close coordination for the implementation of schemes. (e) Continuous design intervention is very critical to keep the craft into mainstream. (f) Recruitment of a fulltime design professional who can work with the artisan and bring them up will benefit the artisan and exporters in long term. 23

(g) Through research and documentation designers can bring trend and market inputs to the artisans and the craft can get a place in the modern places. Artisans are already making functional products with proper design intervention they can move in to making lifestyle products according to the current market needs. (h) Government should take the initiative of encouraging the newer generations by hosting a learning sessions of some new techniques, ideas for making something new in basketry. (i) Newer ways and objects should be made to encourage by promoting the craft so that it doesn’t vanish. (j) When they’ll be taught some newer means and new objects to make, they’ll understand that they can brighten up their future so it can also be a medium to earn. (k) Encouraging philanthropists to invest their skills, expertise, networks and capital, we maximize their impact to achieve audacious outcomes. Conclusion: It seems that basketry has undergone several changes in recent decades. Some types of traditional baskets have been replaced by manufactured alternatives from plastic to enamel bowls. The weavers are also relying on limited numbers of people to provide them with materials such as dyed grasses. As of today, it appears that one-third of the traditional styles have gone through a decline in production. Importantly, some women are noticing the decline in traditional styles and, through weaving guilds, are making efforts to preserve the tradition. For the last five to six years, efforts have been made by these women to continue weaving the traditional styles. Although this study has just presented that weaver’s guilds are influencing the generation of younger girls, understanding in detail the extent of their influencing will require further study.

References: -Ministry of Textiles, Govt.of India,. (2012). Working Group Reports on Crafts. Retrieved from http://planningcommission.gov.in/aboutus/ committee/wekgrp12/wg_hhand1101.pdf -International Conference on Fashion and textiles (ICFT 2015). A study of Dhokra craft of Baster as a design resource by Ujwal Banerjee (Assistant Professor, NIFT Raebareli). 24

From Mythology to Modernity- GODNA -Anushreeta Jaiswal Abstract Godna, art of body tattooing, is believed to be the adaptation of an ancient form of art in India. The art of Godna has cultural as well as religious evidence which has defined many aboriginal tribes of India. This art comprises permanent ornamentation of the body with tattoos made by Godarins or Malharins. The belief behind godna marks suggests that this is the only ornamentation which will remain with a person after the death and religious symbol will help as supernatural aid in the time of crisis, not in a lifetime but even after their death. This art may provide insight into a people worldview of this region. According to myth and history, godna is ageold tradition. Female figurines found in Bharahut dated 200 BCE had godna in their hand, leg and face. The record of human history shows that godna has served in various functions as rites of passage, marks of status and rank, symbols of religious and spiritual devotion, decorations for bravery etc. In modern times body tattooing became the symbol of fashion and a commercialized art and religious significance is losing its meaning. This paper would explore the history of godna in India, its process, technique, symbolism, and relationship with modern fashion tattoos. Key Words: Godna in India, Mythology, Heritage, Modernization, Evolution Introduction The practise of body tattooing has been evident since the neolithic period, evidences of which can be found in the artifact found. Having an exceedingly ancient history, this art has been fulfilling a lot many purposes since ages. Some do it for religious purpose, some for identification and for some it’s the reflection of pride. The practise of modification of body is a significant art form which has withstood the adversities of time and has made it’s way into this modern world. One of the street credibilities from Jharkhand, India, that has been popularized worldwide is the beautiful art of customary body tattooing – ‘Godna’. The portraiture of the authentic form of

Godna art, entrenched with high quality traditional values. From the prehistorically magnificent aeons, accomplishing a special journey, Godna had been a lifeline for numerous tribes to survive. Instead as a particular art form, the advent of Godna took place because of some religious beliefs and rituals; though it is considered as one of the oldest cultural trends, enumerated as a part of the artistic cosmos. Whatever it may signify, this beautiful modification of body is an ancient art form which may has withstood the adversities of time till now is facing a serious identification crisis as an art form and is also almost oblivious to the modern world. It is only the matter of time that the art form which holds such a great significance to our culture may only be seen or read about in the books those are kept in the places where we hardly reach or stories those come up once or twice in a year. Which is why the evolution of the art form is very crucial for it’s survival . For anything to sustain in this ever changing world it needs to understand the base of survival is adaptation and evolution in the future facing direction. Dissecting The Heritage Of Godna Having an exceedingly ancient history, this art has been fulfilling a lot many purposes since ages. In the beginning, Godna was done on different body parts to glamorize the body, distinguish between the various tribal races, mark the phase of adolescence (especially of girls) and evoke a sexual titillation. These customs were prevalent till date amongst various tribes of Jharkhand such as Baiga, Oraon, Munda, etc. Among the Baiga tribe, Godna was particularly done on special body parts of women such as their bosoms, legs, etc. to enhance their physique for attracting their male partners. It was a floating aphorism among the females that a lady, who could bore the pain of Godna, could also easily bore the pain of parturition. Godna had a deep significance in the medieval cultural chronicle of Jharkhand because at that time, instead of beautifying the body, it was done to make the lady look more unattractive and unpleasant. Few of the medieval rulers used to leer at young unmarried as well as married girls, abduct them forcefully, drag them to severe sexual assail and hurt their vanity purposely. Henceforth, in order to save the 25

females from polygyny, harem practice and sexual harassment; different conventions such as child marriage, purdah system, piercing and tattooing (Godna) were executed. Though not scientifically proved but some tribes have been documented to be using ‘medicinal tattoos’ as cures for physical ailments. The affected area of the body is believed to be cured by inscribing of a tattoo over it. Medicinal tattoos have been documented to be used in other communities in the world for treatment of joint-related conditions such as rheumatism. Likewise Godna has gained heights in the cure of Hepatic artery resistive index (HARI) and non-alcoholic fatty liver disease (NFLD), Hydroceles related diseases, joint pains, arthritis, goitre and human hookworm infection in abdomen in the tribal society. Earlier when there was no concept of vaccination or inoculation in the rural areas or hilly tracts of the tribal regions. It was probably known in the urban areas only. Henceforth, the tribal used to inscribe Godna on their bodies instead of going through vaccination. Sick children suffering from smallpox, malaria, visceral leishmaniasis(Kalaazar or black fever), typhoid, etc. were treated with or saved earlier only through Godna (kind of local inoculation).

body forever, marking innocence and oneness.

According to researchers, amongst the women of scheduled castes of ‘Kurmi’ and ‘Mahto’, Godna can be evidenced nowadays on the body parts of the old aged ladies. In the laity of the Kurmis, Godna was done on facial and outer parts of the body. It was believed by the people that by seeing such body marks of the ladies which made their countenance ugly, the tyrants would leave them without dismantling their dignity. This led to the prominence of Godna more and more during the medieval period. Though, the era of oppression ended on a revolutionary note, the culture of Godna was kept alive based on such accreditations. Through the medium of Godna, the young tribal female population of Jharkhand set their own entity, pride and personality. Therefore, they need no artificial ornaments, make up or accessories like bindis to adorn themselves. In the present scientific and technological epoch, the supporters of Godna art form firmly suppose that putting on artificial ornamentation leads to fatal ailments. It is believed that the tribal women could save themselves from such severe diseases by pricking Godna on them. There is neither any fear of losing Godna nor any fear of it being stolen like other jewelleries. It is the natural paraphernalia which will remain with the

The art form has not only influenced the modern tattooing but it has also influenced other dynamic art forms. For instance a design studio developing typography based completely on the Godna art. They went a step further by involving the authentic tribal artisans in the process of developing the typography. If more such activities are to take place in future, it will not only help in sustaining the art form but also would liberate the artisans and help them to think in a new way — in a world where they are no longer able to sustain themselves solely through traditional networks and systems.

The Next Phase When we move from the village communities to a metropolis, in the historical time period of the present, we find tattooing has moved from the state of a temporary, mobile craft in melas to a practice with a permanent presence in the middle of the most populated area- the market. Tattooing in the city is associated with a body modification practice that is dispersing as a fashion amongst the youth; it is linked with global import of practices of body aesthetics. Today, tattooists using old methods can be located on the corners of the street outside Hanuman temple and the subways of the city. However, the tattoo studio is fast emerging to uphold a monopoly over providing access to artistic tattoos with minimum hazard. The parallel presence of both a tattooist on the street and a tattooist in a studio is a reflection of the nascence of tattooing as a market phenomenon in India. Moreover, it could also lead one into thinking about the way social acceptance and survival of tattoo art may be linked to a shift towards its presence as a lucrative artistic product in the market economy.

The movement of tattooing into the realm of popular culture displays certain features of the contemporary culture industry and reveals how a fashions and fads are produced and marketed. “Culture producers, beset by the problem of “commercial uncertainty” (that is, what popular cultural products will or will not be successful , are constantly on the lookout for new materials” Compared to the earlier limited designs, there is now a prolific increase and variety in the designs- tribal motifs, animal figures, pinup images, typographic tattoos that make a public statement about one’s love affiliations, political and religious ideologies, elaborate images covering the

entire bodice in vibrant colours that are less prone to fading, and so on. Unlike tattooing practised by ‘tattooists’, the place accorded to tattoo ‘art’ is not a corner of street, or a shade of a tree; as ‘artists’, they seek a fixed location in malls and in marketplaces and it is referred as tattoo studio or a parlour. The shift from the street or ‘melas’ to a tattoo parlour in addition to the vibrancy of sophisticated colour images produced by mechanized tattoo needles seem to have contributed to the presence of tattooing as a popular art. On further reflection, it is sensed that in this historicity of the technology of tattoo art lays also the shifts in the discourses of a tattooed body. While earlier, tattoos were inscribed on a person’s (women and children) body without their consent, in the contemporary cities, tattoo art is a person’s choice which is exercised within the framework of plausible rejection experienced for the tattooed body by the family and society. Conclusion Culture is neither static nor unchanging, but is in a constant state of flux, influencing and being influenced by several factors, which has both positive as well as negative influences on it as well as its carriers, i.e. the people. In the era of globalization acculturation is taking place and had some profound effect on art and tradition. Godna is permanent mark on the body while modern tattooing is permanent and temporary both depending upon the choice of person. Person who belongs to any caste or religion can get tattoo marks. Godna is always related to religion, identity and body adornment while tattooing is symbol of fashion and related to body adornment. Godna motifs have cultural and environmental significance but in tattooing zodiac signs and animal figures are among the most preferred motifs, big and attractive geometrical pattern have been popular. Earlier Godna was being used as Indigenous medication of ailments. These days’ modern medical facilities are being used. Wooden needle have been replaced by electronic machines. Palliative folk songs have been replaced by Modern pop music. Earlier specific castes were practicing godna work as their profession which was one of the sources of livelihood but now a day’s tattooing become very much commercialized and any one can do this. Battery operated tattooing machine frequently seen in weekly market and fairs in India. Tattoo studios are becoming the centre of fashion. To make tattoo mark in tattoo studio is quite expensive and sometimes between 30 to 50 thousands or even

more. Males are making permanent tattoos more than females. Computerized patterns are in vogue along with traditional designs. This documentation of a evolution of tattooing is however incomplete and it does not account for the prevalence and significance of tattooing in all the communities . However, the attempt of presenting this rudimentary history of tattoo art was to invite people to get a sense of the presence of the practice of tattooing in human lives and allow it to sink-in enough to question how the present gets constructed on the basis of a past which has become so distant and fleeting in the experience of the contemporary generation.

References: Ghosh, P. (2015): Impact of Globalization on Tribal World of West Bengal, Arts and Social Sciences Journal, Vol. 6 (2), p. 104. doi:10. 4172/2151-6200. 1000104. (PDF) Tribal Heritage Conservation in Jharkhand from an Anthropological Viewpoint. https://www.researchgate.net/publication/322686341_Tribal_Heritage_Conservation_in_Jhark hand_from_an_Anthropological_Viewpoint. Mohanta, Basant K. 2015. Tattoo and Tribal Identity: A Case of The Baiga Tribe of Central India. Asian mirror- International Journal of Research. May. Vol 2, Issue 2. Pp.80-87. https://pdfs.semanticscholar.org/125a/ f7689996d2eade1f2a94720d3868f6b69022.pdf Dr. Neetu Singh :Assistant Professor, Department Of Anthropology :Vidyant Hindu PG:College :Lucknow :India

Godna : The body art -Arsalaan Firoz Razal Abstract: One of the street credibilities that has been popularized worldwide is the beautiful art of customary body tattooing – ‘Godna’. The portraiture of the authentic form of Godna art, entrenched with high quality traditional values and designs is yet not familiar among people. Therefore, the need of conserving and developing this traditional art is very much essential. Research about this mesmerizing but painful art form on human body parts has been done to collate it in the dictionary of Indian tribal culture in a synchronized manner. “Godna – the tribal art of Jharkhand” must be hyped among the population with its detailed information so that along with the trend-setting exposure of tattooing, this art form can also breathe back again. Basically the term ‘Godna’ is not capable of calling attention. But, the youth of western culture has accepted the form of tattooing with such high end fashionable mechanism that no wonder, the adulation for it has influenced people globally. This triggers the inlaid curiosity to know about the unique selling proposition of Godna in terms of its vogue and gravity, which had descended from the backwoods of the African continent to the modern society. From the prehistorically magnificent aeons, accomplishing a special journey, Godna had been a lifeline for numerous tribes to survive. Instead as a particular art form, the advent of Godna took place because of some religious beliefs and rituals; though it is considered as one of the oldest cultural trends, enumerated as a part of the artistic cosmos. Key Words: Godna in India, Mythology, Heritage, Modernization, Evolution Introduction: Importance of Godna – The art of permanently engraving different types of patterns on the body with the help of soot or lampblack and needles is termed as ‘Godna’. Practice of this art form probably has emerged coincidentally through any circumstantial occurrence. The eventuality of Godna can be traced back to any person who might have got a cut on his body and had been treated with traditional medicaments such as plant sap or ash. After the healing of the wound, it might have taken a shape of black impression which 28

apparently became the base for the genesis of Godna art. Due to multifarious reasons, beliefs, traditions and recognitions trending from centuries, Godna has been able to adorn bodies in the whole world as a distinctive and esteemed art form. According to the disciples of Hebrew and Jewish, Christian and Islamic religion, the art of permanent body modifications and embellishments is strictly prohibited. Although in the present scenario, no such proscriptions are accepted by the Christians but, the Jews and the people of Abrahamic monotheistic religion still acknowledges the prohibitions as before. Opposite to these religion, people of the Indian subcontinent under the shelter of Hinduism, accepted the art of Godna wholeheartedly. The influence of Godna is chiefly vehement on the womankind of Jharkhand as it is based on religious customs and beliefs. The superstition revolves round the fact that a lady who has no marks of Godna on her body will be unable to achieve the state of eternal bliss or salvation after her demise. Earlier, the buzzing adage among the tribes stated that the lady who had the maximum number of patterns or marks of Godna on her body was considered the wealthiest of all and accordingly, after her death she earned equivalent virtues. In order to achieve sacrosanct redemption, females of different classes and tribes bear Godna on their bodies. It is a societal sacrament giving identity of a particular community. Within the domain of Jharkhand, it is assumed that a woman who has no signs of Godna on her body is either from some foreign community or belonged from outside of Jharkhand. Hence, the womanhood of tribalism had to engrave the special designs of Godna on their body at any cost so that they could survive in their circle with proper identity. Another important societal significance of Godnais that if illiterate women with specific kind of Godna tattooed on their body got lost in crowd, assembly or fairs then they could be easily found on the basis of those body marks. According to the outlook of cultural and decorative purposes, Godna has got a special value in its own form. This draws a line of distinctiveness between the females worldwide and those of Jharkhand. Through the medium of Godna, the young tribal female population of Jharkhand settheir own entity, pride and personality. Therefore, they needno

artificial ornaments, make up or accessories like bindis to adorn themselves. In the present scientific and technological epoch, the supporters ofGodna art form firmly suppose that putting on artificial ornamentation leads to fatal ailments. It is believed that the tribal women could save themselves from such severe diseases by pricking Godna on them. There is neither any fear of losing Godna nor any fear of it being stolen like other jewelleries. It is the natural paraphernalia which will remain with the body forever, marking innocence and oneness. Various kinds of ornaments in various shapes and sizes such as necklaces, armlets, waistbands, anklets, rings, bangles, etc. are tattooed on the body in form of Godna. This helps the poverty-stricken and impecunious women to adorn themselves without using expensive gold and silver jewelleries which they can not even afford. Godna can never be kept intact from its scientific magnitude. Sometimes, we can also affirm Godna on different body parts of the male members. Earlier there was no concept of vaccination or inoculation in the rural areas or hilly tracts of the tribal regions. It was probably known in the urban areas only. Henceforth, the tribals used to inscribe Godna on their bodies instead of going through vaccination. Sick children suffering from smallpox, malaria, visceral leishmaniasis(Kala-azar or black fever), typhoid, etc. were treated with or saved earlier only through Godna(kind of local inoculation). It was like acupuncture for the local people. Patients suffering from arthritis and goitre could be cured via Godna. Purpose of Godna Having an exceedingly ancient history, this art has been fulfilling a lot many purposes since ages. In the beginning, Godna was done on different body parts to glamorize the body, distinguish between the various tribal races, mark the phase of adolescence (especially of girls) and evoke a sexual titillation. These customs were prevalent till date amongst various tribes of Jharkhand such as Baiga, Oraon, Munda, etc. Among the Baiga tribe, Godna was particularly done on special body parts of women such as their bosoms, legs, etc. to enhance their physique for attracting their male partners. It was a floating aphorism among the females that a lady, who could bore the pain of Godna, could also easily bore the pain of parturition. Godna had a deep significance in the medieval cultural chronicle of Jharkhand because at that time, instead of beautifying the body, it was done to make the lady look more unattractive and unpleasant. Few of the

medieval rulers used to leer at young unmarried as well as married girls, abduct them forcefully, drag them to severe sexual assail and hurt their vanity purposely. Henceforth, in order to save the females from polygyny, harem practice and sexual harassment; different conventions such as child marriage, purdah system, piercing and tattooing (Godna) were executed. For medicinal treatments, Godna has gained heights in the cure of Hepatic artery resistive index (HARI) and non-alcoholic fatty liver disease (NAFLD), Hydrocele related diseases, joint pains, arthritis, goitre and human hookworm infection in abdomen in the tribal society. According to researchers, amongst the women of scheduled castes of ‘Kurmi’ and ‘Mahto’, Godna can be evidenced nowadays on the body parts of the old aged ladies. In the laity of the Kurmis, Godna was done on facial and outer parts of the body. It was believed by the people that by seeing such body marks of the ladies which made their countenance ugly, the tyrants would leave them without dismantling their dignity. This led to the prominence of Godna more and more during the medieval period. Though, the era of oppression ended on a revolutionary note, the culture of Godna was kept alive based on such accreditations. Godna in different tribes The tribal population of Jharkhand majorly consists of the Santhals and Godna is a social norm amongst the Santhal Adivasis. It is known as ‘Khoda’ in Santhali dialect. Generally young girls from 7-8 years to 17-18 years of age were been engraved Godna on their hands, arms and different other body parts whereas, young boys of the same age engraved a special type of design on their body in which, small area of the skin was burnt in a circular shape. The Ho tribe loves fashionable body embellishments. They loveto decorate themselves and also knew the value of ornaments. Earlier, they imprinted Godna on them as permanent ornaments which no one could neither steal nor take away and would remain with them till their last breath as blessings of almighty lord. Once upon a time, when in the village market Godanharis used to arrive, then every person whether male or female used to gather together crowding the place in order to imprint Godna on their body segments. The designs prevalent in the older generations of fathermother, grandfather-grandmother are still accepted by the young generations because traditionally those designs were the favourite of their ancestors. Earlier, the people of Birhor tribe engraved it on their hands and legs but, not on their foreheads. There are three 29

sub tribes of the Khadia community which are the PahadiKhadia, DudhKhadia and DhelkiKhadia. The community of DudhKhadia resides in Jharkhand whereas, the tribe of PahadiKhadia and DhelkiKhadia are found in Odisha and Madhya Pradesh successively. The ritual of Godna was also extremely famous in the Khadia tribe. Designs, rituals, identities and specialities of Godna Traditional proficiency of Godna holds a number of specialities in the route of artistic aptitude following remarkable rites and rituals in different tribal communities. Few tribes used to assimilate special kind of designs of Godna according to their traditional values. Once upon a time, the immense popularity of Godna led people to engrave designs on their hands and it was done by a nomadic group of ‘Banjarans’ belonging from the Malhar tribe. A special ritual was performed by the Malharins in which the needles used for engraving Godna were worshipped. In the month of November – December they used to meander in 21 different villages to collect money. With that money, they used to buy a goat and sacrifice it after the ceremonial worship. Then after, the five to seven needles used for engraving Godna were replaced with the new ones and were tied together in a bundle. Then, the bundle of these five to seven needles were kept in a special bowl made out of bamboo and annually they followed this ritual of replacing the old needles with the new ones. Godna: a typeface made from tribal tattoos The Typecraft Initiative is a self-initiated and self-funded project that aims to create — display typefaces from languishing crafts and tribal arts from each state of India. Each typeface is made by a woman artisan or tribal artist, who belongs to a specific region, material, process and context. We support women craftspeople because they help empower their children, their families and their communities. What Launched in 2010, The Typecraft Initiative, develops a range of display typefaces based on the rich crafts and tribal arts of India. The primary goal of this foundry is to help provide artisans to sustain their livelihood through the creation and sale of the typefaces. The typefaces are meant to inspire, create awareness and generate further interest in the art, history, context, and life of the people and the 30

communities we work with. The typefaces are not only an archive of the IPR of communities that are on the brink of merging with mainstream society, but they are meant to be a celebration of their rich artistic heritage that — through the creation of a digital typeface — has been converted to a contemporary medium. We hope designers, artists from across the globe would engage with and develop new forms of expressions through the medium of typography and graphic design that contribute to continue making this a living craft. Contributions can not only be made through the work created but also by the purchase of the typeface, which will enable us to in some small way, help sustain these crafts and tribal arts and the people who make them. We also plan to work on literacy drives with local NGOs through the typefaces we create. Why Godna or tattoo is an ancient artform practiced by Gond tribe of Jharkhand in North east India. Godna has many motifs, each having a specific significance — some are curative in nature, while others are applied according to rites of passage in a woman’s life — such as puberty, marriage and childbirth. The tattoos are highly valued for their powers of healing and their ritualistic significance. However in modern times, fewer people are getting tattoos done, as they migrate to cities for jobs where tattoos are frowned upon. Tattoo artists are struggling to survive in this fast-changing world. This project is then meant as a way for craftspeople and tribal artists to think in new ways — in a world where they are no longer able to sustain themselves solely through traditional networks and systems. We engaged with three tribal women artists, Ram Keli, Sumitra and Sunita to help make the typeface. Funds from the sale of the typeface will go back to help these and other craft and tribal communities. Who • Rendering of the Godna tattoo letters | Ram Keli, Sunita and Sumitra | Gond tribal tattoo artists | Jamgala, Jharkhand, India • Type Design (concept, artisan co-ordination, vectorization) | Ishan Khosla | Partner, The Typecraft Initiative | Partner, Ishan Khosla Design LLP | New Delhi, India • Type Design & Development | Andreu Balius | Partner, The Typecraft Initiative | Owner, Type Republic | Barcelona, Spain

Promotion of cane and bamboo craft -Atul Kumar The main motive behind my study of the craft â&#x20AC;&#x153;cane and bambooâ&#x20AC;? is to uplift the craft and increase the demand of the products made by the artisans and also to increase job opportunities for the other locals around the place. My motive is to use photography and to some extent graphic design to uplift the craft. I am trying to keep the visual communication as the main aspect here. Visual communication is more helpful in the development of the craft or spreading the craft because first thing that connects someone is the vision. Whenever we see a content displayed anywhere, it is the imagery part that connects us in the first view. The text and information comes later. Documenting the craft and its outcome or as you can say the finished goods and then present them in a good visual layout to attract the customers and also to match other high level brands etc. Improving the visual communication will be my main work in this craft. These crafts do not have good visual communication. Improving this we can create better market and increase the demand of the goods.

Culture

Ranchi basically has a tribal culture however there are some specific districts where most of the population belongs to the tribal groups and therefore those areas are often highlighted for a particular culture commonly practised by majority of the people. Seraikella-Kharsawan, Godda, Dumka, Sahibganj are among those districts where a person can find people following a particular culture and tradition as well. Other than these, districts such as East Singhbhum and Ranchi have a diverse culture because of the industrialisation, which eventually made people from all over India to migrate to these areas and now everyone follow and preach their own culture.

Transport

The people in Angara district mainly use 2wheelers like bikes, cycles and scooty for travelling. Other than that they also use Auto Rickshaws and Bus for travelling far distances. Convenient places there are also travelled by foot.

CUISINE : The cuisine of Ranchi may be similar to the cuisine styles of other nearby areas, yet also has dishes that are traditional to the region. The cuisine has both vegetarian and non-vegetarian dishes. Common meals often consist of vegetables that are cooked in various ways, such as curried, fried, roasted and boiled. Sattu is a common dish prepared with roasted chickpea flour that is prepared in various manners. A common food in Ranchi is dhuska, which are deep fried rice flour pancakes that may be served with gram curry and potato. A potato meat dish includes meat salaan, which consists of lamb curry and diced potato. Spicy chicken is another common meat dish. Tilkut is a sweet prepared with seseme seeds. Thekua is also prepared. Thekua is prepared and consumed during the Chhath festival, which celebrates the Sun God.

Religion

The religion which is majorly followed in ranchi is Hinduism. But there also exists a diversity in the religion like according to the census of 2011, there is about 55.32% of hindus, 14.09% of muslims and about 6.66 % of Christians. The population of sikh is about 0.17% with that of 0.03% of Buddhists, 0.09% of Jains and 23.25% of other religions.

Angara Cluster

Angara Cluster falls under Jharkhand State in Ranchi district. The Angara cluster is able to form 92 plus Artisans & 6 SHGs supporting the strong work force.The mobilisation gains momentum day by day. Promotion of the craft and the products through visual communication. Promotion through visual communication is one of the easiest means that can be used. These crafts are just at the village level and they are not promoted through any means as they are not well equipped to do so and also they do not know the importance of visual communication. The use of visual communication is massively growing among business. Over 84% of all marketing strategies use images, popular GIFs, graphics, 31

animations, and signs among others to pass information. Visual communication has more impact in passing information to people. The reasons are as follows: 1. It saves a lot of time : It is very easy to process a visual sign easily than to read a sentence of a paragraph full of words. An image will pass a lot of info. within a short span of time because one image can have a lot of words to say. Research shows that the brain processes images 60,000 times faster than texts. With this background information, it will also save you time when using visuals to communicate to people. Rather than loading an advertisement with words, it is highly beneficial to utilize visuals to effectively pass a message within a short time. 2. It is clear : Visual communication improves the way we see any information. For example you easily fall in love with a book of a movie because of the graphics used on the front. This applies same for customers to fall in love with products and services depending on how they are showed to them by using images and graphics. When using images for business advertisements, use simple and clear graphics that will pass the same message to the targeted audience to avoid confusion. 3. It helps in attaining consistency : This is mainly achieved by using same colours of the original product or company to advertise. The use of logos and consistent colours enhances the brand image of the business. The companyâ&#x20AC;&#x2122;s colours should be used in all form of marketing and advertisements and everwhere. Also, using consistent images, logo and colours make it easy for people to identify a product with the company. Build brand awareness of your company or organization by using visual communication. 4. Gives better retention of information : The human brain processes information in image form, a person will be able to retain visual information for long. People easily forget what they hear or read easily but retain images for long. This is because images are stored in long-term memory, and words and texts are stored in short term memory. A study conducted on active learning showed that 10-20% of the participants were able to remember spoken and written information while over 50% of visuals and images was remembered. It is important to aim at retention of information when passing marketing products and services. 32

5. It is simple : The illiterate can understand visual communication hence makes it an effective communication method to all. Its simplicity makes it easy for people to understand the information. Coming with an appropriate image for an advertisement may take time, but the end result is usually simple and understandable to all groups of people. The main reason as to why you still remember road signs is because they are simple, clear, and memorable. 6. It is flexible : Flexibility in visual communication makes it better than verbal communication. For instance, if you are looking forward to advertising a product to millions of people across different cultures, you may consider using images and graphics. This is because they are flexible and can be understood by different people. Verbal communication will be limited to language, and some terminologies may not be similarly understood by different cultures. Images are more flexible than words. 7. It is effective : Visual communication is one of the most effective ways of sending information. The main reason lies in the cognitive function of the human brain. Nowadays, images and graphics have flooded the advertising field because of the effectiveness of visual communication. The mind remembers images faster than words or texts. 8. It is popular : People love watching images, GIFs, graphic videos rather than listening to words or an advertisement. If you are running a business, you will easily catch the attention of potential customers by using visuals, images, GIFs in advertising. Social media platforms like Facebook encourage ads to have fewer words and more graphics. Also, visuals stimulate the emotions of the people making them respond quickly to an advertisement. So how do you judge something when you see for the first time ? It is the pictorial look of the object that attracts you. Right? The written information comes later. It definitely help in giving additional but when it comes to images. They have done their part already. My plan here was to uplift the craft by helping them spread more into the market and social media by documenting their work through photographs and bring them in the peoples eye.

Cane and Bamboo-Ranchi -Deepanshi Awasthi Abstract: Design intervention is seen as associate interface between ancient and modernism, which matches craft production to the needs of recent living. perform and utility are the core of the essence and identity of a craft. This paper serves the purpose of design intervention helping in the revival of dying crafts and new intervention models that may be developed.

rural based living opportunities related to this sector. Propelled by loss of local markets, declining skills an outsized variety of artisans have touched to urban centres in search of low, unskilled employment in business. “Handicraft is that the second largest supply of employment in the country, when agriculture. However India’s hand industries are in a very crisis of confusion.” Crafts council of India-2017

Design/methodology/approach: The paper aims to recommend that cooperative innovation between designer and crafts person and could be a means of increasing the craft vocabulary and revitalizing dying craft traditions and sound modern markets.

Design Intervention: Design intervention could be a method that involves planning new product; redesigning existing products, with changes in form, size, colour, surface manipulation, perform and utility; exploring new markets and revitalising lapsed markets. It involves ancient skills to full new opportunities and challenges and additionally the introduction of new materials, new processes, new tools and technologies combined along. It is seen as associate interface between ancient and modern, that matches the amount of craft production to the requirements of modernism. Design interventions play a awfully important role in creation of the craft. They must target the identity of a craft, its social and cultural relevant aspects to its region. Design interventions assist in making awareness among artisans of strategies, materials, tools and processes.

Originality/value Information collected from the Society for rural industrialisation, Ranchi to establish a strategic Design intervention that integrates the social, economic, ecological and cultural aspects and so facilitate within the revival of dying craft traditions. Paper type- This paper is associate searching & conclusive study. Introduction: Background: Indian Handicrafts are a conventional craft and therefore the ability of creating handicraft has been passed in families from generation to generation. They are distinctive expressions of a specific culture or community through native attainment and materials. In the era of globalisation, however, product have become additional and additional commoditised .This demand for a product and alter in its design and colour, are an excellent threat to craftsmen producers and push these deep-seated ancient hand- created product out, replacement them with mass and factory–made, machine crafts. And in addition one in every of the most important problems in Republic of India is that our markets don’t acknowledge actual worth of the craft. Once the worth of the craft and the efforts of the artisans are recognised, and the individuals are willing to pay the next value for craft primarily based product, this could help into translating into higher wages for craftspeople and act as a lift to immeasurable

Revival of dying craft We are living in a new golden era of excellent style, where the collaboration between designers & craftspeople is basically the reason of appreciation. As customers, we’re additional conscious of materials currently – not simply their visual and sensual charm, however conjointly wherever they come from, why they matter. W Collaborative innovation between designer and craftsperson may be a suggests that of increasing the craft vocabulary and tapping up to date markets. It’s conjointly argued that a link between the apparently tenets of sustainability may be achieved through accountable and strategic style innovation that integrates the social, economic, ecological and cultural aspects. It has currently been recognised that innovations area unit crucial for any developing nation so as to achieve additive growth, each economically and socially. These innovations, as they will be largely 33

within the type of applicable modifications within the existing merchandise, would force additional vital interventions and hand-holding efforts for his or her transition into markets. Design intervention will facilitate usher in the abundant required sympathetic understanding and holistic vision to connect and integrate the assorted efforts towards a positive outcome. One would stumble upon wonderful indigenous innovations in India which will be developed into marketable merchandise and thereby facilitate in creating business success. These may give very important directions for a rustic like India, to rework into associate innovation-driven economy.

ways and materials. Additionally in an exceeding scenario wherever a cloth might not be out there at a neighbourhood, and is a significant a part of a craft production method, is from time to time out there in close regions and states. Design intervention can facilitate in documenting the processes and materials concerned in an exceeding craft, to make info that may be taken by associate illiterate article. Therefore design interventions can become a method for preservation of cultural resources. And as craft could be a direct outcome of culture, preserving the essence of craft is comparable to protective the cultural nuances of a neighbourhood and community.

Design intervention and Technology Design interventions aren’t solely product based mostly interventions, however also can be technological. Technology will play a role at ending issues while not compromising core of the craft. For this to happen, they ought to be decent and gradual, as a result of if fast they’ll result in casualty of an entire cultural acquisition. Appropriate technology for style intervention is achieved by either upgrading ancient technology or cutting down fashionable technology. This way the technology would solely facilitate in creating the method quick and commercially viable, nonetheless not manipulating or changing the initial steps and processes. Therefore it provides with tools and processes that enable longer for the application of hand skills, that’s the core of crafts. Design interventions ought to concentrate on the identity of a craft, its social and cultural connexion to its region, and therefore the processes and materials concerned, to include the interventions in the right things, with expected outcomes and reasoning. Crafts are associated economic activity, as seen within the bamboo and cane craft, where the consumer decides to take a position in an exceeding craft as a result of its aesthetics, value purpose and usefulness in an exceedingly competent means, instead of from a philanthropic concern. So as to stay economically viable, development processes like selling square measure necessary. Artisans thus would like style interventions to vie recently with the product and services provided by the industrialised modern producers at cheaper value points. Design interventions assist in making associate awareness among artisans for methods, materials, tools, processes and people base. In several cases, the artisans of a neighbourhood have lost or rather do not have a documented kind of the craft. Ancient crafts square measure memory based mostly, and solely memory is that the information bank of their ancient

Design Interventions and Markets There is potential for dialogue concerning what quite market ought to a style intervention open for a craftsman. As a result of style intervention, the trained worker is making merchandise for lifestyles that square measure alien and remote from their own, in highly competitive markets. They will not have even seen that consumer, or for the actual fact even grasp them. Designer’s square measure continuously attempting to help the trained worker in handling the strain of the new markets or to urge accustomed to a client. Also, this new consumer follows associate degree guideline of trends and fashion that change with menacing frequency. This provides for a brief term answer for the artisans as a possible market. Even the changes brought-in by design interventions square measure applicable for a brief period of time owing to the ever ever-changing, fickle demands of the urban consumer. Supporters of this argument square measure in favour of a kind of style intervention that discloses native, organic and closely connected markets to artisans, because it accustomed be in earlier times. They support the point of view that it is more portable within the long haul for the styles to intervene in design development that gives distinctive purpose and edge to the merchandise that competes well within the native market. But within the standard setup, designers are available in shut interaction with such artisans for a short span of a project period that makes it challenging to include long-term interventions and review of implementations. Design intervention contains a profound responsibility, for it to not manipulate the artisan’s coaching and artistic vision with an aesthetic plan of developing his product for a shortlived market. Conclusion The importance of crafts within the Indian context

is indispensable, and therefore concerns correct documentation and review in its current standing and existence, thus on produce awareness and database for future preservation of theories and processes. The interconnection of the culture, tradition and crafts area unit established, to clarify the importance of the identity of crafts and the stakeholders related to it. a transparent demarcation between crafts and â&#x20AC;&#x153;machine-madeâ&#x20AC;? items is achieved to assist perceive crafts and its operation within the Indian context. Together with this, the sustenance of crafts and the role of style intervention in achieving it, and also the role of designers in having the ability to conduct the planning intervention effectively, area unit recognised.

Wood Craft : Design Intervention & Craft Revival -Harsh Vardhan Abstract: The aim of this paper is to live if style intervention helps within the revival of dying crafts and illustrate however attention-grabbing ideas and new intervention models is developed for many functions, whether or not for invigorating a languishing craft or for developing new merchandise to form livelihoods Approach: This paper relies on a review of the literature and takes a case study approach. The paper aims to recommend that cooperative innovation between designer and craftsperson could be suggests that of increasing the craft vocabulary and renewing dying craft traditions and sound up to date markets. Introduction: Indian Handicrafts are a standard craft and therefore the ability of creating handicraft has been passed in families from generation to generation. Numerous Indians still depend upon indigenous modes of production, ancient skills and techniques to create a supported camp made merchandise. They’re distinctive expressions of a selected culture or community through native attainment and materials. With multiplied economic process, however, merchandise has become additional and additional commoditized and artisans realize their merchandise competitive with merchandise from everywhere the globe. This demand for a product and alter in its vogue, design, and colour, offer a good threat to craftsmen producers and push. These planted ancient camp-made merchandise out, replacement them with mass, factory—made, machine crafts. One among the most important problems in Republic of India is that our markets don’t acknowledge truth price of craft. Once this price is recognized, and if folks are willing to pay a better worth for craft based mostly merchandise, this could translate into higher wages for weavers and craftspeople and act as a lift to numerous rural based living opportunities related to this sector. Propelled by loss of markets, declining skills and issue line of work to new markets, an oversized range of artisans have captive to urban centers in search of low, unskilled employment in trade. They have not be seen primarily as passive recipients 36

of the advantages of development programs whereas style intervention in crafts is welcome by some as a necessity and a chance for exploring new prospects and facilitate in craft revival, it’s typically thoughtabout by others as a threat. It’s but argued that a link between the apparently conflicting tenets of property is achieved through accountable and strategic style innovation that integrates the social, economic, ecological and cultural aspects. Current state of the craft Trade now days, associate argument; associate perspective faces crafts and artisans in Republic of India. This is often the argument of political economy, of property, of marketability, that is that the argument of monetary survival One question continues to be unresolved is and unrequited. What’s the state of Craft & craftsmen in India? This question carries a large and thick punctuation mark at its finish. Quite 3000 castes, 432 social group communities, believers of Hinduism, Islam, Christianity, Sikh, Jain, Buddhism are cohabitation since centuries. Over 1650 dialects are spoken by the folks of Republic of India. The harmony among the folks of Republic of India is price mentioning. Factors affecting thr dying of sure craft tradition Artisans were historically a necessary a part of the village economy, manufacturing everyday utilitarian objects catered towards native markets, victimization designs and motifs that were of significance to their communities. However, with the appearance of manufacture and increasing urbanization of markets for crafts, the historical artisan-consumer relationship has softened, and for the most part been replaced by traders. This has rendered artisans’ data and ability, nonheritable over generations, just about useless associated created crafts an unsustainable supply of living. Within the recent past, economic process has brought nice changes across the globe. The key characteristic of today’s international market is that the speed with that the demand for a product and alter in its vogue, design, and colour, provide bigger opportunities likewise as threats to producers. The precarious nature of camp-made craft markets invitations strategic approaches to succeed

international shoppers. But, delayed response will push these planted ancient camp-made merchandise out, replacement them with mass, factory—made, machine crafts. Roots of Indian design Traditionally, it’s evident from the Mohenjo-DaroHarappa excavations that, as early as 2500 BC, there was extremely developed design, city planning, and technology in several places. India’s mental object was extremely organized and meticulously articulated. Even within the arts, there have been extraordinarily careful canons and extremely refined structured treatises. Arts associated crafts have continually been an integral a part of India’s tradition and heritage. They’re of course the cultural symbols of the state. These art forms ar distinctive and demand a high adeptness. The artisans are trained within the art forms by their ancestors over generations. Indian art forms are well standard everywhere the world since the wake of ancient civilization. The artisans have remodeled all the art forms from mere passion to a true economic activity over the past few decades unconsciously by deed basic business acumen. The Designer Works . In Republic of India the craft and style sectors share a dependent relationship. Through craft the designer connects with the wildlife and therefore the collective past. Ancient craft skills are tailored to up to date style Designers Bridge the gap between the market and therefore the journeyman, as nowadays the journeyman is geographically except his/her shopper, to be able to perceive his/her aesthetic and socio-cultural wants. Designers facilitate find the connection of craft with relation to the journeyman, the buyer and to the worldwide market. Designers are therefore associate interface, between the past and therefore the gift, the standard and therefore the trendy, attempting to match craft production to the requirements of contemporary times and demands Designers ought to be trained not solely to unravel issues, however what’s additional vital they ought to be trained to assist others solve their own issues. *DESIGN INTERVENTION Design intervention could be a method that involves coming up with new merchandise; redesigning existing products, with changes in form, size, colour, surface manipulation, operate and utility; exploring new markets and renewing no churchgoing markets; applying ancient skills to satisfy new opportunities

and challenges; and therefore the introduction of recent materials, new processes, new tools and technologies. it’s seen as associate interface between ancient and contemporaneousness, that matches craft production to the requirements of contemporary living. Design interventions have a awfully vital role in each step of the method in creation of the craft. Reviaval of dying crafts We are living during a new golden era of fine design, and collaboration between designers & craftspeople is basically the explanation to be appreciative for. As shoppers, were additional responsive to materials currently — not simply their visual and sensual charm, however conjointly wherever they are available from, why they matter. Were additional interested in however things are created them. Cooperative innovation between designer and craftsperson could be a suggests that of increasing the craft vocabulary and sound up to date markets. it’s conjointly argued that a link between the apparently conflicting tenets of property is achieved through accountable and strategic design innovation that integrates the social, economic, ecological and cultural aspects. Design intervention will facilitate herald the lot of required empathic understanding and holistic vision to attach and integrate the varied efforts towards a positive outcome.

References: http://www.vam.ac.uk/content/articles/w/whatis-craft http://www.craftscouncil.org.uk/files/download_ iterator/44e4ed29b74aab60 /how-do-we-definecraft.pdf http://www.jiyo.net.in/about-us.php?id=5 http://www.craftunbound.net/theme/skill/ three-initiatives-for-the-artisandesigner https://www.sabs.co.za/content/uploads/files/ DrDOKoshy.pdf https://www.google.co.in/search?q=craft+and+design

Supply Chain Practicesand Challenges in Terracotta Craft - Ranchi, Jharkhand. -Juvin Chaudhary Abstract: Craftsmen in India face many supply chain challenges. There is no current investigative study done on supply chain management of the craft industry in India. A survey was done among craftsmen in Ranchi, Jharkhand asking whether their children would like to take the craft forward or not and everybody said no. Craftsmen mainly relying on craft to meet there family expenses were in few quantities. However, they all seem to be highly skilled ( Mechanically ) in their craft. Real Problems lies in the Design intervention dept along with couple of factors combined like Trend-spotting, Marketing Digitally and Exploitive Suppliers. Although there are many govt. policies and NGO’s working in their favour but they don’t seem to be 360 degree. Introduction: The handicraft and handloom sector in India is 24,300-crore industry and contributes nearly 10,000 crore annually in export earnings. The 12th Five Year Plan had projected it would become the largest non-farm sector in rural India, swelling its workforce by 10 per cent, doubling the output and exporting 18 per cent more during 2012-17. Terracotta production usually is initiated in regions where it is still regarded as a way of life. Terracotta product designs are traditional and functional in nature. The craft industry is highly significant due to the opportunities it has from informal terracotta products selling on the roadside to formal products that sells locally and internationally.While makes got regal and refined support amid pre - Independence days and assumed a focal job in Gandhi’s freedom battle, they have gradually lost significance with the coming of industrialisation. But now things are changing because we need more eco-friendly products on this planet. As long as products serves its purpose or make our lives easier in any way possible it is acceptable by mass. But just one thing, Products should also evolve with human. We can’t expect a product to be successful in today’s time by still solving the problems it used to 50 years back. Product should be a part of his 38

evolved/ changed lifestyle. In the era of Free Internet and technology it is far more easier to learn the hows. whys and fundamentals than any previous generation before. For insight into the larger supply chain, its helpful to understand how margins are distributed to key players at the per unit level. In the craft sector, artisans acquire raw materials for RS 100, utilise their skills to create a finished good, and then sell them to traders for RS 110-120. The finished good is sold through multiple layers of traders until distributors and retailers at the end of the supply chain purchase it for RS 160-180. The final price of the product to the consumers is around RS 250 to 300. As a result, in the current supply chain, inefficient intermediaries in aggregate receive a margin of 150-200%. Meanwhile, producers are seeing only 10-20% profit margins at best; at worst, producers are forced to sell by weight, in lieu of quality, in order to remain solvent. Adding to their challenges, producers often have to borrow funds to purchase raw materials, further impacting margins and/or locking them into unscrupulous distributors who finance their materials. In addition to challenges associated with pricing, multiple layers of intermediaries insulate producers from consumers, leaving them unable to assess market trends to create differentiated products. Due to lack of differentiation and the control of intermediaries within the supply chain, artisans are forced to operate in a distorted market where their products are being sold as if they were commodities. Literature Supply chain management (SCM) is a key to success for any businesses as purchased goods and services account for 80 percent of sales revenue. Managing SCM can create a competitive advantage as well greater profit for businesses. SCM and related methodologies are essentially critical to the accomplishment of an assembling firm in light of the fact that the expense and nature of merchandise and enterprises sold are specifically identified with the expense and nature of products and ventures bought . Building effective supply chains offers businesses opportunities to create sustainable competitive advantage. SCM impact on key competitive

dimensions such as manufacturing, product availability, order to delivery cycle time, costs, and customer service. This definition includes upstream linkages, such as sources of supply, the internal linkages inside the business and downstream linkages such as distribution to ultimate customers. These activities are concerned with the integration of business processes from end user through to original suppliers that provide products, services and information and add value for customers. Supply chain include all the activities involved in delivering a product from raw material through to the customer including sourcing raw materials and parts, manufacturing and assembly, transportation, warehousing and stock following, arrange section and request the board, dissemination over all channels, conveyance to the client, and the data frameworks important to screen these exercises. Supply chain activities include supply base management; inbound material transportation and storage; outbound transportation and distribution manufacturing warehousing and marketing and sales. SCM can benefit businesses both in the short term and long run. Its transient target is to expand profitability and decrease stock and process duration, while the long haul key objective is to build consumer loyalty, piece of the overall industry, and benefits.The Internet has become the most important medium for craft producers and can bring enhancement to craftsmen that are willing and able to integrate their marketing and daily operations. Web selection likewise causes endeavours to accumulate data about their clients, to stay up to date with changes in buyer conduct and to increase new item thoughts. The Internet-based inventory network the board gives numerous chances to organisations and incorporates streamlining the store network, enhancing speed, bringing costs and down to be progressively adaptable. It enhances correspondences among clients and providers and can likewise smooth the current stream of merchandise and enterprises all through the store network. SME’s SMEs are less likely to harness the benefits of SCM and also experience difficulties in implementing SCM practices. SMEs do not implement SCM deeply as much as the large businesses. SMEs lack of effective adoption of SCM techniques and ignore issues such as new technology, R&D and

e-commerce, which are normally associated with innovations in a supply chain context. However, SMEs consider email order processing as important in future. Problem Statement and Objectives Terracotta Market is dominated by small and medium craft producer businesses. There is a lack of awareness towards potential markets which impedes the industry’s development and competitiveness. Craftsmen face difficulties because they lack design intervention and they still be caught up in the same old work style due to lack of awareness, vision to opportunities and retail space, Partial access to equipment and raw materials, lack of access to information, marketing and markets, lack of access to finance and lack of access to transportation. Research Methodology We asked a bunch of craftsmen similar questions about : • • • • • •

What they currently produce. Seasons they work in. Awareness on Current trends. Marketing through Internet. Raw material procurement Opportunities that they see in craft.

This yielded a 80 % response which suggests •

• • •

That craftsmen majorly start working 3-4 months prior to the season of Diwali and Chhath and either take direct orders from big clients or rely on middleman to give orders. They only make Dieties Statues, pots and sculptures in the same old fashion. They are less aware about Trends, New marketing opportunities and Internet. Last but not the least and sadly, they don’t see much opportunities in craft and are moving to other businesses.

How they operate Production Strategy - Produce products as and when we receive the order. - Produce products and keep in their house. - Do not have access to production Machinery. Distribution - Products are delivered via middlemen - Products are kept to be sold in a informal rented space. 39

Order Placement - Products are ordered by visiting them or by telephone. - They miss great opportunities of internet. Warehouse/Inventory - They have their own space at Home. - Use space provided by government buy pay for it. - Warehouse and production space pose a challenge for their business. - It is difficult to find a less expensive space for rental. Transportation - Hire a delivery vehicle when there is an order to deliver - Use public transport to deliver goods to customers - Use rail transport to deliver our goods. Its clear that they need better solutions rather 360 approach to their problems. Conclusion: It’s hard to counter the fact that craft industry is going through rough phase when there standing huge local and international opportunity. On one hand we glorify brands like FabIndia because they represent our heritage and we completely overlook the potential that these artisans hold and choose to ignore rather than finding appropriate solutions for them. • They need Constant exposure of new trends from Experts and forecasters. • They need workshops to learn How to market there products on internet step by step. • They need New Engineered Machines and tools to make there life easier. • They need Impartial and organised system to procure raw materials and for delivery. • They need space for their inventories. • Rather a collaboration with the experts and visionaries of industry. The whole system needs to be modernised to cope-up with new market needs and you can’t deliver it until you become new system. Rising opportunities worldwide, the era of sustainability and craft’s share to GDP are enough reasons to not let it die because we can work it out if we come forward together whole heartedly from multi-disciplinary approach to fix the problem for atleast 10 years.

Wood Craft-Ranchi, Jharkhand -Kumari Divya Anand Introduction Introduction:- Ranchi is the capital of the Indian state of Jharkhand. It has humid subtropical climate but its location and the forest surroundings it, produces pleasing climate for which it is famous. Just because of its climate, once it was the summer capital of the undivided state of Bihar. Crafts of Ranchi :Toy Making: Interesting wooden toys that are completely abstract made near Toupodana near the capital of Ranchi. Bamboo Craft: The bamboos of Jharkhand are strong and flexible but thin which is very fine to make craftworks. Pottery and Terracotta: At festival time, terracotta animals, Clay lamps, incense burners and figurines holding lamps are commonly found. Stone Carving: Another famous tribal craft is stone carving but it’s also on the verge of extinction Wood Craft: Jharkhand is full of dense forest area with the abundance of wood. It helps in the use of creating variety of woodcraft and household requirements. Wood carving, cutting are few of the wood craft methods. Wood Craft: Jharkhand is full of dense forest area with the abundance of wood. It helps inthe use of creating variety of woodcraft and household requirements. Wood carving, cutting are few of the wood craft methods. Raw Materials: The main raw materials used in wood carving are Gambhar wood,Teak wood, Sagwaan wood, Sand paper, wax polish, adhesives. TOOLS 1. Guniya Chota 2. Shikanja (wise) 3. Batali (Big chisel) 4. Taaki (small chisel) 5. Hathori (hammer) 6. Mughur (mallet) 7. Hand made Chotamughur (small mallet)

8. Fita (measuring tape) 9. Paimana (measuring scales) 10. Daagi (Line Marker) 11. Aari (saw) 12. Prakaar (compass) 13. Prakaargolai (compass) 14. Pencils 15. Hand drill 16. Randa (planner) 17. Magnifire glass 18. sheel (stone) 19. Electronic drill machine 20. Marking and small carving machine 21. Electronic cutting machine 22. Circular saw and buffling machine Process: • Drafting- Design is made on a paper that has to be carved. • Measurement of the raw material- Sizing the wood and cutting it in proper shape. Design transferred on the wood through the draft. • Rough Carving-Artisans carves the big portion and unnecessary materials of the block roughly by the help of big chisels, hammer and saw. • Fine Carving- Fine carving is done with the small chisels with minute detailing. • Sanding- Smoothening is done with the help of sand paper. • Polishing- Wax polish is used to give it a shiny and glossy surface. Buffling- When the art work is fully dried artisans rub the surface with a piece of cloth until they receive a glossy and shiny surface. Problem statement in Wooden craft Perspective :• Credit Availability • Problem with raw material supply • Shortage of skilled labour • Design and Marketing • Delivery Problems • Government Initiative: As Indian handicrafts industry contributes very important role in indian economy. Hence for the proper functioning and operation of industry government had made some policies and regulation in india, The ministry of textile is responsible for the 41

formulation of policy , planning development exports promotion and regulation of handicraft industry . Government Scheme for the craftsmen: Rajiv Gandhi Shilpi Swasthya Bima Yojna for handicrafts Artisans in the age of 18-60 receive health and life insurance in association with the life insurance corporation of india for themselves and their department . Modi Government retail push for handicrafts to lift rural income . National handicraft development programme government launched scheme to promote work of rural artisans . Prime Minister employment generation programme is a credit linked subsidy scheme . Artisans which we met:Sumit Kashyap Age:- 32 Region:- Tupudana Qualification- Graduate Work Experience- 6 yrs Income- very less Sumit Kashyap is an artist who work on wood craft who made the products and sell it to the main person “Sanjay Seth” ( Adhyaksha of jhar craft) , they participate for stall in any exhibition but they don’t get any response from their head office ,they don’t have any artisan card . • They are facing many problems regarding their works • They don’t have any support from government • They don’t have any employees for supporting • They work alone • They don’t get any profit from government because they work under “Tribal india committee” • They don’t give any salary to the artisans Now a days many Government Scheme are there for craft purpose but they don’t get benefit from it . If government scheme comes then it collapse in mid time. Problem of craftsmen: - Lack of capital in the hand of the craftsmen - Lack of education among the craftsmen may be factor for the backwardness The four main challenges facing artisans in creating sustainable livelihoods in today’s economy can be described as follows:• 42

Low productivity: because they are not getting

• • •

any support from government schemes. Inadequate inputs: Lack of quality raw materials Lack of funding Fragmented value chain:-Lack of market linkages, Lack of aggregation So, at last government scheme are not reaching to artisans they are not taking any advantage from government scheme .

Conclusion: Government should take some survey from artisans about the government and also make them aware about the government schemes because government schemes are reaching to customers properly .

Cane and Bamboo Carft -Madhu Lata Objective To observe the complex of existing supply chain management of product communication and fill the gap between supplier and buyer of the possible product communication system and promote the craft to build the identity and availability Supply Chain An organized network between a company/ individual and its suppliers for the production and dissemination of products is called supply chain. Generally a supply chain is a three tiered architecture in which the bottom tier company or firm provide goods to the firm above it in supply chain that leads to the manufacturing of the final product. Each and every component in supply chain architecture is vital because if a single layer is disturbed, it will lead to the closure of the final product.

craftsmen to carry on their work.

Supply chains in procurement processes is mostly speaking about multi-tier supply chains. In usual industries the process to produce an end customer product or services goes over more than one step of manufacturers. Multi-tier supply chains are multiple single-tier collaborations, means multiple supplier-buyer-relations, within one supply chain. In practice it is said to have several suppliers but one customer from which is point of view a supply chain is derived.

Problems faced in this supply chain: i) The craftsmen cannot take their product to a larger market so that they can get a better price for their art as well as for better opportunities .Nearby large market is in Ranchi which approximately 50 km away. Owning a shop there for their products is not possible for people because they are very small scale manufacturers. The people in nearby villages or rural areas cannot afford costly items. As well as their needs are limited in terms of luxury. So they cannot buy extravagant bamboo products.

Supply Chain of Angara Cluster Generally multiple tiers of Supply Chain exist in an industry or a firm. In our case, the Angara cluster is not heavily industrialized It also doesnâ&#x20AC;&#x2122;t employ a large workforce. Due to these features multiple tiers of Supply Chain are not required for it. It is just a kind of small scale handicraft industry. So it uses only single tier to conduct business. Although if in future the Angara cluster grows in size, its inputs as well outputs will swallow, that will result in requirement of multiple tiers of Supply Chain. Tier 1 supplier Local farmers: They provide bamboos to the craftsmen. Some of the craftsmen have their own bamboo plantation. Local blacksmiths: They provide various tools to

Local tractor/trollies/bullock-carts owners: They provide transportation so that the bamboos can reach the craftsmenâ&#x20AC;&#x2122;s door from the fields. Tier 1 Distributer Since they are local craftsmen at a very small level so they do themselves take their finished product to the nearby hatt and sell them. Local tractor/trollies/bullock-carts owners provide them services to take these products to the market. Society for Rural Industrialisation takes the initiative to train the craftsmen so enhance their skill. They also take them to there center to make new and better products with the help of better equipment.

ii) Due to lack of funds they cannot afford to go to farther distances to get better raw materials or cannot buy raw bamboos of finer quality from distant places. This results in the manufacturing of average products. If this problem is solved, the quality of bamboo products of Angara cluster will improve remarkably keeping in mind the skill of workers over here. iii) Lack of better equipment. Since it is a village, all tools are made nearby blacksmiths or they buy them from local shops. Better tools are not able to reach the village. For finer quality products and for precise markings and perfect shapes and edges, good quality equipment is needed. Good equipments can be brought here with some outside effort. 43

iv) Remote location of their village. Good buyers or wholesalers are not able to reach their village. So lack of exposure. If the government establishes some market or something similar to that where these small manufactures and outside businessmen could meet and do trade, then it will help this cluster a lot. For example, Bamboo Technology Park in Aizawl. v) Lack of government aide. For example, bamboo clusters of north east India travel the whole country and sometimes to other countries to demonstrate and market their products and skill with the help of government aid. This should also be provided to this cluster so that they can grow. Future Scope of improvements: i) Better market so that can get good price and their art could be recognized. This can be done in three ways. First, they go to better market. This can be done if they go to better markets like Ranchi or Jamshedpur. Second, they send their goods to a better market with the help of any third party. Here the third party can be an NGO or with the help of any government scheme. Third, market comes to their doorstep. This can be done if they able to attract wholesalers or they can improve their quality so that people com there searching for them. ii) Supply of better equipment to craftsmen. Here the manufacturers will have to help themselves. They will have to contact some outside supplier to provide them good equipments. Or they can travel to places where they can buy good equipments. iii) Sponsorship by government or any firm so that they can get due recognition. In this case some intervention is required from local authorities to attract the government focus to this cluster and get some kind of help. They can also seek help form NGO who can help them out in marketing or skill development or funding. iv) Availability of good bamboo in nearby areas so that they can make better products. They can contact the bamboo planters to supply good quality bamboo or new good quality of bamboo plantation can be done with better farming knowledge.

GODNA: A Walk through the languishing art of body ornamentation -Moumita Nandi Abstract

Jharkhand being the homeland of around 32 different tribes, is the matriarch of the centuries old SadanManak culture holding its prominence in tribalism at large. One of the tribal arts from its realm that is completely on its verge of extinction is ‘Godna’, whose magnificent folklore can be accounted from different locales such as Bero, Kesumporia, Dibia, Dhurwa, Jagannath Malhar Colony, and Harmu in Ranchi district. ‘Godna’ is the art of permanently engraving different types of patterns on body parts such as forehead, on neck area below the ears, chest, back, waist, arms, and legs. The use of various ingredients and tools such as stone bowl, tied bundle of 5 or 7 needles, mother’s milk, lampblack, powdered wood charcoal mixed with oil (as used by Mundas and Oraons), snake skin, oil of ramtila and black sesame seeds (by Baigas) reflects the rural customs which are almost beyond the imagination of today’s creative sector. Vehement amongst the womankind, the belief revolves around the fact that a lady who has no marks of ‘Godna’ on her body will be unable to achieve salvation after her demise. It is a societal sacrament giving identities to different tribal communities with distinctiveness. The Oraons believe it to be the symbol of victory. The Santhals believe one who can bear its pain is efficient to bear the pain of parturition, and the Ho tribe marks it as symbol of purity. Baiga women tolerate the extreme physical torment for body ornamentation in order to sexually attract their male partners. The basic myth states that once in a feast hosted by Lord Shiva, a Gond God went with his Goddess. The Goddess was sitting separate in a group with Shiva’s wife Parvati. Later, the Gond God went to fetch his wife amongst so many ladies that he could not recognize her and by mistake he put his hand around Parvati’s shoulder. This made Parvati very angry and she commanded the tribal women to wear specific tattooing marks to distinguish themselves from other castes. Since, then tattooing is an important custom of the tribal. Various types of ornamental designs with motifs of Boot Jhangri (lentils of green gram), Kadamkali, earthen flower pots with flowers and leaves, sun, crops, Dhandha (six dots connected in a line), peacock, tottri, roots of turmeric plant, etc. were engraved as necklaces, armlets, waistbands,

anklets, rings, bangles on young girls of age 7-8 years to 17-18 years. This was done as ‘Godna’ by the Godanharis (mainly Malharins of Malhar tribe). The tribal even claim that ‘Godna’ is perfectly suitable as ayurvedic acupuncture for curing diseases such as goitre, arthritis, etc. With passage of time, it has been languishing from the tribal culture as for now girls from the scheduled castes and tribes do not want to be marked distinctly in the society. Henceforth, there is the artistic urge to develop the thought process and literacy rate of the Godanharis to keep this art form alive. Keywords Ranchi cluster, customary tribal tattooing, tribes of Jharkhand, body ornamentation, traditional medicaments, pain bearing, distinctiveness, verge of extinction Introduction India being the land of cultural diversification and notable for wearing the vehemently beautiful couture of tradition and grace is the birthplace of numerous customs and rituals since ages. The tribal culture comprehensible to the different regions in India is the epitome of identity, dignity, conscientiousness and fraternity, which in different societal aspects has finely been the definition of cultural practices and upliftment. The tribal have always been known for their special body marks which symbolise their strength, capacity, ritualism, and societal code of conduct. To much extent, their ritual specifications are losing their own charm in their own communities with the fast-growing pace of modernisation and freshly primped adaptations. Henceforth, one of the most essential art that keeps their transparency alive and unique to the Indian society at large is the body art of ‘Godna’, whose historical magnificence has been stated in the abstract above. This tribal art form illuminates a lot many hidden chapters in context to Indian cultural, social, psychological, religious, spiritual, and congregational acquaintances. Unfortunately, the art of Godna has reached its verge of extinction and is not even in the languishing art zone. The next generation will be scarcely able to see any affirmation of Godna amongst the tribal communities of Jharkhand. Godna is not only limited 45

to the traditional ritual of body ornamentation, and is also a source of medication, identification, ethical values, mythological countenances and contexts and societal identification. The abstract therefore, is a sum up of the important design aspects of Godna. METHODOLGY The research has been done through field visits and from tribal culture related books based on Jharkhand. Within the Ranchi district, different places and local markets were hunt and selectively ‘Godna’ bearers were questioned in order to acquire the correct information about this form of body ornamentation. Some renowned professors from Tribal Institute of Jharkhand have also helped in collecting the right information and putting it in an appropriate frame. FINDINGS Purpose of engraving ‘Godna’ - Having an exceedingly ancient history, this art has been fulfilling a lot many purposes since ages. In the beginning, it was done on different body parts to glamorize the body, distinguish between the various tribal races, mark the phase of adolescence (especially of girls) and evoke a sexual titillation. These customs are prevalent till date amongst various tribes of Jharkhand such as Baiga, Oraon, Munda, etc. Among the Baiga tribe, it was particularly done on special body parts of women such as their bosoms, legs, etc. to enhance their physique for attracting their male partners. It is a floating aphorism among the females that a lady, who can bear the pain of ‘Godna’, can also easily bear the pain of parturition. ‘Godna’ has a deep significance in the medieval cultural chronicle of Jharkhand because at that time, instead of beautifying the body, it was done to make the lady look more unattractive and unpleasant. Few of the medieval rulers used to leer at young unmarried as well as married girls, abduct them forcefully, drag them to severe sexual assail and hurt their vanity purposely. Henceforth, in order to save the females from polygyny, harem practice and sexual harassment; different conventions such as child marriage, purdah system, piercing and tattooing (Godna) were executed. For medicinal treatments, ‘Godna’ has gained heights in the cure of Hepatic artery resistive index (HARI) and non-alcoholic fatty liver disease (NAFLD), Hydrocele related diseases, joint pains, arthritis, goitre and human hookworm infection in abdomen. According to researchers, amongst the women of scheduled castes of ‘Kurmi’ and ‘Mahto’, ‘Godna’ can be evidenced nowadays on the body parts of the 46

old aged ladies. In the laity of the Kurmis, ‘Godna’ was done on facial and outer parts of the body. It was believed by the people that by seeing such body marks of the ladies which make their countenance ugly, the tyrants will leave them without dismantling their dignity. This led to the prominence of ‘Godna’ more and more during the medieval period. Though, the era of oppression ended on a revolutionary note, the culture of ‘Godna’ was kept alive based on such accreditations. A myth prevalent in the Gond tribes describes the origin of ‘Godna’. Lord Shiva once invited the Gods to a feast. A Gond God also went with the others. The Goddess was sitting in a separate group with Parvati. Later, the Gond God went there to fetch his wife amongst so many ladies that he could not recognize her. By mistake he puts his hand around Parvati’s shoulder. Shiva knew that it was only a mistake and laughed, but Parvati was very angry. She commanded the tribal women to wear specific tattooing marks to distinguish themselves from other castes. Since, then it is believed and tattooing has become an important custom of the tribal. Another, mythical story found in the region is that Yamaraj (God of death) was confused about the sex of the dead when their spirits went to his kingdom. He desired that his daughter-inlaw’s body should be marked with same black stuff so as to distinguish her from others. This was done and she looked extremely attractive. Yamaraj then ordered his daughter-in-law and son to go to the earth in Godanhari attire and roam around the villages singing and showing the tattooed parts of the body to the people. They did as they were commanded and since then, ‘Godna’ marks are considered to be a wealth of people that they can take with them even after death. A Myth related to ‘Godna’ also states that when a spirit of the dead person appears before the God, it has to solve the ‘Godna’ riddle; but if it fails to solve, the spirit is sent back to the earth for rebirth and could not get salvation. The publicly accepted beliefs varied from tribes to tribes of Jharkhand. The females of Jharkhand were categorised under different communities based on the design of ‘Godna’ on their body parts. It was mostly seen on the forehead and earlobes of the tribal women. Apart from forehead, it was engraved on hands, legs, chests and other body parts as a recreational activity and generally it had no particular connection with any cultural rites and melioration. It was a compulsory tradition for the ladies of Oraon, Munda, Khadia and other tribes. Females of Oraon and Khadia tribes used to engrave three straight lines on their forehead. It was engraved following a lot

of celebrations during the period of adolescence. In few tribes like Oraon, Munda etc. at the age of 5 or 6 years, young girls were being engraved ‘Godna’ on their different body parts. Amidst adolescent boys of the Munda tribe, the new members of the community on whom it was inscribed were known as ‘Singa’. For the women of this state, it is revered as the most valuable ornament and therefore they used to engrave three to four lines of garland on their chests. In order to save themselves from the persecution of various kings and rulers in the past, they used to engrave it on their facial and other body parts for looking unpleasant and repulsive in appearance but, gradually it became a fashion and was accepted as a form of body adornment. The effect of modernisation and conversion of tribalism into other faiths and religions lead to the abatement of ‘Godna’ amid the tribal culture. The only silver lining of hope that is ascertainable for the revival of this art is the youth which is getting attracted towards its modern implication in the form of tattooing. Art and culture always attract our mind and aesthetic sense. Along with taking care of our mental and physical health, we also try making our body look beautiful and well-built. Therefore, use of clothes, ornaments, flowers and tattoos are done to bedeck

our appearance and our body specifically becomes the canvas for tattooing. It is an eternal phenomenon available from generation to generation, only its procedure and material changes. Various kinds of artistic body adumbrations are now deep rooted in the modern fashionable culture. Usage of makeup has inundated into the lives of literate and economically stable people of different social strata on a wider note. But the age-old traditional art of body embellishment in the tone of a single colour of ‘Godna’ has unfortunately been confined within the tribal and rural domain of Jharkhand, which is now on its verge of extinction. More or less it has been well-liked amid the scheduled castes and tribes of Jharkhand. Apart from the general castes, there are 32 types of scheduled tribes in Jharkhand which according to the census constitute about 27.67% of the whole population. Among the 32 types of tribal groups, there are 7 major communities including the Santhals, Mundas, Oraons, Hos, etc. which comprises about 60.1% of their total tribal population. An old census states the population of the tribes of Jharkhand as follows according to which an approximation regarding the present population can be encountered –

The population of few of the tribes are not exactly estimated in number such as those of Bijhiya, Parhaiya, Khadia and Munda. Beliefs and accreditations of different tribes – The Santhals believe that if one does not bear the pain of ‘Godna’ then in the after world or heaven they will be given big insects in their lap which will bite them badly. The Ho tribe believes that ‘Godna’ is the symbol of purity. It is considered auspicious on the forehead of women and a mark of welfare on the chest of men. They consider that it is the authentic identity of one’s soul and anyone who defies the ritual is not accepted as trustworthy. The Khadia tribe believes that engraving the mark of ‘1’ on the body part of a young boy signifies his audacity whereas, marks of ‘Godna’ on young girl symbolises her societal advent and state of adolescence. The Baiga tribe believes that it is a permanent ornament that stays with the body forever even after death as their eternal property. They have a firm faith that almighty takes away everything but on engraving the design of ‘Dhandha’ (six dots connected in a line) on the back, almighty himself engraves that special mark on the back of the reincarnating soul. They also believe that tattooing it on the specific ailing body part helps to heal or minimise the agony. The presence of husband or male members of the respective communities is considered inauspicious while engraving it on the female members of the tribes. Traditional female artists of ‘Godna’ belonging from the Malhar community state that the tribes of Jharkhand majorly inscribe patterns of Boot Jhangri (lentils of green gram), Kadamkali, and earthen flowerpots with flowers and leaves, Sun, crops, etc. as the designs of ‘Godna’ on their body. People of Munda tribe used to inscribe it on their forehead, lower lips and at the two extreme edge points of the eyes. On my visit to Jagannathpur Malhar Colony in Ranchi district, I hardly found only 6-7 artisans who are still in practice of engraving ‘Godna’ on human body parts and are somehow earning some living from this art form. A lot many questions were asked to these artisans to exactly trace their economical, moral, physical and societal conditions. On basis of this questionnaire our interaction with the ‘Godna’ artisans helped unfurling many important facts, problems and issues. Here, is the list of a few artisans who told our team a lot many things regarding ‘Godna’ 48

Name of the artisan – Urmila Toppo Malharin Age – 64 years Date of birth – 01/01/1953 Gender – Female Address – W/O, Digambar Malhar, Mousibadi, Malar Kocha, Jagannathpur, Dhurwa, Ranchi– 834004 Aadhar number – 493002060525 Contact number – 7781047273 About her – She has been living in Jagannathpur Malhar colony from past 20 – 22 years and has been practicing the art of engraving ‘Godna’ from a very young age of 12. She has learnt this art from her elderly family members who belonged to the Oraon tribal community and Adivasi community. In her family, many members have engraved ‘Godna’ on their body according to their rituals and beliefs. She earns about Rs. 5,000-6,000 -/- from curing Goitre in which, she engraves ‘Godna’ on the goitre affected part of the patient. For the treatment of goitre through this traditional process, she uses a paste of mixed ingredients such as plant sap of gheu kuwer, turmeric, root of sohar plant, mustard oil and huqqa water which, all together acts like an ayurvedic suitable for the cure of the disease. She earns Rs. 2550 -/- by engraving ‘Godna’ for the purpose of body ornamentation. Name of the artisan – Jaleshri Foto Malharin Age – 67 years Date of birth – 01/01/1950 Gender – Female Address – W/O, Late Ajgar Malhar, Mousibadi, Jagannathpur, Malar Kocha, Ranchi, Jharkhand – 834004 Aadhar number – 539612579905 Contact number – 7781047273 About her – She has learnt the art form of ‘Godna’ at a very young age before her marriage. Till date she is a skilled artisan in this field and mostly does ‘Godna’ for body embellishment. For the purpose of ornamentation, lampblack and mother’s milk is mixed in a small wooden or bamboo bowl to engrave the designs with the help of needles. Generally, needles are used in odd numbers such as 3, 7, 9 and 11 for engraving ‘Godna’. The needle known as “pitar muni” is basically used. 7 such needles are tied together in a bundle with the help of cotton thread so that the points of the needles can be kept together at the same level. Designs of ‘Godna’ contains motifs of mahadev jat, kasauli flower, pothi, haar,

payal made with chawal ka dhar, poudha ka gach (of kadam tree) and other geometrical motifs. Last year, she was taken to Goa through an organization to sketch designs of ‘Godna’ for some tattooing purpose. She sadly remarks that the invention of modern techniques and machines for tattooing has completely stopped both the practice and influence of ‘Godna’. Name of the artisan - Sattan Khudain Malharin Age – 71 years Date of birth – 01/ 01/ 1946 Gender – Female Address – W/O, Kanandan Malhar, 160, Mousibadi, Dhurwa, Ranchi – 834004, Jharkhand Aadhar number – 704291128979 Contact number – 9065349539 About her – She has six children in her family and has learnt the art of engraving ‘Godna’ from her mother-in-law. In her family, at present, she is the only member who does ‘Godna’, rest her daughtersin-law have shown no interest in learning this art form. She said that earlier whosoever in their tribal community used to know about ‘Godna’, was also used to at least engrave a single small dot on their forehead. She takes at least half an hour to engrave the design of ‘Godna’ in a body part. It completely depends upon the designs that how much time is required for engraving them. She charges Rs. 10 -/for engraving a single alphabet or letter in ‘Godna’. Different alphabets are rated differently, such as to engrave the letter “Om” in Hindi, she charges rupees 25 -/-. But unfortunately, her income is not that efficient to feed her family properly. Name of the artisan – Phulmani Malharin Age – 34 years Year of birth – 1983 Gender – Female Address – W/O, Manu Malhar, Mousibadi, Jagannathpur Jhopri, Dhurwa, Ranchi- 834004, Jharkhand Aadhar number – 554189856353 Contact number – 9135155594 About her – She has learnt the art from her mother. She was first engraved ‘Godna’ on her own body at the age of 10. She has 6 children of her own in her family and about 7 other members of her family are expert and still in practice of engraving ‘Godna’. She claimed that earlier her family was well settled and established as the art form was a good medium

to earn money but from the day it started to vanish, their medium of feeding, wheat and rice, also went away with it. She used to get her tools from the iron smiths, copper smiths or bamboo weavers of the local markets. She never goes to the local fairs in order to engrave ‘Godna’ on different customers now. Name of the artisan – Sumit Devi Date of birth – Gender – Female Address – Jagannathpur Jhopri, Malhar Colony, Dhurwa, Ranci – 834004, Jharkhand Contact number – 9570615548 About her – She has been engraving ‘Godna’ from the teenage of 17-18 years before her marriage. She has a son who tries to run the family income somehow. Her mother was also a proficient ‘Godna’ artist earlier. She told that she makes the “kaath ka kiya” (the small wooden bowl used for mixing lampblack and mother’s milk for engraving ‘Godna’) from the carpenter. After engraving ‘Godna’, a powdered mixture of salt, rice and chillies is used to remove the impact of evil that might have caught the customer while engraving it on her/him. After inscribing it, consumption of brinjal, black pulses and rice starch are not allowed for three consecutive days. Name of the artisan – Ruddan Malharin Age – 67 years Year of birth – 1950 Gender – Female Address – W/O, Pyari Malhar, Mousibadi, Jagannathpur colony, Dhurwa, Ranchi – 834004, Jharkhand Aadhar number – 386782101291 About her – She has been practicing this art from a very young age. ‘Godna’ is a very painful process but she loves it because it has got many traditional and spiritual values and religious significance. She has 2 sons and 1 daughter and she claims that the present generation does not like ‘Godna’ at all as education and modernization has influenced her family. Only two members of her family are yet in practice of inscribing it and they wander like ‘banjarans’ in the local markets and fairs on special occasions or festive seasons in order to engrave ‘Godna’. She said that the government of Jharkhand takes very less initiative in order to save the declining art form of ‘Godna’. If she will be given 49

opportunity to work in any design company then she will probably claim for rupees 500-/- as her daily wage to earn her survival. Analysis The life of these very few artisans is extremely pitiable because they have hardly any means of recreational activities, worldly knowledge, acceptance in the society and a good environment to live within. They claim that even after completion of 72 years of independence, the Government of India has yet not given any accreditation to the Malhar tribal community. These artisans live in isolated areas, in mud houses in the hilly tracts and to earn their survival now they do the job of rag picking. It is extremely unpleasant to know that the artisans who know to create such beautiful designs of ‘Godna’ are not recognised well in the society with respect and care; instead they have to perform the role of rag-pickers or chiffoniers in their real life. They even don’t have proper food to feed themselves with breakfast, lunch and dinner every day. They have no land of their own. They also work at different houses repairing buckets, boxes, pipes, etc. Apart from engraving ‘Godna’, they are also mastered at making metal casted products such as paila, ghungroo, dhokra, etc. Some of them are good at folk songs of their tribal community; some of them from their hamlet even knows good work of bamboo weaving, sujini embroidery, stitching, wall painting, terracotta and tribal folk art. Unfortunately, though being so much talented, they have no scope to showcase their talent. There is an urgent need of uplifting their societal standards and hold the declining line of ‘Godna’ to bring its traditional glory back on the map of tribal art and culture. Conclusion The main objective of this paper is to state the importance of ‘Godna’, which has lost its grace in the present scenario. Though the tribal are stepping towards education and are opening up to various societal challenges and premises, but still they must not forget their own authentic culture. It can be their first step towards cross-culturism in which introducing the real aspects of ‘Godna’ to a greater mass can play the magic well. On the other hand, it is extremely important to support the tribal communities to help them survive with their own styles and identities say whether through art, culture, literature or occupational behaviours. Factors from industrialization and commercialization might have 50

been succeeding in wiping off multiple age-old art traditions from our motherland, but such centuries old designs, methodologies, motifs and inspirational crux and stories are perpetually embedded in the seed of value-added design essence and developmental scores in itself. So, to take up the responsibilities in maintaining the strata of the artisans and the colours of tribalism is an utmost necessary for the designing zone in order to save a history, a gala, a voyage of tremendously effective cultural practices.

Terracotta Craft- Advertisement -Nishant Kumar Location

Ranchi is the capital of JHARKHAND. It is the centre for the production of terracotta. Climate The general climate of the place remains hot and humid, except the months of November to February. Arts and crafts Making of terracotta product of variable scale and size is the main art & Craft of old Ranchi. It’s a traditional skill that has passed down through generations. Nowadays, based on such clay models bronze castings are also being made and have found pride of place all around the world. Geographical Location of Cluster Ranchi is located at 23.35°N 85.33°E on the banks of the Subarnarekha River. It can be reached from Patna by either train (407 km) or bus (336 km). Packaging and transport Usually the packaging of these products are done in two different ways: • glass box for the costlier items • packet for the cheaper ones. In recent times, frames made of fiber are also being used. The finished products are sent to the destinations by various modes of transport like rickshaw, van rickshaw, matador, bus, train etc. They are even sent by air in case of orders from far away cities in India and abroad. Finally, the terracotta products reach in various corners of the country and abroad to be sold in fairs, craft showroom, puja pandals, personal collection etc. Representative samples are sold from the local counters at Ranchi as well both by the artisan or their relatives. Issues: • Most of the units do not have approach directly to

market. They deliver their products to local dealer and exporter. Use only Plastic and newspaper for wrapping and put them in corrugated box which are locally available. But some of them use thermocol and bubble sheet for inter-state or international delivery of their products. Recommendation: Required interventions for cheap, affordable and hygienic packaging. Merchandising and Display Issues: • Very few units have a proper display area/ showroom. • The terracotta displayed in a very random way which confuses the buyer instead of impressing him/ her. • Artisans and even entrepreneurs find difficulty in communication especially during the fairs and exhibitions. It is because most of the people involved in this trade are uneducated or unaware. • No brochure, leaflet or tag is being used. Recommendation: • Need a good display design and brochure which would help in expanding and commuicating to target market. • Product should be designed and displayed in a series, so that they can be arranged as a story of content, pattern or color. This would make the buyers to appreciate and purchase the products. • Utilitarian products should be developed so that terracotta would reach to maximum number of people. • Make awareness about GI (Geographical Identification) mark for their products in fairs and exhibitions which would help them to show their identity. Ways of promoting Terracotta Craft Products should be specific for whom it has been created like male or female, the age group, family orientated, or for tourists etc.

There are three ways for advertising of craft : Print media Newspaper advertisements Magazine advertisements Flyers and public bulletin boards Hoardings Banners Posters Brochures Packaging Digital Media Offer a wide range of Digital Marketing solutionsâ&#x20AC;&#x201C; product placement, trade marketing and promotional strategies, and product launch services using the latest digital and social media platforms for customers. Social media advertisement Websites Apps Blogs Photography, Videography, Event Coverage Showcasing photos captured and shared on a live feed or social display wall is a great way to excite attendees and encourage others to engage by taking photos and sharing them online.

Design Intervention of Terracotta -Nivedita Raj Abstract

Design intervention is seen as associate interface between ancient and modernism, which matches craft production to the needs of recent living. perform and utility are the core of the essence and identity of a craft. This paper serves the purpose of design intervention helping in the revival of dying crafts and new intervention models that may be developed. Design/methodology/approach The paper aims to recommend that cooperative innovation between designer and crafts person and could be a means of increasing the craft vocabulary and revitalizing dying craft traditions and sound modern markets. Originality/value Information collected from the Society for rural industrialisation, Ranchi to establish a strategic Design intervention that integrates the social, economic, ecological and cultural aspects and so facilitate within the revival of dying craft traditions. Paper type This paper is associate searching & conclusive study. Introduction Background: Indian Handicrafts are a conventional craft and therefore the ability of creating handicraft has been passed in families from generation to generation. They are distinctive expressions of a specific culture or community through native attainment and materials. In the era of globalisation, however, product have become additional and additional commoditized .This demand for a product and alter in its design and colour, are an excellent threat to craftsmen producers and push these deep-seated ancient hand- created product out, replacement them with mass and factory–made, machine crafts. And in addition one in every of the most important problems in Republic of India is that our markets don’t acknowledge actual worth of the craft. Once the worth of the craft and the efforts of the artisans are recognized, and the individuals are willing to pay the next value for craft primarily based product,

this could help into translating into higher wages for craftspeople and act as a lift to immeasurable rural based living opportunities related to this sector. Propelled by loss of local markets, declining skills an outsized variety of artisans have touched to urban centres in search of low, unskilled employment in business. “Handicraft is that the second largest supply of employment in the country, when agriculture. However India’s hand industries are in a very crisis of confusion.” Crafts council of India-2017 Design intervention Design intervention could be a method that involves planning new product; redesigning existing products, with changes in form, size, colour, surface manipulation, perform and utility; exploring new markets and revitalizing lapsed markets. It involves ancient skills to full new opportunities and challenges and additionally the introduction of new materials, new processes, new tools and technologies combined along. It is seen as associate interface between ancient and modern, that matches the amount of craft production to the requirements of modernism. Design interventions play a awfully important role in creation of the craft. They must target the identity of a craft, its social and cultural relevant aspects to its region. Design interventions assist in making awareness among artisans of strategies, materials, tools and processes. Revival of dying craft We are living in a new golden era of excellent style, where the collaboration between designers & craftspeople is basically the reason of appreciation. As customers, we’re additional conscious of materials currently – not simply their visual and sensual charm, however conjointly wherever they come from, why they matter. We’re additional interested in however things area unit created and United Nations agency created them. Collaborative innovation between designer and craftsperson may be a suggests that of increasing the craft vocabulary and tapping up to date markets. It’s conjointly argued that a link between the apparently tenets of sustainability may be achieved through accountable 53

and strategic style innovation that integrates the social, economic, ecological and cultural aspects. It has currently been recognized that autochthonic innovations area unit crucial for any developing nation so as to achieve additive growth, each economically and socially. These innovations, as they will be largely within the type of applicable modifications within the existing merchandise, would force additional vital interventions and handholding efforts for his or her transition into markets. Design intervention will facilitate usher in the abundant required sympathetic understanding and holistic vision to connect and integrate the assorted efforts towards a positive outcome. One would stumble upon wonderful indigenous innovations in India which will be developed into marketable merchandise and thereby facilitate in creating business success. These may give very important directions for a rustic like India, to rework into associate innovation-driven economy. Design intervention and Technology Design interventions aren’t solely product based mostly interventions, however also can be technological. Technology will play a role at ending issues while not compromising core of the craft. For this to happen, they ought to be decent and gradual, as a result of if fast they’ll result in casualty of an entire cultural acquisition. Appropriate technology for style intervention is achieved by either upgrading ancient technology or cutting down fashionable technology. This way the technology would solely facilitate in creating the method quick and commercially viable, nonetheless not manipulating or changing the initial steps and processes. Therefore it provides with tools and processes that enable longer for the application of hand skills, that’s the core of crafts. Design interventions ought to concentrate on the identity of a craft, its social and cultural connexion to its region, and therefore the processes and materials concerned, to include the interventions in the right things, with expected outcomes and reasoning. Crafts are associated economic activity, as seen within the bamboo and cane craft, where the consumer decides to take a position in an exceeding craft as a result of its aesthetics, value purpose and usefulness in an exceedingly competent means, instead of from a philanthropic concern. So as to stay economically viable, development processes like selling square measure necessary. Artisans thus would like style interventions to vie recently with the product and services provided by the industrialised modern 54

producers at cheaper value points. Design interventions assist in making associate awareness among artisans for methods, materials, tools, processes and people base. In several cases, the artisans of a neighbourhood have lost or rather do not have a documented kind of the craft. Ancient crafts square measure memory based mostly, and solely memory is that the information bank of their ancient ways and materials. Additionally in an exceeding scenario wherever a cloth might not be out there at a neighbourhood, and is a significant a part of a craft production method, is from time to time out there in close regions and states. Design intervention can facilitate in documenting the processes and materials concerned in an exceeding craft, to make info that may be taken by associate illiterate article. Therefore design interventions can become a method for preservation of cultural resources. And as craft could be a direct outcome of culture, preserving the essence of craft is comparable to protective the cultural nuances of a neighbourhood and community. Design Interventions and Markets There is potential for dialogue concerning what quite market ought to a style intervention open for a craftsman. As a result of style intervention, the trained worker is making merchandise for lifestyles that square measure alien and remote from their own, in highly competitive markets. They will not have even seen that consumer, or for the actual fact even grasp them. Designer’s square measure continuously attempting to help the trained worker in handling the strain of the new markets or to urge accustomed to a client. Also, this new consumer follows associate degree guideline of trends and fashion that change with menacing frequency. This provides for a brief term answer for the artisans as a possible market. Even the changes brought-in by design interventions square measure applicable for a brief period of time owing to the ever ever-changing, fickle demands of the urban consumer. Supporters of this argument square measure in favour of a kind of style intervention that discloses native, organic and closely connected markets to artisans, because it accustomed be in earlier times. They support the point of view that it is more portable within the long haul for the styles to intervene in design development that gives distinctive purpose and edge to the merchandise that competes well within the native market. But within the standard setup, designers are available in shut interaction with such artisans for a short span of a project period that makes it challenging to include long-term interventions and review of

implementations. Design intervention contains a profound responsibility, for it to not manipulate the artisanâ&#x20AC;&#x2122;s coaching and artistic vision with an aesthetic plan of developing his product for a shortlived market. Conclusion The importance of crafts within the Indian context is indispensable, and therefore concerns correct documentation and review in its current standing and existence, thus on produce awareness and database for future preservation of theories and processes. The interconnection of the culture, tradition and crafts area unit established, to clarify the importance of the identity of crafts and the stakeholders related to it. a transparent demarcation between crafts and â&#x20AC;&#x153;machine-madeâ&#x20AC;? items is achieved to assist perceive crafts and its operation within the Indian context. Together with this, the sustenance of crafts and the role of style intervention in achieving it, and also the role of designers in having the ability to conduct the planning intervention effectively, area unit recognized.

The Problem of Transportation of Cane and Bamboo Products to and from Angara, Ranchi, -Rajeeta Prasad Introduction This paper considers Cane and Bamboo craft of Angara, Ranchi. The rationale is that craft i.e. the art of making tokri, winnowing fan and other decorative items, for and through craft practice is still relatively new to the youth, and that craft is traditionally associated with the creation of artefacts as a source of experience and emotion. The paper sets out the context of the problem of transportation in Angara District of Ranchi where Cane and Bamboo craft is practiced. It introduces the need for developing a good transportation facility with feasible amount, which contrasts with the current stric tures of the district, and proposes how this can solve the issue and help the craftsmen increase their sales. The outcome and contribution of the paper is to put forward the problem of commute/transportation. It explains the potential and value of moving and freightage which would ultimately help in increasing the selling of the products. Body Angara is a Town in Angara Block in Ranchi District of Jharkhand State, India. It is located 21 KM towards East from District head quarters Ranchi. With the total population of 2852 (census 2011), more than half of the population of Angara is involved in the cane and bamboo craft as a part time self employment. With the women majorly working on the craft, they make 12-15 tokris in a month and sell it in the nearby weekly ‘haat’ (market). Due to many households working on the same, there is a lot of competition and less sale. This also leads to reducing the selling price of the product as per the clearance of the stock they have. As there is no sufficient mean of transportation regardless of having good roads, the craftsmen/ artisans are not able to take the products to nearby villages or cities. With a distance of Hesal ( 2 KM ) , Lupung ( 2 KM ) , Salhan ( 2KM ) , Sirka ( 5KM ) , Chatra ( 6KM ) to Angara, the means of transport available here is only autos or private vehicle. Angara is also surrounded by Ormanjhi Block towards North , Kanke Block towards west , Ranchi 56

Block towards west , Namkum Block towards South and also, Ranchi , Ramngarh , Saunda , Patratu are the nearby Cities to Angara. Collectively, all the blocks and cities lack the means of travelling from one place to another. With autos or private vehicles as the only means, the travelling costs incurred by the artisans/ craftsmen turns out to be more or same than the actual produce. The artisans earn Rupees 150-180 from the sale at their local haat, and hence they refrain from spending Rs. 250 for travelling to nearby cities for selling their products. As followed in through the interview with Bishnu Kumar, a local cane and bamboo craftsman from Angara, the problems that were kept forward were: bus scheduling, delivery,, open vehicle routing, loading, vehicle routing and variants, convoy routing, inventory routing. With an impressive extension of Transportation Problem in functional aspects, the costs of transportation also adds up in buying of the raw materials from the market by the artisans/ craftsmen. They buy bamboo from the same local haat which costs them 10-12 rupees and due to competition, they almost land up to break-even point of their sales. In this no profitno loss situation, they themselves are left unwilling to move to other places for selling. The bus fare from Angara to Ranchi is Rs. 140 (one way), which sums up to lump- sum of Rs. 300 of a day’s travel. This is equivalent to two day’s of sale at their local haat. The city of Ranchi could be a main market for the artisans and craftsmen of Angara. The district of Ranchi has almost the central location in the state of Jharkhand. Ranchi limits its geographical size confining to 23o 23’ N Latitude and 85o 23’ E Longitudes. This district comprises an area of 7574 sq km.. The name of the district was changed in 1899 from Lohardaga to Ranchi, after the name of a small village now comprised within the headquarters station. It is bounded on the North, by Hazaribagh, Chatra and newly created Ramgarh district. On the East, by the district of Purulia (in West Bengal) and Saraikela Kharsawan and towards the West by the districts of Latehar, Lohardaga and Gumla and South by newly created Khunti district. In recent years, Ranchi has become a magnetic or nodal center of the state. Therefore, it is necessary to study the peripheral rural markets of the Ranchi city.

In the present study, the periphery of Ranchi city has been delimited on the basis of the administrative boundaries. The entire district of Ranchi which is the capital city of Jharkhand is divided into 14 blocks of which 3 peripheral blocks have been taken into consideration for study. The three blocks in the periphery of Ranchi city are –Kanke, Namkum and Ratu. Network means complex system of railways, roadways or in simple words transportation. Before beginning about the network or the connectivity of the rural markets, with respect to Ranchi city we must know the distance of rural markets from the Ranchi city and what exactly transportation is and what are its limits and importance in a regional/ country’s development. Rural markets were surveyed from 3 peripheral blockswhich would not only increase the market, but also reduce down the transportation cost which the craftsmen and the artisans face. As Kanke has 20 unorganised market, and Namkum and Ratu have 15 and 17 unorganised markets respectively, the possibility of sales increases than selling in the local ‘Haat’ of Angara. Conclusion As said, transportation is the nerve of any industry, it also plays an important role in the process of stabilisation of prices in different regions. It will also increase the market value of the product by creating time and place utilities. With the increase in means of transportation and building of roads, the sales of the ‘tokris’ and other products made by the artisans and the craftsmen would increase drastically. As the products are not easily available in the city area, the cost of the products can increase and in turn would profit the artisans and the craftsmen.

Government Scheme Godna Craft- Ranchi, -Rakhi Yadav Abstract Godana the topic I choose for my research was the government schemes for the artians of Godana .As in my survey i get to know that there is many government schemes are made for the artisans . Many of the schemes are well known like Prime Ministerâ&#x20AC;&#x2122;s Employment Programme , Coin Vikas Yojana , Rajiv Gandhi Shilpi Swasthya Bima Yojana and many more others But , the problem i get to know that even if there are many schemes made for the artisans by the government to improve the lifestyle of artisans , replenishing of the craft why the government not included godana as a craft . Government has not bothered to replenishing the godana craft and there is no such schemes for the artisans of Godana . When i visited the Jharcraft of Ranchi there i find there was many schemes and training opportunities were given to the other artisans accept Godana . Talking with the members of Jharcraft i get to know that they are not getting any kind of benefit with the Godana Craft So , why would they waste there money and time in Godana . And when i went to meet the artisans of Godana they are living there worst life . I asked what all government support you are getting , then they answered of only one lal Card is the medium through which they are getting the strength to survive . Overall , I can say is that to revive the Godana craft we need to work hard . Government should also have to think for the Godana artisans . Only by saying there are many schemes for the artisans is not working , the craft which is going to extinct the main focus should be that , Godana is a craft which is quite not accepted by the masses but it would be revived in another ways . The first step should be taken by the government and the rest it will start by it own . Introduction The art of permanently engraving different types of patterns on the body with the help of soot or lampblack and needles is termed as â&#x20AC;&#x2DC;Godnaâ&#x20AC;&#x2122;. Practice of this art form probably has emerged coincidentally through any circumstantial occurrence. The eventuality of Godna can be traced back to any person who might have got a cut on his body and had been treated with traditional medicaments such as plant sap or ash. After the 58

healing of the wound, it might have taken a shape of black impression which apparently became the base for the genesis of Godna art. Due to multifarious reasons, beliefs, traditions and recognitions trending from centuries, Godna has been able to adorn bodies in the whole world as a distinctive and esteemed art form. According to the disciples of Hebrew and Jewish, Christian and Islamic religion, the art of permanent body modifications and embellishments is strictly prohibited. Although in the present scenario, no such proscriptions are accepted by the Christians but, the Jews and the people of Abrahamic monotheistic religion still acknowledges the prohibitions as before. Opposite to these religion, people of the Indian subcontinent under the shelter of Hinduism, accepted the art of Godna wholeheartedly. The influence of Godna is chiefly vehement on the womankind of Jharkhand as it is based on religious customs and beliefs. The superstition revolves round the fact that a lady who has no marks of Godna on her body will be unable to achieve the state of eternal blissor salvation after her demise. Earlier, the buzzing adage among the tribes stated that the lady who had the maximum number of patterns or marks of Godna on her body was considered the wealthiest of all and accordingly, after her death she earned equivalent virtues. In order to achieve sacrosanct redemption, females of different classes and tribes bear Godna on their bodies. It is a societal sacrament giving identity of a particular community. Within the domain of Jharkhand, it is assumed that a woman who has no signs of Godna on her body is either from some foreign community or belonged from outside of Jharkhand . Government Scheme The scheme implemented by office of the development commissioner ( Handicrafts ) are composite in nature and not specific to area , caste or gender . The artisans belonging to all communities including women artisans draw benefits from the schemes office of development Commissioner ( Handicrafts ) , is implementing following generic schemes : Ambedkar Hastshlip vikas Yojna The ministries of the government of india have come up with various

useful schemes from time to time . These Scheme could be either Central , State specific or joint collaboration between central and the state .

Lal Card : This card is made 2 year before by the ward members of every artisans , in this the rice and wheat is given at 1Rs per kg

1. Rajiv Gandhi Shilpi Swasthya Bima Yojana It aims at Financing enabling the artisans community to access to the best of health care facilities in the country . The scheme covers not only the artisans but his wife and two children also . All crafts persons whether male or female between age group of 1 day to 80 years will be eligible to cover under the Rajiv Gandhi Shilpi Swasthya Bima Yojana . There are as many government scheme implemented by government for artisans as i mentioned below like

After visting Ranchi and meeting the artisans of godna i got to know that government is not taking as granted to the artisns of godna . They are not geeting any kind of ben- efitsfron the government to sustain their craft and without their help they canâ&#x20AC;&#x2122;t sustain it by their own as they are financially very poor . When i went to jharcraft of ranchi , i met the employee of jharcraft and he said the government is in process to sustain all other craft except godna . They are not even interested in taking step to sustain the craft .

1. Prime Minister Employment Generation Programme 2. Scheme of Fund for Regeneration of Traditional Industries 3. A scheme for promoting Innovation 4. Market Promotion Development Assistance 5. Interest Subsidy Eligibility Certificate 6. Workshed Scheme for khadi Artisans 7. Strengthening infrastructure of weak khadi institution and assistance for marketing infrastructure . National Artisans Portal From my , secondary information i got know about the schemes which is made by the government for artisans . As per my primary information which i collected from the jharcraft was goverment has introduce a training program for artisans and for that goverment would pay 150 per day wage for each artisians . For this training scheme government select 30 artisans and that 30 artisans is given the training . The training is given in the Panchyat Bhawan .This place is chossen because it is the common place for the village people . Artisan insurance card is also made by the ministry of textile . The artisans has to give 80 rupee per month as the for the insurance and 2 lakh is kept as for the artisans as when they want some health treatment in future they would have not to pay for it . Artisans Card : It is a kind of ID proof of artisans , when they will show this card in any grocery shop aur at any place they will either get concen our they would get free for it . 59

New market potential for terracotta handicrafts -Randheer Kumar Abstract

The purpose of this study is to find new market potential for terracotta handicrafts. The study provides an analysis of the potential market and reveals the following trends in the marketplace that impact handicraft producers in market of Ranchi and all over India. The terracotta industry is spread all over the country as it is highly labour based, involving a large number of artisans from women, children to old man. Handicraft is the key for sustaining an existing set of millions of artisans spread over length and breadth of the country, and also contributes towards the increasingly large number of new entrants in the crafts activity. Due to which they have a high potential market.They also contribute substantially to employment generation and exports.The Handicraft sector has, however, suffered due to its being unorganized, with the additional constraints of lack of education, low capital, and poor exposure to new technologies, absence of market intelligence, and a poor institutional framework

Objectives • • • • •

To study the various destinations where terracotta handicrafts are exported. To study the comparative handicraft product and market. To study the strength of terracotta handicrafts. To elaborate the possible threats to terracotta handicrafts. New market opportunity

This paper is benefited from the intellectual guidance of National Institute of Fashion Technology Patna and prepared under the technical supervision of Mr. Deepsagar Verma (CC-FC & Asst. Professor at NIFT Patna).

Study Area

The district of Ranchi is in the centre of Jharkhand. The geographical area is 7574 sq km, 23’23’ N Latitude and 85’23’ E Longitudes. The name of the district was changed in 1899 from Lohardaga to Ranchi, after the name of a small village now 60

comprised within the headquarters station. It is bounded on the North, by Hazaribagh, Chatra and Ramgarh district (which was created recently). On the East, by the district of Purulia (West Bengal) and Saraikela Kharsawan and towards the West by the districts of Latehar, Lohardaga and Gumla and South by newly created Khunti district. Ranchi is the magnetic/ nodal center of the state In recent years, Ranchi has become a magnetic or nodal center of the state hence it is important to study the peripheral rural markets of ranchi. Cluster Location - Kumhar Toli (Near Lalpur), Ranchi Market There is a gradual development in market activity with increasing demands and self sufficiency of the population. It began in the form of barter and evolved when people started exchanging gifts among themselves. The exchange was necessitated due to surplus production on one hand and subsistence production on the other. The products of terracotta are sold at different markets. There are also instances of direct purchase of these products from the villages they are made. Terracotta marketing ranges from sale of the products at local haats (bi- weekly markets) to regional, national and also international markets and craft fairs. A detailed study has been done on marketing mechanism of terracotta products. Products of terracotta are classified on the basis of their nature and their extent of decoration and popular forms of the market demand. For instance, the simplest forms such as elephants and horses are used in local rituals and therefore have a local demand. Yet the national market and urban centres hold elaborately decorated horses and elephants. with elaborate decorations. An urban demand has been generated for Manasa related items. Items like terracotta ornaments and decorative items are gaining increasing urban attention and are sold in regional markets, fairs and urban centres. Places like Chhotanagpur, Lalpur and Hazaribagh not only export to major national cities like Kolkata, Delhi, Mumbai, Goa, Chennai, Pune, and Raipur but also to

countries like Bangladesh, Nepal and Sri-Lanka. A detailed study of the terracotta markets in villages, several tourist places and also in the city of Ranchi is carried out. Terracotta markets have significantly developed in several tourist places in Ranchi/Hazaribagh and nearby area of Near the Hills and also in urban markets of Ranchi. The markets are formed near famous places where a lot of people make visits (Haats in the village area). A study has been carried out to understand the nature of terracotta items and their potential customers at Ranchi, a famous historical place for tourists (Jagannath Temple and other places) and at Timara Village near the famous Dassam Hill. Markets in Kumhar Toli (CLUSTER): Near Lalpur there is a separate place called “terracotta market” or “Kumhar Toli” where several stalls are set up and people sell their products. These stalls are sometimes set up straight outside sellers’ homes. There are several temporary stalls nearby the road and tourist place that represent the terracotta market. The terracotta materials range from tiny dolls, ornaments to giant horses, elephants and Manasa chali earthen pots, lamps etc. Simple forms of terracotta horses and elephants which are most popular in the local haats are completely absent here. The market is open from morning to evening. The pace of customers quickens and increases during the weekends; accordingly the timing. Attendance to the fair remains considerably high in winter season when the number of tourists is considerably high. In order to serve all economic classes the price ranges from Rs. 10/- to Rs. 5000/-. Long route marketing of terracotta items There is an increasing trend of long route marketing of terracotta items. Villages like Lakhiya, Khirasara and Hazaribagh regularly export items to several cities like Ranchi, Delhi, Mumbai, Chennai, Pune, Goa, etc. and also to other countries like Bangladesh, Nepal, Myanmar and Sri-Lanka. Only a few families have developed direct connections abroad. None of the terracotta makers have direct linkage to the cities abroad. There are primarily two means of long route trading: first, the direct contacts and second, via a number of middlemen. There are local transporters who purchase the items, bear the transportation cost from the village to the urban centres and get money from urban middlemen cum sellers. They sell items to shop owners and also make personal sales. A stark

price difference is observed due to the presence of middlemen. Marketing Constraints Dearth of proper marketing strategy is evident. Though some of the artists send their crafts to Ranchi-Kolkata-Delhi by personal endeavor, most of the people only opt for the local markets of Lalpur, Kumhartoli, Ratu, Meshra, Bero etc. Some of the businessmen from other cities come with their own interest to buy these crafts. But due to lack of connectivity The local markets are threatened and the producers/sellers are not getting adequate benefit from their produce.also a lot of economy is debited by middlemen, transport and perishable goods rot during the time taken to reach the market. Rural market is the essence of the rural economy. Due to lack of connectivity the rural market cannot explore the facilities and flourish their crafts markets .The periphery of Ranchi is providing significant infrastructure to prevent the rise in urbanrural disparities in growth and development. But there is no opportunity of sale from the Society at all because there are a lot of options to buy from. Consequently the craftsmen cannot market their products properly and despite the assurance from government, no marketing centre has been set up. In the recent globalised market the demand for clay craft has also declined. Many of the artists are using artificial colour to coat the items though none of them is from Hazaribagh. They have no formal training for colouring and it is expensive too. Consequently the art is diverting from its origin, which is an alarming sign for the art. 1. Transportation costs are very high for long distance travel of the products (86% respondents face this problem). 2. 76% respond that high packaging cost for large product. 3. 70% respond that market for these products is not very large i.e. there is limited market for sale. They have no dependable means of transport or the material to make damage proof packaging for their fragile wares: dried grass is all they have. To add to all this, the bumpy roads from the village to the highway can cause a lot of damage. All these problems just add to the costs the poor villagers are already incurring. The high quality terracotta items would have been a very lucrative export commodity, 61

but for the fact that, transport-wise, they are just too heavy. These results indicate that net economic returns of terracotta production are high for the marginal workers during the current year of study and, labour cost works out to be the major contribution. But due to shrinkage of the market, presence of market middlemen and some important constraints, the income of the households are not regular. Rajesh Kumar and some other artisans have their monthly income below poverty line level of income, due to uncertainty in the market and some internal problems, their economic conditions are very low in the present economic perspective. Unavailability of proper soil, lack of modern technology, lack of proper market, inactiveness of potter’s cooperative society etc are the major constraints for terracotta production in Ranchi district. The strengths of the Terracotta Handicrafts Apart from the traditional value and availability of skill, terracotta requires low investment in production and manufacturing. Besides, the raw materials are also cheap. The products follow and connect with the cultural heritage and symbolise hand craftsmanship. The major motifs and minute details of the craft preserves our cultural heritage and add a lot of value to the craft. The crafts can be used as an inspiration to designers and their collection range will help in the promotion and preservation of our Indian handicrafts. Terracotta Products and their Possible Usage: According to the patterns of terracotta use in the studied villages, it can be broadly divided into three categories, first, the ritual use, second, aesthetic use, third, domestic use in play purpose. The aesthetic use of terracotta items is most popular in urban and semi-urban places. Common form of aesthetic use is a myriad of ornaments. Pendants, earrings, necklaces, and bangles of various designs are regularly used by girls and women. These are sold at good price in regular markets, fairs and different government sponsored shops in urban, semi-urban and tourist places. There are evidences of promoting the marketing of such handicrafts by different Non Government Organisations and Self Help Groups. Terracotta tiles and furniture are increasingly becoming popular in urban centres. Manufacturers 62

of such items report that people from distant places come to make direct purchase of such items. As already noted, there is an elaborate chain of marketing in operation. Order based supply is also notable. Terracotta tiles, terracotta furniture are commonly used as aesthetic items. Forms such as large decorative horses, elephants, Manasa chali/bari along with others like pen stands, incense stands, conchs, flower vases, table lamps, decorative male and female forms, wall hanging decorative plaques, etc. are regularly used in aesthetic purpose. These are sold in different fairs and markets and have considerable demand among the urban folks. A variety of forms like ghats, Manasa related forms, horses and elephants, terracotta plaques with divinities, local gods and goddess, etc. are used in a variety of rituals. Different toys such as mortar and pestle, small animal forms, oven, toy carts, and dolls are regularly used in domestic play purpose by children. This is essentially a rural use of such items and is always sold locally. New Market opportunity The traditional view of the marketing, “Make something and sell it” will not work in the economies where people face abundant choice. The mass market is now splintering into numerous micro-markets, each with its distinct wants, perceptions, preferences and buying habits and criteria. The successful seller must design and deliver offerings for well-defined target markets. There should be more encouragement from the Government or from the State Craft’s council to further promote the Craft nationally. More Exhibitions and Sales outlets should be done to let the common people know more about the Terracotta craft. Also, a good Network should be built nationally to bring the Terracotta craft directly to the tourists. The Craftsmen should be given more liberty to experiment with their crafts so that newer Design/ Pattern/Motifs can be generated. The Craftsmen should be given exposure to the outer world so that they know what people like and what they should add more to their crafts.

Bringing in the collaboration of mnc’s with the craft will help increase the net profit of the crafts increasing the market area and production.

http://www.censusindia.gov.in/2011-prov-results/ prov_data_products_wb.html

Bringing in more technological aspects which will help the craftsmen to explore the crafts inn various different techniques and hence enhance the production and marketing of the craft on a large scale . If handicraft is merged with technology then it would create a great market opportunity with a number of beautiful and usable products. A wide range of better products would be possible with better design and technique. The handicraft would be preserved as well as technology would be employed. For instance, we can use terracotta tiles in the form of bold geometric shapes. It can be used as a reference for the city rooftops showing a traditional as well as a modern look . BUSINESS INCUBATOR - A business incubator is a company that helps new and startup companies to develop by providing services. The artisan should go for their new ideas. The Art and Craft of a nation are the bread and butter of that locality. All attempt should made by the socialist nation to preserve them so also to bring a sustainable development of that culture

References

Jharkhand Journal of Development and Management Studies XISS, Ranchi, Vol. 15, No.4, December 2017, pp.7507-7525 Cultural Significance of Early Historic Terracotta Art of West Bengal: An Ethnoarchaeological Approach submitted by Anwita Dutta http://www.clusterobservatory. in/clustermap/ editview1. Reddy, S. (1994). Periodic markets and rural development New Delhi: Ashish Publishing House. Census of India. 2011. “Area, Population, Decennial Growth Rate and Density for 2011 at a Glance for Ranchi and the Districts: Provisional Population Totals Paper 1 of 2011: Jhaerkhand” 63

GODNA (Body Tattooting) - Ranchi, Jharkhand. -Rishikant Kumar Vaibhav Godna is a traditional body tattooing or we can say an ancient artform practiced by Gond tribes in some states of india like Jharkhand , Chattisgadh.Body tattooing (Godna) is believed to be the adaptation of a primitive form of art in India. This art comprises permanent ornamentation of the body with tattoos made by Godarins or Maharins. The belief says that godna marks are the only ornamentation which remains with them after the death and tattooed god, symbol or name will help as supernatural aid in the time of crisis, not in lifetime but even after their death. This was popular among women though some of the men in Awadh also have this art on their body. This art may provide insight into a people world view of this region. According to myth and history godna is age old tradition. The record of human history shows that godna have served in various functions as rites of passage, marks of status and rank, symbols of religious and spiritual devotion, decorations for bravery etc.

tattooing marks to distinguish themselves from other castes. Since then it is believed and tattooinghas become an important customs among the tribal. Another mythical story found in the region is that Yamaraj (God of death) was confused about the sex of the dead when their spirits went to his kingdom. He desired that his daughter-in-law’s body should be marked with same black stuff so as to distinguish her from others. This was done and she looked extremely attractive. Yamaraj then ordered his daughter-in-law and son to go to the earth in Godanhari attire and roam around the villages singing and showing the tattooed parts of the body to the people. They did as they were commanded and since then godna marks are considered to be a wealth of people that they can take with them even after death. A Myth related to godna is that when a spirit of the dead person appears before the God, it has to solve godna riddle; but if it is fails to solve, the spirit is sent back to the earth for rebirth and could not get salvation.

Godna traditionassociated with the symbol of purity and pollution. Godna is primitive form of body adornment and on the verge of extinction through modern tattooing is still popular. Historical evidence of godna have been found in 200 BCE. Female figurines found in Bharahut dated 200 BCE had godna in their hand, leg and face. Religious belief and rites of passage is the motivating factor behind the godna tradition among non-dwij castes. Godna mark can be found among males and females in this region. These days in deep rural areas one can find this culture but in urban areas traditional godna culture are being vanished, religious significance is losing its meaning and tattooing is used only for body adornment.

The person either male or female who engraves godna on the body called Godanhari and belongs to Dom or Bhangi caste. This caste is a nondwij caste of central India. Dom (Mehter, Bhangi, Lalbegi, Hari) is a caste of sweepers and scavengers. Sweeping and scavenging in the streets and in private houses are the traditional occupation of the caste. In central provinces section of Ghasia, Mahar and Dom castes were doing sweeper’s work andtherefore amalgamated with the Mehters. They generally confine themselves to their hereditary occupation of scavenging and are rarely met with outside the towns and large villages. They stand at the very bottom of the social ladder of Hinduism. Dom is the only person who can furnish the light for pyre. They also practice the art of making grass, reed and bamboo mats and baskets.iv Godanhari can be female and male. Godanhari kept a sample design in their bag and can be found in local haat or market in particular market days. Other than market days they are roaming one village to another and make a call “come and get a beautiful Godna on your body”. Villagers who wanted to engrave Godna called Godanhri and choose design from the samples being carried by the Godanhari. Godanhari first applied mustard oil on the part of body where she is going to

A myth prevalent in the Gond tribes describes the origin of Godna. Mahadev Shiva once invited the Gods to a feast. A Gond God also went with the others. The Goddess was sitting in a separate group with Parvati. Later the Gond God went there to fetch his wife amongst so many he could not recognize her. By mistake he puts his hand around Parvati’s shoulder. Shiva knew that it was only a mistake and laughed, but Parvati was very angry. She commanded the tribal women to wear specific 64

make godna, prepares ink by mixing soot with vidali (Ipomoea Digitala) oil then symbols are etched out on the skin (Palm, arm forearm, legs, chin, forehead foot, temple, neck and area of body where rhumetitis occurs) by pricking with the help of sharp wooden needle or thorn of Babool tree (Arabica Nilotika) like acupuncture. When blood comes out godanhari spreads ink on the mark. Babool tree (Arabica Nilotika) is working as an astringent, stimulates the healing and controls the scar formation*. This is painful process and girls scream while tattooing. So Godanhari and other ladies sing a song to divert her attention. After tattooing Godanhari applies turmeric (haldi) powder on the motif and gives instruction; not to rub it and sprinkle haldi powder twice for a week. After this process symbol becomes inseparable part of the body. As an incentive godanhari receives clothes, jaggery, grains and few rupees. Like any other aspect of culture godna has functions. Godna tradition reflects certain aspects of cultural expression and Rites of passage. Females used to get godna mark three times in their life. Firstly at the age of 8-10 or before she attains puberty, secondly after puberty and third time when she got married and get godna mark at their husbands house. It is commonly found that girl should tattoo her body prior to marriage. One cannot be considered pure among nondwij castes of Awadhi region without godna mark. Body tattooing is related to their belief system health care practice, body decoration, social status, wealth etc. Tattooing in some specific parts of the body has some medicinal value and it is believed that this tattoo helps them to cure from some typical disease. According to Elwin tattoos are form of sexual expression and a powerful sexual stimulant. Godna songs depict the feeling of a female. These songs are symbol of love, purity, affection and reflect the socio-cultural life as well as easing the severity of pain and divert attention. These songs transmitted orally from one generation to other and now on the verge of extinction. Godna songs raises echoes in the mind, links the past to the present through invisible bridges and often leads to stability in the individual psyche and the social structure. Oral tradition constantly created in their sociocultural environment by folk society that has shared experiences. This tradition reflects the cultural values and concern of a people and provides insight into peopleâ&#x20AC;&#x2122;s world view. Homo sapiens are the only animal in animal kingdom capable of symbolic behavior. From upper Paleolithic period people try to control the area of universe that is otherwise beyond

their control by symbolic and artistic expressions. Godna is the culture of self expression. Godna symbols reflect the environment of the people, their flora and fauna they have to live with. Varieties of myths and symbols associated with Hindu mythology and religion. Tradition is often linked to religious motifs and ritual systems. Art is always changing but in the era of globalization acculturation is taking place and had some profound effect on art and tradition. Godna is permanent mark on the body while modern tattooing is permanent and temporary both depending upon the choice of person. Person who belongs to any caste or religion can get tattoo marks. Godna is always related to religion, identity and body adornment while tattooing is symbol of fashion and related to body adornment. Godna motifs have cultural and environmental significance but in tattooing zodiac signs and animal figures are among the most preferred motifs, big and attractive geometrical pattern have been popular. Earlier Godna was being used as Indigenous medication of ailments. These daysâ&#x20AC;&#x2122; modern medical facilities are being used. Wooden needle have been replaced by electronic machines. Palliative folk songs have been replaced by Modern pop music. Earlier specific castes were practicing godna work as their profession which was one of the sources of livelihood but now a dayâ&#x20AC;&#x2122;s tattooing become very much commercialized and any one can do this. These days godna is not considered as rites of passage and parents are not interested to follow this painful process for their kids. Social systems are determined by technological systems. Rapid change in cultural pattern is because of harness of energy. Societies where harness of energy is more rate of change would be fast. Each tradition incorporates in its fold a mythopoeic religiousritual element which appeals to the subconscious of the community. Man is the only animal who possesses culture and can keep tradition alive. Before extinction of godna tradition it is need of hour to conserve its motifs, meaning, process palliation and cultural relevance.

Role of E-commerce on wood carving handicrafts of Ranchi -Rity Suman Objectives To increase the sales for maximum profit to artisans. To reach the large target audience. Spread of the market inside and outside the country. To make consumers aware about the craft. Abstract: India’s cultural diversity has lots of arts and crafts. This study provides a deep understanding about the influence and current status of e-commerce marketing. More specifically, this study enhances utilisation of e-environment to gain market share in local regional and international market. It will also help to gain more profit from the craft works. The mediocre from the supply chain management will be decreased and so the profit of the artisans will be increased. The lifestyle is also based on their economical position, so if the economic situation of the artisan improves the lifestyle will also improve. Few of the websites which are working as online stores for handicrafts seller: • etsy.com • Fabfurnish.com • Camelcraft.com • Vedique.com • Craftsvilla.com • Aporv.com • Handicraftsinindia.com • Handicraftshop.com • Itokri.com • Craftly.com • Craftshopindia.com • Thebuddhasolution.com • Villcart.com • Indiahaat.com • Itshandmade.in • Sanskarindia.com Introduction: Ranchi district was once known as Lohardaga. Its name was changed in 1899 from Lohardaga to Ranchi. Previously Ranchi was also known as ‘The Forest Land’ and it is also home to several Tribes, mainly the Santhas and Mundas. Buddhism, Jainism, The Mughals and the Hindu kings have influenced Ranchi and organized a procession. Traditional folk music, instrument and dances are the best to feel and please our soul. Panchami, Holi, Diwali, Chhath, 66

Jitiyaa are the main festivals. Food of Ranchi is influenced by the Tribal culture but it also has influence of Mughlai, Bengali and Bihari cuisines. Crafts of Ranchi •

Toy Making: Interesting wooden toys that are completely abstract made near Toupodana near the capital of Ranchi. They are just pieces of wood painted to look like human figures with angular lines but no separate limbs. Hands are indicated only by painting lines on the body.

•

Bamboo Craft: The bamboos of Jharkhand are strong and flexible but thin which is very fine to make craftworks. These bamboos are used by the artisans to make different artifacts like basket, furniture and fishing equipments.

•

Paitkar and Folk paintings: These paintings are one of the oldest tribal paintings in India due to its appearance it is also known as scroll painting which depicts life after death. These paintings are on the verge of extinction due to lack of funds for promoting it.

•

Metal work: The Malhar and Tentri communities in the state are experts in the metal crafts and make household wares.

•

Stone Carving: Another famous tribal craft is stone carving but it’s also on the verge of extinction. There are only few stone carvers are left in this area, they are also not interested in doing this work because it is not profitable.

•

Pottery and Terracotta: At festival time, terracotta animals, Clay lamps, incense burners and figurines holding lamps are commonly found. A unique burnished black pottery is manufactured in Deoghar.

•

Jute craft: Wall hangings, coasters, table mats, floor mats and dolls are made by Birhor and Sabar tribes by women’s groups.

•

Copper, Bronze and Dhokra: Jharkhand has

evidence of thriving Chalcolithic culture. Tin, Zinc and lead were mixed copper to make brass and bell metal. The Malhar artists, make animal forms, lamps, dance bells known as ghungru. In Sikaripara and Dumka, a group of Jadupatua painters produce superior dhokra using improved furnaces through contemporary inputs. •

Jadupatua Paintings: Artists make painted narrative scrolls called Jado or Jadupatua for the santhals of Dumka. These paintings depict the Santhal creation myth, stories of their tiger gods and scenes from afterlife.

•

Woodcarving: Jharkhand is full of dense forest area with the abundance of wood. It helps in the use of creating variety of woodcraft and household requirements. Wood carving, cutting are few of the wood craft methods.

Process of wood carving The wood is purchased from local timber units comes from outside regions and it’s still expensive for the artisans. As they didn’t get the reasonable price for their craft works, just because they don’t have enough profit from it. Tools Craftsmen have designed so many tools according to their need and requirements and as these tools are very costly in market, they prefer it to design it by themselves and get made by the local blacksmiths. They work in unorganised and messy areas generally. They used to keep their tools and products at the same places. In rainy season they face so many problems, as their roof starts leaking during monsoon, their wood and products gets wet. They cover their products by plastics but it is not so helpful for them. In improper electricity they are incapable to do their fine art works. They throw so many of their design drafts because of lack of proper place to keep them and again make them if it is needed again. The selling depends upon the middle men between artisans and the consumers, because of them they are not able to get the reasonable price for their work. These middlemen are the shopkeepers of craft showrooms and the people who sell their work on social marketing sites. Artisans usually sell their products at fair and exhibitions also. Due to lack of knowledge they don’t know much about the opportunities, that the state government and central government have facilitated for them to participate in various national and international fairs and for better exposure and market. These artisans don’t

have any branding and visual identity because of the middlemen between them and the consumers. Most of the artisans do not have a proper record of their art pieces, they keep the photographs of their art and keep it in albums to show to their customers. Need of E-commerce Indian handicrafts have great potential because of its prices and product lines. It is expected in the future that foreign customers will also show interest in the handicrafts and that will help in core expansion of the website in foreign market. As the physical stores won’t help the artisans to reach large number of consumers, creating an e-commerce website can help the artisans in selling the product in a wider market. The online marketplace model is an upcoming successful one in the e-commerce business. Merchants can directly sell products online for a percentage of the sale or a listing fee. The model doesn’t require much capital or infrastructure for storage of products. It directly connects the merchant to the consumer. E-commerce is probably one of the most effective ways to open the handicrafts industry to the world. The handicrafts are being sold at tourist destinations and cities at high prices. E-commerce is a platform which removes the middleman and lets the artists sell their products. Creating an ecommerce website and sell handicrafts online is a great option. METHODOLOGY Process for selling the handicrafts online: •

Determine Product Source: When we step into an E-commerce business of handicrafts, we should filter the product categories in which we want to deal. Firstly, we should do a market research and categorize our product specification, that we want to sell almost every type of products or some specific. We can also do the business with the partnership with craftsmen or Indian handicraft store. We could also go to Indian handicrafts fair and sign a merchant agreement with them when we decide the product’s price date and time.

•

Do a Market Research: Before we start any online business, we should always do a market research about the product, which we are going to sell. This will help us planning our business strategy, in terms of website design, product demand, available product and category, marketing strategy and much more. It will also 67

help us in getting the knowledge that what products are being sold by our competitors and at what price. Also, through this market research we will know our audience to which we will be selling these products, their product demand, feasible prices, and areas where they are mostly located. •

Category Mapping: If we are selling multiple category products, then we need to make sure that we decide the parent category and subcategory accordingly. This will not only help us to track your product easily, but our audience will be able to check out what they really want by going into the relevant category. List down all the products and decide its category accordingly.

•

Choose Product Price: Product pricing is the most important part, we should include product’s base price, taxes, shipping and other charges. We should not forget about our competitors and audience. We should make sure that our product prices are not too high that our audience does not want to buy products and we got a huge loss in our business.

•

• 68

Get Product Images Clicked: We will need a professional photographer to get amazing click ours products. We should get creative with our products by getting images from every angle. Also, you can create an exciting backdrop, in case you are selling home decor or furnishing items. It will help us in appealing our customer. Writing Product Descriptions: After images, a product description is a next thing which your customer will look to judge our products. We should write enticing product descriptions which explain our products, quality, material, uses dimensions, etc. We should not lie or exaggerate about our products just to make them sell, it will create a bad brand image in their mind. Preparing Ecommerce Website: We will need to hire web designers and developers who will create our online store. Before making online website, we need to be assured that our website should be mobile responsive. After creating a website, we should get forward towards our mobile application too. Choose Payment Method: We should integrate

both type of payment gateway, online as well as Cash on delivery. To sell handicrafts online to the international consumers, we need to have a secured payment gateway like PayPal to accept international payment. •

Shipping Your Handicraft Products Safely: We can’t take a risk to be in a worst condition like delivering wrong/damaged product/s. This makes consumers lose their trust in us and also affect our sales. So, it is necessary that our products reach to our consumers properly on time. We need to choose packaging according to the product type. If the product is delicate and breakable, then we need to take extra packaging care. We need to make sure that we shouldn’t make our package too big as it will increase our shipping cost.

•

Marketing Indian Handicrafts Online: As we have an online store, we need to use various marketing strategies for increasing our sales and sale more products.

•

Search Engine Optimization: We need to use relevant keywords with maximum searches and minimum competition, including these keywords in our site content and product description and also, use these keywords to carry out SEO marketing so that our audience can search our store on the search engine. Though it is time taking but profitable.

•

Email Marketing: Get the email id of potential customers and try to showcase our products and offers with attractive discounts to them through their mails and wait for buyers to flood into our store.

•

Social Media Marketing: Now a days connecting our online store with Facebook and Instagram helps a lot. So, we need to connect our online store with them.

•

Paid Advertisements: Spending some money in good advertisement like YouTube or google can help us getting to our target customers. We should add some attractive photographs of our products to attract our consumers too.

•

Selling on Third Party Sites: Selling our products on third party sites will help in increase of the sales without spending too much money on

marketing but it will not help in brand visibility. •

Sell Indian Handicrafts Internationally: Through online advertisement we can sell our products to the international consumers as we already know that international consumers are really very fond of Indian handicrafts.

For e-marketing and export of product we can also take help of government agencies like Central Cottage Industries Emporium, Export Promotion Council of Handicrafts and The Handicrafts and Handlooms Exports Corporation of India Ltd. Word-of-mouth, especially if given by an opinion leader, such as a newspaper columnist, works as a powerful tool that can build a great reputation for your business. Case Study of Craftsvilla.com Anwesha, a non-governmental organisation (NGO), has been working among the craftsmen of Nayyapalli village near Bhubaneswar, Odisha. The biggest challenge before the NGO was to find a market for the handicrafts made by the community. Craftsvilla.com, an e-commerce company, opened up a new vista for them: It tied up with the NGO. Now, the portal helps Anwesha sell 20-30 dokras - artefacts made using 4,000-year-old wax casting technique - a month. craftsvilla.com provides an interface to about 5,000 artisans across India to sell handicrafts, antique jewellery, tribal artefacts and ethnic products. Manoj Gupta, who founded craftsvilla.com along with wife Monica, hopes to link six million craftsmen. The Indian handicrafts industry, valued at Rs 43,000 crore, remains largely fragmented and unorganised. “The driving force behind the creation of craftsvilla.com is to aggregate the supply of crafts and use the power of internet to expose the beautiful culture and diversity,” says Gupta. Launched in January 2011, the company had raised about $1.5 million (Rs 9.2 crore in current valuations) from two global funds, a Lightspeed Venture Partners and Nexus Venture Partners. The early days The idea to set up the portal came up during a road trip the Guptas went on to Kutch from Mumbai in 2010. After witnessing the sheer diversity and styles,

they decided to “create a platform to showcase” Indian crafts to the world. Milan Sheth, partner, Advisory Services, Ernst & Young, says: “I believe that online medium has a lot of value to add to the fragmented industry. You have a few players like India Mart, doing business-to-business transactions.” How it works Ashraf Hussain Khatri sells bandhani and other handicrafts from Bhuj, Gujarat. He employs about 400 artisans, including women. A large number of women work from home. “We are able to sell about four sarees online through craftsvilla.com every month. But, apart from immediate sales, it has enabled us to expand the market for bandhani. Now, we get enquiries and orders from new markets such as Tamil Nadu, Kerala and Goa,” says Ashraf. Vendors like Ashraf get the contents and photographs of their products managed by IT professionals. The sellers also have to take care of carting of the products, as the portal is not into logistics and shipment. The payment gateways are controlled by the website, which takes a cut from the price of each item sold. There is no option of cash on delivery. “It’s not viable with the marketplace model. The return rate of the products is 30-40 per cent,” says Manoj. Even discount coupons and special offers are generated and controlled by the vendors themselves. About 30-35 per cent of its sellers are based in metros, another 30 per cent living in semi-urban areas such as Bhuj and Saharanpur, and the rest are medium scale manufacturers. Brass sellers of Moradabad and handicraft dealers of Jaipur are clients of the portal. The promoters are planning to expand it to Tier-II and III cities. Opportunity The entry of e-commerce in the handicrafts sector has raised hopes of empowerment of craftsperson, giving them freedom to choose buyers who can offer them higher prices. Craftsvilla.com’s business model has limitations. That sellers have to take care of the content and pictures on the portal snatches from them the opportunity to directly associate with the business. Experts say it’s only in terms of volume that craftsmen can benefit. The wholesale dealers continue to get increased returns. But, Gupta, an electrical engineer from IIT Bombay, says with the intervention of e-commerce, 69

handicrafts sector can make it big. “There are models like Fab India and others but they have limitations in terms of reach,” says Gupta. Experts agree that the sector is yet to see a major player. “The biggest opportunity is to link the fragmented buyers and sellers and e-commerce gives the industry the buyers,” says an analyst. Also, the marketplace model gives sellers a better option to showcase their variety. The funding “The good part about Craftsvilla’s model is that it’s playing in a large market and is capital efficient. Also, it’s a technology company that is asset-light and profitable,” says Anshoo Sharma, Principal, Lighspeed Venture Partners, which invested in Craftsvilla in 2011. Sharma agrees that the fact that Craftsvilla doesn’t directly control product description and packaging might affect consumer experience. However, the technology tools and consumer feedback provided to merchants on the platform helps them improve. Eventually, Craftsvilla is creating a free marketplace that provides an opportunity for the best merchants to grow quickly, he argues. He hopes to continue the engagement with Craftsvilla. The investors also expressed keenness to invest further. Vendors and artisans have to walk the extra mile to retain consumer interest. “The Indian customer is driven by value unlike the US customer, who is driven by impulse. And, the key to create value is the content. It is important for the growth of the website,” says Arjun Basu, co-founder and CFO, Mydala.com, one of the leading mobile couponing platforms. Revenue model Craftsvilla takes a commission of 20-23 per cent on the cost of each product sold. The fee is inclusive of the shipment cost. Craftsvilla claims it’s operationally profitable. It also claims to have earned Rs 1.2 crore with one per cent profit after tax in this quarter. It doesn’t charge vendors for displaying their products. But, in the case of NGOs like Anwesha, Craftsvilla takes care of carting. Challenges Experts say Craftsvilla faces two major challenges. First, most of the craftsmen are illiterate and they depend on wholesale dealers, who have the resources, to take care of content management and 70

delivery. Analysis Strength • Historic Indian craft: Wood craft is one of the traditional crafts in India. The tradition of worshipping god in India is very ancient and that ancient is the wood carving, people started carving woods to make their idols. From statue of god and goddesses to beautifully carved architectures of temples could be seen today also. Beautifully carved ceilings, doors and furniture are commonly seen in palaces. • Never out of trend: Wood carving materials can never be out of trend. Today also people are very interested in wood carved furniture and products. • Decorative and lifestyle products: Wood carving is also having identity as decorative and beautiful lifestyle products, today also people demand wood carved chairs and furniture for their home decoration. • Economic sustainability: This craft provides many craftsmen their livelihood in many areas of this country. • Religious values: This craft has a big ritual influence because of the wood carved idols we worship. Many old temples are made with this craft. Weakness • Less economy: Many artisans have switched their professions from wood carving to furniture making and other works because of lesser income. Even they don’t want to bring their child in this field as they think there is not any scope for their career in this craft. • Lack of awareness: Most of people are not aware about that wood carving could also be taken as their profession. Only few of the artisans are taken it as their profession. • Lack of promotional strategies: Most of the artisans are not so much educated and face communication problems and they are not able to promote their crafts. • Monotony of designs and motifs in their craft: Artisans are using same types of motifs since very long time and changes in these patterns are needed according to today’s demand of people. • Lack of Knowledge among the artisans about E-commerce: According to an artisan Sumit Kachchap they are not trying their hands in E-commerce because they lack lots of skilled

•

artisans in their area, as if they would get orders in bulk, they wouldn’t be able to complete and give it on time. The second problem is that they have applied for their artisan card very lately and they are afraid of thinking of E-commerce websites. They think that using social media is easy but handling a website is really tough just because they have lack of knowledge in it. It needs patience to see the results: Many artisans said that they really can’t see any profit in this market as it is very time-consuming process. But as we can see the E-commerce model is one of the most booming business models. Have some patience and we can see the results. When people start recognising our website the time, we start gaining profit. Lack of education among artisans: Many wood carving artisans left their work and started working as a carpenter just because they won’t able to see their future in this craft. They don’t know much about the schemes provided by the government for them and don’t know about the e-commerce too. They even don’t want that their children should also learn this craft just because they are afraid of their blank future in this craft.

Opportunity • E-commerce can provide a new hope: As E-commerce could be started with low investment it can help in availing good economy to the artisans. • Demand in national and international market: There is great demand of wood carving for art works, idols, caricature as well as for lifestyle products like furniture, doors etc. • Social media marketing: In this age of internet facility artisans can spread their art without going anywhere and also get orders for their work. They can make their blog sites and web pages to promote their craft in all over the world. • Awareness produced by government: Government are trying to promote all kinds of handicrafts by setting up exhibitions at various craft clusters at country so that artisans and craft persons can directly strike deals for exports with visiting overseas buyers.

market. They are also unable to get knowledge about the government schemes. Conclusion • Making artists aware about the e-commerce can help them in switching their work. • It can provide them good economy. • A lot of artisans themselves are not aware about the art they have mastered, the value of the products/artefacts designed by them. They have no idea about the amount of effort that goes into creating just one piece by hand neither do they know the process behind such creations. We need to conduct small discussions with them where we share market information and trends. • It is really challenging to explain to customers about the effort that goes behind creating these art works. Most of the times, the value of these product categories is measured by the ‘billing’ factor, and not by the time and effort that goes into creating them. So, making consumers aware is also one of the most Important factors. • We need to work closely with artisans for financial, technical, design and personal aids. We need to invest in technology that helps the artisans increase sales, create awareness among masses for Handicrafts, creating new designs, and at the same time, reduce wastage. • Following delivery timeline is a real challenge as the artisans generally work out of their homes in small villages where they didn’t get the basic amenities like electricity, water etc are still a problem. It is not uncommon for them to go on breaks for over a week for festivals, which happen quite frequently. • As e-commerce offers online retailers a world of opportunity, success is defined by how well they service and retain their customers.

Threat • Lack of quality raw materials • Lack of funding for working capital • Due to low education, artists unable to find their potential customers for their products. This also affects in low pricing of their products in the 71

Importance of linkage of the Basketry carft to the modern market. -Sapna Kumari Chaurasia Abstract

When we talk about Jharkhand, everyone recalls the state with the term called “state of adivasis” or the land of tribal people. And also it is recognized for its diverse mineral resources and natural resources, which is gifted to Jharkhand as Coal, Copper ore, Bauxite, Graphite, Fire clay, Uranium, Iron ore, Mica, Limestone, etc. These are not enough for Jharkhand; there is another side of Jharkhand which is known for its live culture and remarkable handicrafts which are used all over world but not popular as the craft of Jharkhand. People of Jharkhand strictly adhere to their tribal culture and traditions. The vibrant culture of Jharkhand is comprised of both tribal and non-tribal art and craft.

Objectives

The paper seeks to highlight the importance of linkage of the basketry craft to modern markets.

Introduction

India has a long and unique history of art, with several indigenous crafts and practices passed down across generations of artisan communities. Unfortunately, many of these artisans today face a struggle for survival, competing against the cheap, rapidly produced products of the modern age. It is time for the modern industry to help these artisans claim their rightful share of the global market. Therefore this research paper aims to highlight the importance of linkage of the basketry craft to modern market. India has nearly 3,000 unique Arts & Crafts, many of which are as old as Indian civilization itself. They have the potential to be revived quite quickly, leveraging and adapting existing skills to suit both traditional and modern markets. Artisans are trained in the art forms by their ancestors over generations so they lack industrial modernity which somehow stops craft to reach out to global markets. In short, collaborative innovation between designer and craftsperson is a good means of expanding the craft vocabulary and tapping contemporary markets. So this short paper seeks to highlight why it is important to link basketry craft to modern markets and how it can change the life of the artisans who are finding it difficult to survive with basketry craft. 72

About Basketry • Basketry is the art of basket weaving which

• •

•

• •

•

is not necessarily used to make baskets only but also various products such as mats and containers. Basically the process involves the following steps: Base structure: Placement of stripes in a circular pattern is being done to create a support structure for the basket. Weaving on the base structure: Weaving is being done with thin bamboo strips in circular pattern. This weaving starts from the center and depending on the pattern and strength required 2 to 4 strands are taken at once. Different color strands can also be used to make attractive patterns. Folding and cutting: Once the weaving is done, few of the bamboo strips from the base structure are folded inside for giving strength and finished look to the product. Some of the extra strips are removed by cutting. Structure of bottom stand: As the stand on the base is also required, the structure of the base is made by interlacing the thick bamboo sticks with the top portion. They are then folded to achieve the required shape. Weaving on the bottom structure: Weaving is done with thin bamboo strips in similar pattern to create the base of the product. Folding and cutting: Similar process of folding and cutting the extra bamboo strips from the base structure is repeated. Then final finishing is done by cutting the extra strips from the product. Final product is ready to be sold.

Literature Review

As packing and transporting devices, baskets have been replaced with cardboard cartons, synthetics, woods like plywood, and lightweight metal alloys. Despite the extreme decline in practical uses, the appreciation of handcrafted items has continued to grow. Baskets are widely used as decorations in the home. Baskets are also treasured as collectibles with areas of specialization including historic baskets, baskets of various forms, or the baskets of a particular culture.

Overall, the demand for baskets seems to remain constant. Companies that produce baskets find their products are in demand, but there is a shortage of worker trainees. Cultivation of basket willows and other plants used for basket-making is considerably more limited as the availability of agricultural land diminishes, and skilled weavers all over the world have recognized the value of their labor and their products.

another country; hence leaving lots of people without the opportunities that they deserve. In context of Indian Handicraft India’s Pottery is currently suffering from influx of cheap Chinese products.

Globalization has made the whole world one compartment and makes a single village a global village. Indian handicraft products have great opportunities both in the domestic and international markets. Indian folk art and crafts which are the integral parts of the Indian culture and tradition are in high demand among the western consumers. A lot of manufacturing units are established in rural and small towns, which generate employment for a million of artisans. Indian exports are showing a growing trend. Like every coin has two sides, globalization is not separate from this point it also not only have positive impact on artisans industry but there are some negative consequences too.

Findings & Analysis

Positive Impact of Globalization ∙ In past, developing countries were not able to tap on the world economy due to trade barriers. With help of globalization developing countries are increasing their economic growth. ∙ Competition between countries all over the world as well as inside particular country boosts because of Globalization. Indian Handicraft is already high in quality with globalization it got better. ∙ Globalization is a great way of forming closer bonds with the rest of the world. As when it takes place across a nation, it gets wider worldly exposure. Indian artisan are now bonding with artisan across world and improving their designs. Negative Impact of Globalization ∙ India has been a large exporter of the handicrafts over the years and the exports trend has been increasing year by year. Owing to increase in imports from China, the Indian domestic handicrafts production market has been affected. ∙ Globalization is criticized for increasing wealth gap between the rich and poor; In India many argue that globalization has only benefited middle man but artisans are still poor as they don’t have direct market access. ∙ Another argued negative of globalization is that it takes jobs away from one country and provides it to

Methodology

The study is mainly based on primary data, obtained from the interviews and open discussions with the artisans associated with Basketry craft. The skills that artisans possess are in making products like Topla, Pala, Dala, Chawalia and Soupra. Few artisans make fans which are sold in the rural market. Other products include containers storing rotis, grains and chickens. The skills are largely inherited and most of them are producing only above mentioned goods. Only a negligible percentage of the cluster can produce decorative items. Women also possess these skills and contribute equally for the earning. The collected primary data suggests that there is rigidity in changing from contemporary design towards decorative and utilitarian products. Artisans there are still continuing with the design variations they have known since generations. Some of the prominent reasons are: They are not exposed to the global market; hence as designers they are unaware of the customer’s demand. Fast changing technology could have helped them but they are not enough educated to use the most out of it. Lack of seminars and workshops where the artisans can be taught the skills needed to match up with the current scenario of the global market.

Conclusion

It is concluded that retail markets have changed with changing business models, technology, and the Internet. Today, modern market linkages need to be created for India’s Art & Craft products. They need to take on plastic products, cheap Chinese goods, and the allure of the world’s consumer brands. Here’s some suggestive steps we could do to convince the modern consumer towards the joy of handcrafted elegance: • Availability of quality products online, at modern retail places, malls, super-markets, and airports. It is important to get the products to where consumers of the world shop. • Agencies need to conduct marketing campaigns online and offline. We must make PR efforts 73

• • •

• •

•

to educate consumers, leveraging India’s storytelling and advertising industry capabilities. India’s handicrafts need the equivalent of the Incredible India campaign. Get the best designers to work on the design, utility, and packaging of the products. Designers, engineers, marketers, and financiers must collaborate to create startups that energize this sector. It is imperative to get the corporate sector involved in supporting and adopting the Arts & Crafts of the country, through CSR programmers and Corporate Gifting. Getting Architects to work with traditional artisans in commissioned projects for private and public spaces will provide a huge boost. Finally, it is important to engage consumers, the youth, and design students with products and stories of Arts & Crafts. They are our future consumers, and potential future marketers. It is time to go beyond the efforts of the oligarchy in the Art & Craft world—beyond the Dastakar Haats & Samitis and the State Emporia, to create a pride in the ‘Made in India’ brand.

References: Research Papers, Journals, Editorial, Essays: Design Intervention & Craft Revival Harita Kapur * , Suruchi Mittar ** International Journal of Scientific and Research Publications, Volume 4, Issue 10, October 2014 3 ISSN 2250-3153 www.ijsrp.org Excel Journal of Engineering Technology and Management Science, December-January 2012 Deptartment of Commerce. (2012). Ministry of Commerce & Industry (9/2/2012E&MDA) Reterived from http://epch.in/mda/ ANS01.pdf. Ministry of Textile (2012). Babasaheb Ambedkar Hastshilp Vikas Yojana. New Delhi: Office of Development Commissioner (Handicrafts). Retrieved from http://handicrafts.nic.in/dc_hc_ahvy.pdf Gopalrao, K.V. (1994). Marketing of Handicrafts. Delhi: Indian Publishers Distributors. Websites: http://www.indianmirror.com/culture/states-culture/ jharkhand.html https://www.britannica.com/place/Jharkhand

Establishment of Wood Carving Cluster in Ranchi and its promotion to support the artisan. -Saurabh Shandilay Abstract

The wood carving industry can gain a huge boost from the support of government. The craft can gain a huge local and international market if necessary steps are taken. The products designed and developed can be exported to other parts of the country and world. With the establishment of a system, tourism can be all promoted. Jharkhand, a state of natural resource and Ranchi being its capital, steps can be taken to develop a system to establish a cluster for wood carving and its promotion to support the artisans. Introduction Crafts in India has a dense history. Crafts made product are being parts of our home since ages. The artificial products might have taken its place for sometime. People relate to it as it is something which is natural, handmade and we as Indians know the importance of handmade products. Since the city is surrounded by waterfalls and dense forest, it provides an appropriate condition for the production of wood products. Statement of the problem Wood Carving is in the verge of extinction from the city of Ranchi. There is a handful of people who practise this craft. We as a team of seven students could only find one artisan who is working independently on this craft. The condition of wood carving and the people associated with this craft is not so good. Objectives of the study • To understand the reason behind the present condition of the artisans. • To understand the role of the government. • To understand the expectation of the artisan from the government. • To establish a link between the government and the artisans. Assumptions • Depletion of wood carving is caused due to the penalty on wood cutting. • Depletion of wood carving is caused due to lack of interest of artisan in this craft.

• Depletion of wood carving is caused due to the effect of government.

• Depletion of wood carving is caused due to lack of market.

• The study also seeks to answers the following

questions • Is there any need for wood carving in this city. • Are the people of this country aware about this craft.

Conceptual framework

The basis of this study was build on the notion that wood carving industry will not survive another decade. As per as the present condition there is a lot of promotion required. Case study area The case study was done in the area of Tupudana which is 15 km. away from the main city, the place where the artisan Sumit kashyap lives. He is a freelance wood carving artist and may be the only artist who practise this craft. He has a two room workshop. He has bought few cutting and carving machineries on loan. A regular practitioner of this craft. Who wants to dedicate his life to this craft. He is in touch with the government official but he is not receiving any constant support as said by him. Methodology

• Research Design

The research design used for this study was field survey. This approach appears to be the appropriate method, it was to collect primary data that describe the population and the topic under study.

• Target population

The target audience for now was the people of Ranchi. They were unaware of anything like wood carving. People in the city knows about the crafts of other states like madhubani, but they are not aware of wood carving.

• tt

Sample size was very small as I could find only one artist. 75

• Research instrument A prepared questionnaire and interview schedule methods were used to collect data from the respondents. The questionnaire was used to collect similar information (data) from the carver. • Analysis of the data The data would be analysed using simple tools like pie charts, bar graphs and line graphs to make the communication of the result of the study simple and in non-technical manner. • Limitation of the study The main problem was we could only find one artisan and all the others were carpenters. We had to totally rely on him for the information. Information can’t be rechecked by consulting to any other artisan as there is not any other artisan. • Significance of the study Although we had only one artisan but his hardships can’t be denied. We should salute his effort and passion. Whatever information we received was because of his help. He narrated his whole story. • The Expectation The expectation is from the government. There intervention can solve a lot of problem and can ease the life of struggling artisan. Development indicaters Handicrafts has been the backbone of this country. Starting from the khadi movement to this make in India campaign, So these are the few clear indicators that is required for the development. With the production of product and demand in the market, revenue would be generated. Political indicators The political commitment made by the government towards various crafts through jharcraft is exceptional. They are putting a lot of effort in promotion of khadi and crafts of other cities. The main attention is given to the popular crafts. The unpopular crafts have been sidelined. Woodcrafts has some similar sidelined story. More attention needs to be given in order to protect the craft by developing the craft cluster and providing the monetary benefits to the only artisans that are left in the city. Result from the case area The study to find the condition of artisans and the craft was good. The result is against the government. 76

As there is not any cluster like madhubani. There is only one artist and he is struggling. He has done everything to get the support but is lacking in every aspect. Discussion While discussing Sumit told us many aspects of the government policies. The Government works of big orders, they work according to demand. The Government now is promoting the khadi. They look for artisans with diploma degree. Even when sumit gets order he is not able to deliver due to lack of human resource. People do not want to do this work as they do not see their future, Sumit has been part of the various harts and exhibitions. But for display also he needs money.In this kind of exhibitions he is not able to sell a lot of stuffs. There is a issue related to distribution of money also. Artisan card is the gateway for everything. He has applied for the card. May be the card would open the door for him. As said by Sumit, Whenever government needs any product made of wood he is the one they contact but he is still waiting for a better offer from the government. For him government is not so focused towards wood carving. • Problem faced by the artisans • Lack of opportunity • Lack of artisan to fullfill demand • Not having artisans card • Not so wel concerned to the government • Lack of resources • Lack of encouragement • Lack of knowledge of government scheme • Earning id not permanent • Lack of technical knowledge • No support system • Lack of financial support We have discussed with him various issues which would help him to earn. Topic discussed to make him aware of the present scenario. • Importance of government sheme • Developing brand identity • opening shop • Creating social media page • Exhibiting the products. • Making good relationship with government The main reason for the lack of funding and investment is the limited no. of people who are practising this craft. For me wood carving is in the verge of extinction. I could find only one one artist

who was practising this craft.

• Talking about the plans that could help the • • • • • • •

artisans are a follows Encouraging people to take wood carving as their occupation Providing them with a degree in that field. Making them aware of the various skill level competition. Giving them the opportunity to display their product and talents. Provinding basic tools and machine facilities. Motivate them for their work. Providing Market them.

Incubations can also be an aspect that would help them to understand the business. The local carpenters can be encouraged to take up wood carving as their profession. So, with this my research comes to an end.

There can be various other steps that can be taken, if we want to ensure betterment of the craft.The other plan can be by providing them with an education system that improves the skills of the artisans. The artisans should be knowing the loopholes of their business. Making them interact with the other artisans would open up their mind and would help them to look upto craft in a different perspective. Crafts for craftsman could be a mean of survival and medium of income. It is important for artisan to understand that craft is essential for the c ountry. Conclusion : For the continuity growth and economic success of the carving industry necessary steps need to be taken.With the establishment of shops people of the city would know about the importance of craft. In case of Sumit there is a lack of communication from both the side, he has to put extra efforts to work and earn. Having a good relation with the government is very important. Understanding the schemes will benefit him. Development of cluster would generate revenue. It can be a source of employment to a lot of people. Providing Promotion strategies would be a good aspect. Taking the help of neighboring states would be a good initiative. Interactions with the artisans of other state is important. It can work as an eye opener. There would be a mix of culture and thought process which is very important in a design environment. Marketing strategies would be essential for the development of the craft. Planning needs to be done keeping the artisans as the center of interest. Providing them with diploma degree would help them to have a educational base for themself. So that they could use that degree for job purposes.Conduction of workshops would help them to understand the schemes of government. 77

Govenment scheme in the field of craft sector-Terracotta craft -Savi Kumari Objectives

A study on government scheme for the survival of Terracotta craft ..

Introduction

The crafts of India are diverse, rich in history and religion. The craft of each state in India reflect the influence of different empires. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities. The craft traditions of India have withstood the depredation of time and several foreign invasions and continue to flourish till date. It is mainly due to the open mindedness of the Indian handicraftsmen to accept and assimilate new ideas. The period between 1st century B.C. and 1st century A.D. was a period of political confusion as a result of foreign invasions. The impact of this turmoil is visible in the amazing Buddhist sculptures from Taxila, Begram, Bamiyan, Swat valley etc. The Medieval period the handicraftsmen flourished in the field of pottery, weaving, wood carving, metal working, jewelry etc. The contribution of the Cholas and the Vijaynagar Empire in the field of bronze sculpture, silk weaving, jewelry, temple carving is simply unparalleled. The Mughal period was the golden period in the history of Indian art, craft and culture. The Mughals brought with them a rich heritage. The Mughals introduced methods like inlay work, glass engraving, carpet weaving, brocades, enameling etc. JHARCRAFT The organization implement the Government funded schemes to promote Tasar Silk, handloom and handicraft of the state. The company is Incorporated under Companies Act, 1956 to act as implementing agency. It is also known as Jharcraft. Its area of concern is Handloom, Handicraft and Sericulture sector. The activities are based in the interior areas of the state and the organization works basically on the SHG, NGO and Project modules. Work-sheds are built within the villages with all necessary facilities for the artisans and weavers to work at the nearest place from their houses. Other facilities including 78

training, raw materials, etc. are also provided to them in these work-sheds for uninterrupted work. These artisans are super- vised by the master trainers and qualified cluster managers & project managers throughout. Schemes The schemes implemented by Office of the Development Commissioner (Handicrafts) are composite in nature and not specific to area, caste or gender. The artisans belonging to all communities including women artisans draw benefits from the schemes. Office of Development Commissioner (Handicrafts), is implementing following generic schemes: GOVERNMENT SCHEMES OF TERRACOTTA CRAFT Pradhan Mantri Jan Dhan Yojana (PMJDY) Pradhan Mantri Suraksha Bima Yojana (PMSBY) Atal Pension Yojana (APY) - Indra Awaas yojna Prandhan Mantri Adarsh Gram Yojna Rajiv Gandhi ShilpiSwasthyaBimaYojna for handicrafts NGO Swaranjayanti gram swarojgar yojna National handicraft development programme government launched scheme to promote work of rural artisans . Prime Minister employment generation programme is a credit linked subsidy scheme This is implemented through Life Insurance Corporation (LIC) of India. As per the scheme, on payment of an initial lump sum amount ranging from a minimum purchase price of Rs. 1,50,000/- for a minimum pension of Rs 1,000/- per month to a maximum purchase price of Rs. 7, 50,000/- for maximum pension of Rs. 5,000/- per month, subscribers will get an assured pension based on a guaranteed rate of return of 8% per annum, payable monthly. Atal Pension Yojana (APY) - A pension program that allows Artizen people to make voluntary contributions within a certain range in order to receive matching government contributions. Deen Dyal Upaydhayaya Grameen Kaushalya Yojana- It is a Government of India Project to engage rural youth specially BPL and SC/ST segment of population, in gainful employment through skill training programmes.

RAJIV GANDHI SHILPI SWASTHYA BIMA YOJANAContribution by the Government of India Rs.697/- or Rs.797/Contribution by the Handicraft artisan Rs.200/- in case of General Category Artisans and Rs.100/- from artisans belonging to North Eastern Region and SC/ST communities/Below Poverty Line (BPL) families. Total Premium Rs.897 /- Service tax on total premium i. e.on Rs. 897/- At applicable rates which at present is 10.30% which works out to Rs. 92.40. The artisan’s contribution shall be kept at 20% of the accepted bid, rounded off to nearest Rs.50/- in case general artisans. The annual premium in respect of artisans belonging to SC, ST, BPL families & NER, will be @ 50% of the premium payable by general category artisans.

for different types of crops. In plans to take soil samples which will be tested in the labs. The soil’s micro-nutrients deficiency and strengths will be measured. The results and the related suggestions will be printed on the cards and given to Artizen the farmers. The government is targeting 14 crore farmers with this scheme.

JANSHREE BIMA YOJANA-- Life Insurance cover towards natural death shall be a sum of Rs.30,000/- per member. Added benefits in the form of, an associated scheme of LIC – “Siksha Sahyog Yojana”, under which not more than 2 dependent children of the beneficiary studying in the classes 9th to 12th are given Rs.300/- per quarter per child as educational allowance for a maximum period of 4 years or till they complete XII standard, which ever event occurs earlier. ‘Mahila Coir Yojana’ Scheme which is exclusively for rural side woman. Skill Development Schemes Guideline for Integrated skill development scheme for the atr craft textiles and apparel sector including jute and handicrafts Pradhan Mantri Awas Yojana The features of Pradhan Mantri Awas Yojana are that the government will provide an interest subsidy of 6.5% on housing loans availed by the beneficiaries for a period of 20 years under credit link subsidy scheme (CLSS) from the start of a loan. the houses under Pradhan Mantri Awas Yojana would be constructed through a technology that is eco-friendly, while allotting ground floors in any housing scheme under PMAY, preference will be given to differently abled and older persons. Soil Health Card Scheme It aims to help farmers to produce higher yields at minimal cost. It plans to implement that through balanced use of fertilizers. This scheme spreads awareness among farmers about the right amount of nutrients 79

Supply Chain Management in wood carving craft -Shruti Vyas Abstract.

India has a rich craft tradition, which represents dignity, beauty, creativity and culture. Utter flexibility and resourcefulness of different materials used to make the handicrafts makes them unique. Wood carved products look beautiful but the demand for such products and the art itself is dying. This paper talks about the supply chain management of these wood carvers. It basically talks about the process of procurement and making of the final products and selling them.

Keywords

handicraft, supply chain, wood, carving, selling, production strategy, transportation, craft producers, small businesses.

Introduction

The term craft is defined as â&#x20AC;&#x153;the creation and production of a broad range of utilitarian and decorative items produced on a small scale with hand processes being a significant part of the value added content. The production of goods uses a range of natural and synthetic materialsâ&#x20AC;?. Products produced in the industry include home furnishing, jewellery, fashion and fashion accessories, novelties and gifts including corporate gifts, garden and outdoor, curios, collectibles, one of a kind, high value, individually made objects and indigenous artefacts, as well as culturally derived objects. Craft production usually is initiated in regions where it is still regarded as a way of life. Craft product designs are traditional and functional in nature. Craft producers lack the skills necessary to conduct and run businesses. As a result, they are unable to identify market opportunities and, where they are able to do so; they are unable to pursue them because of their limited skills. Due to the lack of skills and limited access to resources, they are unable to match the quality standards and production capacity needed by their customers. For example, formal craft retailers have to deal with informal craft producers who lack understanding of what they (craft retailers) are look for. The craft industry has a high level of diversity in comparison with other industries in India. Raw materials, scale of production, 80

product types and quality vary across the industry. Furthermore, the quality standards, scales of production as well as craft product positioning differ for different products. Craft producers with unique products like Madhubani face less competition and are able to sell their products in high numbers. The industry is highly fragmented with the majority of craft producers being sole traders or small informal producers. Craft products are sold through formal and informal retail channels. The formal retail channels consist of various retail outlets such as those in formal craft markets, and formal large and small retailers ranging from boutique shops and gift shops to large outlets in airports as well as national retailers such as Jharcraft. The informal retail channels consist of those involved craft producers selling directly to consumers such as the street hawkers. Supply chain management (SCM) is a key to success for any business. Managing SCM can create a competitive advantage as well greater profit for businesses. Building effective supply chains offers businesses opportunities to create sustainable competitive advantage. SCM has an impact on key competitive dimensions such as product availability, order to delivery cycle time, costs, and customer service. The Global Supply Chain Forum defines the supply chain as the integration of key business processes from the end user through to original suppliers, and which provides products, services and information that add value for customers and other stakeholders. This definition includes upstream linkages, such as sources of supply, the internal linkages inside the business and downstream linkages such as distribution to ultimate customers. Supply chain include all the activities involved in delivering a product from raw material through to the customer including sourcing raw materials, carving and assembly, transportation, warehousing and inventory tracking, order entry and order management, distribution across all channels, delivery to the customer, and the information systems necessary to monitor all of these activities. SCM can benefit businesses both in the short term and long rum. Its short-term objective is to increase productivity and reduce inventory and cycle time,

while the long-term strategic goal is to increase customer satisfaction and profits. The purpose of this study is to investigate the supply chain practices of wood carvers in Ranchi, Jharkhand. Specifically, the research will investigate the SCM activities such as the production strategy, distribution, order placement, warehouse/factory space, transportation and inventory management. This will determine how craft businesses perform and practice the activities in the supply chain. The craftsmen in Ranchi only use one type of wood to make their products. This is because only one type of wood is available to them in their area. They could grow their own trees but they not have the right equipment to cut the trees to use the wood for carving. The lack of variety of wood constricts the types of products they can make. They do not make products in bulk, they just make a few pieces of every design. This is because there are not a lot of workers who work under the master craftsman. The master craftsman does not earn enough to pay the employees or the helpers. He does not get enough work because he does not have a lot of employees. Thus, it is a never ending cycle. They need work to pay the employees and they need employees to take up bulk orders. They do not have a separate stock room to store their materials, instead they store the raw materials and the finished goods in the house itself. They do not sell their goods in shops or online. The reason being that they are not technology savvy. They do not understand how to register themselves with a selling giant like Amazon or Flipkart. Also the documents required to register oneself online are difficult to procure from the government. The hassle of travelling long distances for submitting documents in governments offices is tedious and not preferred by most of the artisans. Most of the government schemes that have been launched do not reach these craftsmen. They are oblivious to their existence.

They could increase their sales if they would promote their work better. They should participate in haats and fairs where their products and they themselves would be highlighted. This will lead to more orders for them. They should also study the market and understand their consumers choice and their taste. When they start making items with greater mass appeal, their sales will automatically skyrocket. They should also look for more suppliers who would provide them with the various qualities of wood. They should not be afraid of the government and always go to the officials to get help with their work. Learning how to best utilize the internet and its possibilities will increase their sales. Conclusion: Wood carving of Ranchi has a unique indigenous character which follows a traditional method of wood carving. It is very important for us to make sure that this traditional craft interacts with the modern world maintaining the balance with the tribal traditions. Many efforts are made by the government, Societies, NGOâ&#x20AC;&#x2122;s, Design and Craft institutions and individuals to improve the craft and craftsmen from the grass root level. To sum up the future of Wood Carving depends on the following: i) Participation of artisans in developmental activities ii) Awareness programmes about the schemes iii) Continuous design diversification and development activities iv) Branding, marketing and social networking using all modern methods. The coming generation of Wood carvers are educated and if they get proper support and direction, the craft continues to live.

References:

Dr. James E. Burke, The Business Model, www. prudence.com. Ashwin Krishna, the E- commerce gold rush in India.

They sell their merchandise through word of mouth. Their customers contact them on Whatsapp and order what product they want and the craftsmen get it delivered to them. Cash is taken on delivery. They make the products that the customer wants and thus they do not have the system of mass production. Their one other source of earning is corporate and government gifting. The government orders products from these craftsmen to gift it to foreign delegates. 81

Design Journal on Terracotta Craft Ranchi, Jharkhand. -Shweta Kaushal Abstract: This paper deals with the role of design intervention in craft and its execution in practical application with a systematic implementation. Design intervention between designers and artisans is, to put it mildly, fraught with diverse opinions and preconceptions. it deals with defining crafts and its relations with culture and tradition, which further enables to understand the role of a designer in that of an artisan’s contribution to crafts. it describes the role of design in crafts and how it can help in development and sustenance of crafts and its practices. Indeed, even the question as to whether design intervention is at all a value-added and productive process is distinctly complicated by the facts the most artisans are not active, either in spearheading change or in marketing. Design Methodology Design intervention conduct mainly for improving factor conditions, demand conditions - Determining reasons for intervention:Craft Sector i) Resources Lack of Resources (a) Material (b) Human ii) Design and Production • Competitive products in the market - Lack of Awareness (a) Various design tools (b) Tools and equipment (c) Technological advance iii) Market & Economy • Globalization - Market trend iv) Craft knowledge at stake • The younger generation of artisans moving to the service industry - Lack of transition of traditional knowledge v) Society & Culture • Lack of value of crafts in the society - Loss of Identity Introduction Craft is an integral part of any culture or tradition around the world. Some parts of it have been able to still practice it and some were not fortunate enough to have sustained its existence in its actual form and meaning. Indian traditional art and craft are age-old practices by different crafts guilds all over India. Though they are the manifestation of the cultural heritage of this country, gradual seclusion from the larger population and the craft-guilds with the effect 82

the cultural sustainability of the country. Craft is a form of production in which culturally significant designs, products, and practices can be manifested. The rapid changes in technological advancement and changes in social behavior, cultural heritage of India is crafting intervention might be a promising tool for enhancing employee work engagement and performance. This intervention for a product can change in its style, design, and color. While design intervention in crats is welcomed by some as a necessity and an opportunity for exploring new prospects and help in craft revival. Defining Craft The term terracotta is derived from the words ‘Terra’ and ‘Cotta’. ‘Terra’ means earth and ‘Cotta’ means Baked. Both the words are of Latin and Italian origin. An object of art made of a composition of clay and sand and baked with earthen color, a brownish red, is terracotta. Terracotta is one of the oldest craft that human beings ever introduced on Earth. It was once considered to be a poor man’s craft, but in due course of time it has made its ascent and occupied a distinct identity among all classes of people by its aesthetic value. India has a rich tradition of clay crafts and pottery throughout the country. There is hardly any Hindu festival or ritual, which is complete without the use of earthen lamps or the diya. India also has an ageold tradition of clay toys and terracotta figures. Crafts can be defined as “those activities that deal with the conversion of specific materials into products, using primarily hand skills with simple tools and employing the local traditional wisdom of craft processes. Such activities usually form the core economic activity of a community of people called ‘craftsmen’.” One definition states that crafts developed out of necessity to fulfill the everyday needs of people. The products and objects made were for personal use and were instrumental in expressing their individuality and their way of life. The very act of creation gave a new meaning to their life, to there, and to the rituals, and also helped to develop an aesthetic sensibility. In the Indian context, crafts have been both for personal use and an expressional

fulfillment and economic activity. It evolved out of being a product of use, then was ornamented and given an aesthetic appeal to it. Design Thinking The design is currently considered a crossfunctional and multidisciplinary innovation activity, capable of making sense of social challenges while devising strategic and holistic solutions to support competitiveness. It is considered a fundamental ingredient in business innovation through its ability to shape ideas and translate them into practical and appealing propositions for users while improving national performance. Design Intervention The design has the potential to make a difference because it is able to contribute meaningful solutions to multidisciplinary problems. Design intervention is a process that involves designing new products; redesigning existing products, with changes in shape, size, color, surface manipulation, function, and utility; exploring new markets and reviving lapsed markets; applying traditional skills to meet new opportunities and challenges. Introduction of new materials, new processes, new tools, and technologies. Design interventions have a very important role in every step of the process in the creation of the craft. They should focus on the identity of a craft, its social and cultural relevance to its region, and the processes and materials involved, to incorporate the interventions in the right situations, with efficient expected outcomes and reasoning. Design interventions also assist in creating an awareness among artisans of methods, materials, tools, processes and clientele base. In many cases, the artisans of a region have lost or rather do not have a documented form of the craft. Traditional crafts are memory based, and only memory is the knowledge bank of their traditional methods and materials. Why Inventions There are many strong advantages to using interventions as a means to achieve our goals. Some are very ap- parent; some possibly less so. Some of the more important of these advantages are: By designing and implementing interventions in a clear, systematic manner, you can improve the health and well-being of your community and its residents. Interventions promote understanding of the

condition you are working on and its causes and solutions. Simply put, when you do something well, people notice, and the word slowly spreads. In fact, such an intervention can produce a domino effect, sparking others to understand the issue you are working on and to work on it themselves. To do what you are already doing better. Finally, learning to design an intervention properly is important because you are probably doing it already. Try to change the things some people regularly practice by better understanding the theories behind choosing, designing, and developing an intervention. Technology Intervention While conducting technology interventions the Intervening Organizations generally learn the traditional techniques and their evolution in order to upgrade them by developing appropriate or adaptive technologies. Introducing new materials, process and tools. Appropriate technology is any technology that is suitable to the context of a particular community, area, region or country. Benefits of Technology Internvention Help in providing employment to vast numbers of people in rural areas. They require minimal training inputs. Introduction of improved crafts tools and simple machines to help artisans improve their performance and finished products. These interventions are generally conducted by the technical experts or designs sources approved by the government under their schemes for technological up-gradation programs. - Terracotta Basic Tool Kit - Developing new products according to their resources, skills and available raw material. - Identify the available Products - Survey for a new range of colors and contemporary designs. 2019 Color of the year - Living Coral Terracotta and Grey Terracotta and Blue Revival of dying craftWe’re living in a new golden era of good design, and collaboration between designers & craftspeople is largely the reason to be thankful for. As consumers, we’re more aware of materials now – not just their visual and sensual appeal, but also where they come from, why they matter. We’re more curious about 83

how things are made and who made them (The Craft of Design- Joyce Lovelace-2013) Collabo- rative innovation between designer and craftsperson is a means of expanding the craft vocabulary and tapping contemporary markets. It is also argued that a link between the apparently conflicting tenets of sustainability can be achieved through responsible and strategic design innovation which integrates the social, economic, ecological and cultural aspects. It has now been recognized that indigenous innovations are crucial for any developing nation in order to achieve cumulative growth, both economically and socially. These innovations, as they will be mostly in the form of appropriate modifications in the existing products, will require further critical interventions and hand-holding efforts for their transition into markets. Design intervention can help bring in the much needed empathetic understanding and holistic vision to connect and integrate the various efforts towards a positive outcome. One would come across amazing indigenous innovations in India that can be developed into marketable products and thereby help in creating business success. Conclusion India is yet to articulate a craft future in a realistic, practical way that respects not just the issue of cultural identity but equally the force of Indian craft in the economy.â&#x20AC;?we believe that let the traditional craft be traditional but in order to create a niche market the design,new patterns ,change in motifs,innovation is the need of the hour. From the potential design interventions above, it is found that the development of crafts can be regarded as a craftsmanship-centered comprehensive system that places value creation at its core. Craftsmanship, innovation, technology and knowledge exchange are the key factors to be considered within this interrelated system. To bridge the gap between cultural heritage and the society a contemporary popular paradigm has to be exploited, where the target audience should be a larger community, especially including the young population. During designer-artisan collaboration designers plays a pivotal role to control the core essence of the art form. An alternative option is to take inspiration from the traditional art and craft practices and design on a contemporary paradigm, without asking the artisans to iterate the traditional material, tools, and techniques of the art form. This mode of intervention acts as a mode of awareness generation. Avoiding the dilemma of authenticity and aura of the original art form, the new design stands on its own being a 84

separate creative art form. Refrences file:///C:/Users/Dell/Downloads/ sustainability-10-01252.pdf http://designclinicsmsme.org/ download/DesignAwarenessSeminar/ GovtOfWestBengalNadiaClayDollsTerracottaCluster.pdf http://designclinicsmsme.org/download/ DesignAwarenessSeminar/MadhubaniPotterycluster. pdf https://www.isonderhouden.nl/doc/pdf/arnoldbakker/ articles/articles_arnold_bakker_434.pdf http://www.ijsrp.org/research-paper-1014/ ijsrp-p34119.pdf https://www.researchgate.net/profile/Xiaofang_Zhan/ publication/319564090_Craft_and_Sustainability_Potential_for_Design_Intervention_in_ Crafts_in_the_Yangtze_River_Delta_China/ links/59d22e20aca- 2721f43698a5b/Craft-andSustainability-Potential-for-Design-Intervention-inCrafts-in-the-Yangtze-Riv- er-Delta-China.pdf https://www.tandfonline.com/doi/

Design Intervention of Wood Craft -Sonali Ranjan Introduction : Ranchi

Ranchi is the capital of the Indian state of Jharkhand. Ranchi was the centre of the Jharkhand movement, which called for a separate state for the tribal regions of South Bihar, northern Orissa, western West Bengal and the eastern area of what is present-day Chhattisgarh. The Jharkhand state was formed on 15 November 2000 by carving out the Bihar divisions of Chota Nagpur and Santhal Parganas. The name Ranchi is derived from the previous name of the Oraon village at the same site, Archi. “Archi” derives from the Oraon word for bamboo grove or stave. According to legend, after an altercation with a spirit, a farmer beat the spirit with his bamboo stave. The spirit shouted archi, archi, archi and vanished. Archi became Rachi, which became Ranchi. Another etymological evidence suggests Ranchi to be derived from ‘rici’ (Mundari for Black Kite Milvus migrans), as the modern day landmark of Ranchi city, the Pahari Mandir, is also known as Rici Buru - the hill of the kites, and the city originated on the foothills of Rici Buru with the construction of bada talaab by Commissioner Thomas Wilkinson at the same site. The entire administration of SWFA was run from Commissioner’s office situated at the foothill of Rici Buru. Linguistically too the neighbouring areas of Ranchi are of Mundari origin. One of the historically significant neighbourhoods of Rachi is Doranda (“duran” means song and “daah” means water in the Mundari language). Doranda lies between the Hinoo (Bhusur) & Harmoo Rivers, where the civil station, treasury, and church established by the British Raj were destroyed by rebel forces during the Sepoy Mutiny. Ranchi has been selected as one of the hundred Indian cities to be developed as a smart city under PM Narendra Modi’s flagship Smart Cities Mission.

Crafts of Ranchi

Wood Craft: JharkhaToy Making: Interesting wooden toys that are completely abstract made near Tupudana near the capital of Ranchi. They are just pieces of wood painted Stone Carving: Another famous tribal craft is stone carving but it’s also on the verge of extinction. There are only

few stone carvers are left in this area, they are also not interested in doing this work because it is not profitable. to look like human figures with angular lines but no separate limbs. Hands are indicated nd is full of dense forest area with the abundance of wood. It helps in the use of creating variety of woodcraft and household requirements. Wood carving, cutting are few of the wood craft methods. Wood Craft: Jharkhand is full of dense forest area with the abundance of wood. It helps in the use of creating variety of woodcraft and household requirements. Wood carving, cutting are few of the wood craft methods. Toy Making: Interesting wooden toys tha are completely abstract made near Toupodana near the capital of Ranchi. They are just pieces of wood painted to look like human figures with angular lines but no separate limbs. Hands are indicated only by painting lines on the body. Bamboo Craft: The bamboos of Jharkhand are strong and flexible but thin which is very fine to make craftworks. These bamboos are used by the artisans to make different artifacts like basket, furniture and fishing equipments. Pottery and Terracotta: At festival time, terracotta animals, Clay lamps, incense burners and figurines holding lamps are commonly found. An unique burnished black pottery is manufactured in Deoghar..

Literature Review

Plants and trees are the primary friends of we human beings. We have been looking at the trees for each and every need of ours. This very concept helped in the inception of wood craft. Wood has been crafted to form various utilitarian and decorative handicrafts items. In those times, goods of regular uses – 85

arms, utensils, axes, etc and also toys and dolls for children were crafted with wood. Excavations at Mohenjodaro and Harappa have yielded evidence of primitive Indian woodcrafts. From simple forms, basic shapes and crude utilitarian wares, Indian woodcrafts developed and spread its wings to become one of the most beautiful and arty handicrafts of the subcontinent.

Raw Materials

The artistic value of inlay articles is rated very high. They owe their ostensibly stiff price more to the maker’s skill and artistry than to the cost of production. The raw materials that go into the making of these fine pieces consist primarily of rosewood, woods of different colours, in place ivory, plastic, carpenter’s glue (Vajra), polish, beeswax, ivory black, turpentine, sandpaper and also hardware such as screws, pins, nails, hinges and rings.

Process

These artisans are generally poor. They live in semi pucca houses, these houses don’t have a strong and proper roof. These roofs start leaking during monsoon. They didn’t able to get higher education and get married at very young age. As they know about the income shortage in this craft work, they didn’t want that their child also joins this work. Women of these families are simple housewives. They work for 10- 12 hours per day. They send their children to government school. Their workplaces are unorganized and messy due to lack of enough space. Their workplace doesn’t get proper sunlight during day time and electricity in the evening, they can’t able to do detailed work at these times. For entertainment they use to listen music in the speakers while working, they play some indoor games sometimes like Carom or Ludo to spend their leisure time.These artisans live a very simple lifestyle.

A study on socio- economic perspective of wooden crafts of Tupudana, Ranchi

To create demand for traditional wooden products Creating a favorable image of your product in the minds of customers is very important. If you can positively position your product in relation to a competitor’s products with traditional design, it offers an advantage. This is known as product positioning. This can be achieved in many ways. Some products are known for their superior quality, others for durability. A good example of product positioning in the wood products industry is Truss Joist’s silent floor system. Many consumers view this as the top of the line flooring system, and request “the stuff with the elephant on it.

Tools

The tools employed by carpenters such as Chisel, Saw, Plane, hammer, Sawing Board, Brace And bits, File, Spoke Shave, Pincers, bradawl, Screw Driver, Sandpaper block, Wing compass, Twist Drill, Whetstone are equally essential for these craftsmen also. These tools being common to both carpenters and inlay workers, it is not proposed to deal with at length. A description is therefore given of the following tools which are needed exclusively in the making of inlay articles. The production technique of inlaying woods of different colours on rosewood can be set down as coming under the following eight stages• Making of planks • Cutting of templates • Cutting of wood of different colours for inlay • Inlaying • Application of lappa • Smoothing the inlay surface • Engraving and punching • Finishing

The sector of handicraft is not only provides employment for the development of economy but it also acts as a sensible artistic approach of selfexpression for the artisans. Handicrafts are matchless expressions as they represent culture, tradition, and 86

heritage of a country. Handicraft sector is directly related to the economy of the rural India that means its growth, and downfall is the mirror image of rural economy as well as the economy as a whole In this paper, we have tried to analyze why the sector is one of the promising and productive sectors in India economy and what is the contribution of handicraft as foreign inflow to the Indian economy, and its growth, and decline through last fifteen years. Further, we have shown the growing foreign markets for Indian handicraft, and the leading foreign market for Indian art to export. Lifestyle of the Artisans

SWOT Analysis of the Woodcraft Strength : • Abundant and cheap labour hence can compete on

price. • Low capital investment and high ratio of value addition. • Variety of products which are unique. • Exporters willing to handle small orders. Weakness: • Inadequate market study and marketing strategy. • Lack of adequate infrastructure and communication facilities. • Capacity to handle limited orders. Opportunity : • Large discretionary income at disposal of consumer from developed countries. • Growth in search made by retail chains in major importing countries for suitable products and reliable suppliers, opportunity for agencies to promote marketing activities.

Conclusion

Woodcraft sector occupies an important position in the economy of Ranchi. Large inhabitants are directly or indirectly depend on the wood craft industry, because of its eco friendly and labour intensive in nature which generates much employment with low investment of capital. Due to absence of large industries. The craft man has good fame in the local markets, and earns healthy income which is much supportable for our economy. It means that government has to come forward and take immediate action for the uplift of woodcraft producers if they expect more exchange earnings and employment from this sector.

Threats: Decline share due to, better quality products produced by competitors with in the nation. Better terms of trade by competing countries for e.g. China Consistent quality and increasing focus on R&D by competing countries Better packaging Stricter international standards.

Wood craft in past

In the past, woodlands were a vital source of wood and wood products, many of which were essential for peoples’ survival. Woods would often be a focus of industry, particularly in the times before easy transport became available to move raw materials away from their point of production.. Wood had a multitude of uses. It was used as a fuel for cooking, for the production of charcoal and for smelting local ores. Bark was removed from timber and used as a source of the tannins necessary for tanning animal hides. Ash from burnt wood was used to produce potash for the glass and soap-making industries. The wood itself provided vital building material for houses and ships. Much of the activity would take place within the woodland itself. Charcoal was in great demand for activities such as iron smelting. Itinerant charcoal burners would live on a woodland site for the few days which it took to complete the slow carefully controlled burn. Furniture would often be produced in woodland clearings, close to the source of the wood. 87

The Socio-economic aspects of Basketry craftsmen to pull their livelihood to next level. -Soni Kumari Abstract

Artisans and handicrafts are the largest decentralized and unorganized sector in the Indian economy. India is one of the important suppliers of handicrafts to the world market. Basketry is the product of an activity undertaken to satisfy practical and economic necessities, social and psychological needs, and aesthetic pursuits. Basket making as a handicraft has a longstanding tradition in the history of human beings all over the world, although the significance of basket making changes through time and is different from one individual to another. The Basketry sector mainly belongs to weaker sections of the society (socially and economically) in the rural part of the country. Basket making is done as an individual activity, but it is related to complex and dynamic social phenomena. Basket makers who market their baskets have an impact on the economy of their society. This paper examines the Socio-economic aspects of Basketry craftsmen to pull their livelihood to next level. Artisans traditionally belonged to the professions of black smithy, carpentry, cobbler, bamboo basket making, gold smithy, pottery, weaving and oil extraction etc. This sector has a vast potential to generate self-employment who remain at home and are unemployed, can be trained in this field, so that the economic standard of the poor women is strengthened.

Keywords

Basketry Craft, Artisans, Government Schemes, Awareness, Habit to adapt the dynamics of current trends.

Introduction

Indian handicrafts is an art of making crafts by hand in India is called Indian handicrafts, in ancient India people lived in colonies called tribal and they were used to make utility items for their daily need, that art of making the crafts called handicrafts, and the items called handicrafts goods.It plays an important role in decentralized sector in India. It represents culture and tradition of any country and also provides opportunities for employment after agriculture in 88

India. All Indian crafts and patterns were mostly representations of everyday living and SocioPolitical conditions. The main objective of this paper is to study the socio- economic status of Basketry workers, Government Welfare schemes and various solutions to overcome the problems related to that particular place of Ranchi, Jharkhand. The Study was conducted in Ranchi (the capital of Jharkhand) with Basketry artisans. Murgu is the name of place where we had visited for our field study in order to understand the current scenario and their problems in order to provide them with the solutions for their respective problems. The target groups were trained and untrained basketry artisans between 18 to 66 yrs. With the advent of globalization and the availability of cheaper and more varied products, crafts face competition in contemporary markets. Artisans may also lack the financial capability to upgrade technology in production and there is necessary training on a regular basis. To write about Indian Handicrafts is almost like writing about the country itself. So vast, complex and colorful and yet with a simplicity and charm, difficult to attain comparable conditions. -Upadhyay, MN: Handicrafts of India.

Methodology

This paper is based on the primary information, collected from two villages of Ranchi like Murgu and Navatoli by interview, observation in the respective villages. Secondary Information has been collected from Internet, Journals etc. Finding and Analysis 1. Population characteristic Navatoli village has fifty five families. Total population of this village is 312. Among them female number is 162 and male number is 150. Most interesting feature relating to population is the maximum share of female population that is 26 % of the total population. Possible cause for this situation is the early death of male member due to malpractices in life style like alcohol consumption and attack of various diseases.

2. Family Size Most of the families have 10 to 15 members. It indicates large family size. Only very few families have above 5 members. It is clear that maximum people are conscious about the bad effect of population growth. 3. Employment Situation Out of the total population, approx. 125 members are engaged in Basketry Craft. Here, also females have maximum participation in comparison to number of males. Number of female workers are 80 that is 11% and male workers are 45 that is 6%. Out of the 55 total families, only 20 families are linked with Basketry work which is 78.57% of the total families. There are eleven families which are engaged in both Basketry work at season and other jobs at off season. Some children also help their parents in Basketry work. The age of such children is below 15 years. It hampers their education, normal physical growth, general health and - mental condition. 4. Family Income of artisans per month after receving Artisan Card. Out of the 125 artisans, a maximum of 45 artisans have a monthly income between Rs. 1000 3000, while 30 of them earn between Rs. 3,000 â&#x20AC;&#x201C; 6,000 every month in the family. Only 5 artisans earn between Rs. 15000-20000, which is the least in number. Apart from the artisan work they also work in fields or as laborers etc. to increase their income. 5. Family expenditure of artisans after getting the artisan card. Thirty five artisans have expenditure between Rs 5000 - 8000. And ten artisans have expenditure below Rs 2000. While 18 of them spend between Rs 2000-5000 and 20 of them spend between Rs 50008000. And 6 artisans have expenditure more than Rs 11000. Another reason behind this is that most of them have large families; each family having at least 10 members, therefore expenditure of the family is high. Suggestions to Improve Artisanâ&#x20AC;&#x2122;s Conditions. Most of the artisans face the problem of inadequate accommodation. The artisans must be provided Government housing schemes. There must be training institutions should be involved in training the artisans with the main purpose of upgrading skills and technology.. Financial institutions should take increasing interest in helping the artisans and

well established links between the artisans and cooperative, rural banks and commercial banks should be well established through the agency formed to help the artisans. There should be government schemes in which they provide subsidies to artisans to enable them to upgrade production to the level of small-scale industries should be worked out and implemented. Under these schemes, tools, machinery, raw materials etc., should be provided to them with some guidance in management etc. Analysis of Basket Making Basket making as a craft has changed through time and the meaning of basket making has also shifted through time. In the past, basket making was mostly practiced as an economic and practical necessity. In recent times, the meaning of basket making seems to have completely changed. All five basket makers I interviewed say that they make baskets primarily for their own enjoyment. The second implication of a link between the change in the meaning of basket making and the transformation of society is related to retirement. Because many of the basket makers are retired women, they have more spare time. Beaver (1986) explains that for women, old age is the period of concentration of power. Older women start more creative work once their childrearing responsibilities end when the children settle in their own homes. Retired women generally do not have to work for a living because they receive a retirement pension. This leaves them with time to do creative works, not for money, but for their own enjoyment. The social shift leads to another change in an aspect of basket making: the categorization of baskets by the makers. It is partly due to the nature of basketry that is as a creative process. More people making them means more new patterns will be likely to be produced. Another aspect of basket making which is related to social and economic changes is the method of learning the craft. In the past, people were likely to learn basket making at home from another member of the family. CONCLUSION It is evident that basket making and marketing is significantly related to social and economic changes. Changes in the meanings, categorization, learning, and marketing of baskets are interrelated and reflect large scale changes in the society, including the transition from an agricultural economy and society to an industrial market economy and society, the rise of tourism, population growth (particularly the inmigration of outsiders), and urbanization. 89

Peddle ton putup for vend-Basketry -Vijaya Singh Abstract

At the present scenario the rural supplier/craftsmen are struggling to market their products and crafts due to various reasons and one of the major factors is the Gap between costumer and the supplier. That’s why they are totally dependent upon the middle man for raw material, finance and market for finished products because of their illiteracy, ignorance, poverty and lack of knowledge about the market and their costumer’s taste and the current trend in the market. The success of handicrafts depends on how well the artisans can produce the products and introduced in the market in keeping with the tastes and preferences of costumers. In current situation they have to be well aware of the current trend and the market need so that they can innovate new ideas according to the need and want of the market. This research paper is based on marketing concepts of four P’s i.e. Product, Price, Place and Promotion. Keywords - Marketable products, Marketability, Advent of Industrialisation, Demand and needs of customers, Mass-adopted products

Keywords

Marketable products, Marketability, Advent of Industrialisation, Demand and needs of customers, Mass-adopted products

Introduction

Handicrafts are an aged old practised tradition which reflects the essence and aesthetics of traditional practised methods and more inclined towards labour intensive techniques. Handicrafts itself suggests the use of manpower with skills rather than machinery. Handicrafts are considered as one the finest things which our India carries reflecting the rich and cultural heritage of our country and patronised it to its fullest. The bitter reality of handicrafts which we are facing now a day is it’s positioning in the market. In simple words, with the change in era as we are moving towards the age of science and technology where capital intensive techniques are getting popularised to all extend, the needs and demands for hand crafted products are declining to a greater level. As the statistics suggests, it’s going down and down with higher percentage years after years. So, 90

it’s high time to think about the marketing aspects of hand-crafted products about how to increase it’s value in customer’s preferences. In order to achieve that, we have to go through the complete analysis of the needs and preferences of customers along with the exploration of hand crafted products by changing the dynamics and configuration of products made out of it. There are lots of ends and gaps which we have to fill in order to achieve the gap identified by individuals backed up with lots of research, analysis, field visits, etc just to establish the main objectives of this colloquium paper. The main objective of this colloquium paper is :-To study the importance of marketing in handicraft (Basketry) sector, And to study the marketing concepts based on four P’s (PEOPLE, PLACE, PROMOTION, and PRICE) and try to relate with handicraft.

Literature review

Today, an argument, an attitude faces crafts and artisans in India. This is the argument of economics, of sustainability, of Marketability, which is the argument of financial survival (Crafts Council of India- April 2011) One question is still unsolved is and unanswered. What is the State of Craft & craftsmen in India? This question carries a huge and thick question mark at its end. India, no doubt is a very big country. It is big also because of its diversity and racial character. More than 3000 castes, 432 tribal communities, believers of Hinduism, Islam, Christianity, Sikh, Jain, Buddhism and Zoroastrian have been living together since centuries. Over 1650 dialects are spoken by the people of India. The harmony among the people of India is worth mentioning. The planners and policy makers of India have been addressing many problems and concerns of this country. They are also addressing the need of the craftsmen and their craftsmanship but probably the issue is so vast and complicated that the issue has not been touched in complete form.( Gandhi National Centre for the Arts- Under UNESCO’s Programme on Cultural Industries and Copyright Policies and Partnerships) “An estimated 71% of artisans work as family units and 76% attribute their profession to the fact that they have learnt family skills.”FabIndia While crafts received royal and

aristocratic patronage during pre-Independence days and played a central role in Gandhi’s independence struggle, they have slowly lost relevance with the advent of industrialization. Currently, the sector carries the stigma of inferiority and backwardness, and is viewed as decorative, peripheral and elitist. This is compounded by the Government’s treatment of crafts as a sunset industry, which has resulted in a lack of well-developed policies and programs to protect and strengthen the ecosystem for artisans. Traditional crafts have largely been marginalized by mass produced consumer goods, which tend to be cheaper due to the economies of scale associated with mechanization. The nature of the crafts sector and challenges faced by artisans reduces their ability to compete with machine-made products .Catering to the mainstream market often necessitates a decline in quality and /or workmanship, leading to the eventual loss of skills over a few generations. As per the research that had been undertaken by field visit is somewhat very generic I.e. the artisans over there are in misery – low paid, no selling points, zero in terms of design intervention, no involvement of government and it’s organization for their development, etc.

Methodology

This data’s are collected by field visit in one of the remote villages of Ranchi, Jharkhand named as Murgu under district of Navatoli for getting clear understanding of the current scenario of people living over there.

Analysis

Table 1.1 - This chart represent the approximate percentage of people with smart phones (so that they can handle social networking sites in future if we provide them with websites for selling products), Aadhar card (main identification of people now a days), having artisans card (so that they can get the advantage of being an registered artisans), etc. Table 1.2 - This chart represent the education level of people over there in order to understand the current scenario of their livelihood and use this data in providing solutions to problems.

Data collected

These data are collected regarding cluster visit at Ranchi (Murgu Village) from the artisans. Price of the products Raw material costs• 60-70 Rs per bamboo

• 50-70 Rs travel cost for raw material. • 20 Rs travel cost for the market place. Prices of articles• Sup 120/110 Rs depend on the occasion • Basket 170 Rs • Nacho 180 Rs (Only during wedding season)

Places fromwhere they get raw materials • Burnu • Bero • Jamundar 20 – 70 km Away from their houses They sell their products on Tuesday and Saturday in local market which is 20 km away from their house. In which they have so many competitors and less costumers. They got fewer costumers because they don’t have new ideas or new designs but the expectations of the costumers are very different from their product.

Analysis

Current Situation of the artisans of Basketry in Murgu village is that, they don’t have any idea of marketing plan or any strategies. Like they are not well aware of the customer needs or new innovations through which they get more benefit. They are doing their job only for little money, by which they get some for their daily use. From many years they have very fixed profit and they have very few costumers, even though they have much market place where they can sell their articles. They don’t have any rough idea about the promotion or any idea about 91

expanding their business at least at state level. They don’t have any market contact through which they can collaborate and get any benefits.

Suggestions

We can talk and arrange marketers for them where they can sell their products and that particular units where they will sell their products will provide them with some amount of money over original price of respective products. We can form a group of students and expertise who can voluntarily visit over there once or twice a month just to interact with them and try to solve their basic problems. This is completely our own personal take just to resolve their problems and make them smile. We can collect their contact and be in touch all the time and we all know there are lots of craft based organizations who were working on craft based products development along with amalgamation of trends and fashion into it. So that those designers and design houses can collaborate with them to designs and produce their products as they desire. We can create a app where the craftsman and the person, student or the designer who’s needs their work or their products so they can buy it from there. In that particular app we can sell their products by informing them that we are going to sell your product in how much price. We can advertise their products in different events. Like we can also introduce them to their target audience in different platforms. We can aware them about the new ideas and new designs what the customer wants from them.

Conclusion

Our main objective of this paper is to find out the gap and then solve it in a best possible by suggesting such remedies which is cost effective and feasible. The gap which Identified is all about the marketing strategies and positioning of products in the market of hand-crafted basketry products by taking reference of one of the very rural and remote villages of Ranchi, Jharkhand where the main source of income of all the families is basketry weaving by bamboo. We had observed that they are suffering from lots of problems from last many years. With the change of time, everything are changing and becoming dynamic day by day but in that village, 92

not even the people are aware about what the worlds started adopting. The problem of awareness along with the where to approach?, When to approach, To whom to approach, etc are the basic questions regarding which we find them clueless. In order to create positioning of their products in today’s market – we have to adopt certain changement and newness in their ideology like they have be aware about the dynamics in products world, design intervention, marketing strategies, needs and tastes along with the preferences of customers, social networking sites, websites and emails, apps and trend of online shopping, etc.

Reference

https://www.beveragedaily.com/Article/2018/10/19/ How-influencer-marketing-is-buoying-craft-spiritsbrands https://www.researchgate.net/ publication/307540877_Marketing_of_bamboo_its_ products https://www.slideshare.net/mobile/prakash.iiswbm/ marketing-strategy-of-bamboo-crafts https://www.slideshare.net/mobile/SantanuBanik/ bamboo-craft-market-surveytbmmart http://www.eecmbajournal.in/issue/article25.pdf http://agrifarmingbiz.com/bamboo-crafts-makingbusiness/

Marketing opportunity -Cane and Bamboo craft -Vikash Kumar Value Chain & Analysis

Description of cane and bamboo craft value chain

A detailed mapping of bamboo value chain was carried out and the mapping identified actors in the cluster who were involved in the business of crafts production and sales including master crafts persons, traders and other marketing intermediaries. A detailed analysis of the existing commerce in the cluster, including current sources of credit accessed by artisans and traders, was then undertaken.

Market

Almost all the individual artisans are supplying or dependent over local traders and middle man with little or no access of bigger market. So a marketing and selling channel is required to uplift this cluster through a direct business also it will help to create brand establishment of “cane and bamboo “and generating more value. Also this would be spread the awareness in the market as well as increased demand and trust.

Issues in cane and bamboo value chain • Proper Costing and Pricing of the Products:

Most of the artisans calculate their per day labour charges as Rs.200 to 500 while determining the price of their products. The labour charges of the other family members are not included while making these calculations. Also this work needs a very hard labour and time where hardly any artisans have much time to think beyond their basic needs. The products made of high value and good quality and the production is done for the commercial sales except few products that are sold locally. The profit margin of the producers is very small, though the volume of production is high from the same cluster.

• Economies of Scale:

Since the craft is practiced on a large scale the artisans mini production centers on their own, and handle all the processes themselves. Mostly members of the family contribute their time and labour during production. Most of them work as individual artisans.

Promotional Activities that can be taken up in future There are many schemes/ projects being implemented by the Govt. of India as well as Govt. of Jharkhand for the artisans / entrepreneurs who are engaged with cane and bamboo craft. The 20 (twenty) artisans selected in the cluster will be linked with the promotional organizations who are promoting these products in terms of marketing as well as product development. The artisans will be informed about the technologies/ schemes under which they can apply/ register to get the benefits. Moreover these artisans will be encouraged for making and selling these products and the benefits they will get from these linkages. The artisans will also be able to take loans under Govt. sponsored schemes with subsidies to enhance their business and earn more in the process as well as create opportunities in terms of employment for others.

The artisans will also be able to display their products in the showrooms of different promotional agencies/ organization. The artisans will also become eligible to participate in exhibitions and fairs in different parts of the country as well as in local places within the states. In this way they can promote their products.

Existing status and opportunity for visual identity, branding and communication design Need for a common Visual Identity: The cluster has no such identity mark to be recognized. It is very difficult for users to identify the product according to cluster. The cluster should have their own and must have niche informative product catalogue of having a common visual identity on them which can be identified by users at any time. Apart from the product catalogue, each cluster should have their own business card (a basic one) which would help popular among clients or users, and this would really help them in better product recognition. After holding a business card and product catalogue, the cluster should make their small group community which should be according to their existing products business, identity and 93

specialty. This unique small group would segregate them from rest of the other similar clusters.

SWOT Analysis Strength • Easy availability of raw materials. • Use of power tools is very limited in the cluster, thus creating scope for their introduction in the cluster. • Scope for product development. • Scope for product diversification. • Existing business of the artisans is well established. Weakness • Traditional method of production. • Treatment of raw materials is poor. • Lack of training facilities/ guidance for encouraging them to take up power tools. • The price of the products in this region (N.E.) is very low and even the low price has not encouraged buyers in the region. • Lack of marketing linkage. Proper packaging & display is not there. Opportunity • The acceptance/ demand of bamboo/ cane are very encouraging. • The cane / Bamboo products are highly in demand in other part of the country. • Traditional products are generally manufactured thus creating opportunity to produce new diversified products. • Creation of self employment in this sector. • Business opportunities for the artisans. Threat • The artisans may give up the trades as they are not able to earn the expected income. • The raw materials are mainly wasted as bamboo in which may caused scarcity of raw materials in future. • Problem of storage after production rate is increased. • Competition with similar products produced in other states. • Due to lake of proper packaging & transportation facilities the transportation of these products is very troublesome & not encouraging.

Design Intervention and craft revival of Bamboo Craft -Yashswee Sinha Abstract

The history of Indian handicrafts goes back to almost 5000 years from now. There are numerous examples of handicrafts from the Indus Valley Civilization. The tradition of crafts in India has grown around religious values, needs of the common people and also the needs of the ruling elites. Going back to the Indus valley civilization we find a rich craft tradition and a high degree of technical excellence in the field of pottery, basketry, sculpture (metal, stone and terracotta), jewellery, weaving etc. The purpose of this paper is to measure if Design Intervention helps in the revival of ‘Bamboo Craft’ and illustrate how interesting ideas and new intervention models can be developed for several purposes, whether for revitalizing a languishing craft or for developing new products to create livelihoods. This paper deals with the role of design intervention in bamboo craft and its execution in practical application with a systematic implementation. Design intervention between designers and artisans is to put it mildly, fraught with diverse opinions and preconceptions, it deals with defining the bamboo craft and its relations with culture and tradition, which further enables to understand the role of designers in that of artisan’s contribution to crafts. The question as to whether design intervention is at all a value-added and productive process is distinctly complicated by the facts that most of the artisans are inactive and dormant in super heading change.

Background

Crafts are those activities that deal with the conversion of specific materials into products, using primarily hand skills with simple tools and employing the local traditional wisdom of craft processes. Crafts developed out of necessity to fulfil everyday needs of people. The products and objects made were for personal use and were instrumental in expressing their individuality and their way of life. The very act of creation gave a new meaning to the lives of craftsmen, to their self-expression and to the rituals, and also helped to develop an aesthetic sensibility. In the Indian context crafts have been both for personal use and an expressional fulfilment and economic activity. It evolved out of being a

product of use, then was ornamented and given an aesthetic appeal to it. In a country like India, where tradition, rituals and culture still hold a significant value and importance, crafts have been able to retain its integral substance in the form of many definitions, according to individuals, groups and organisations. Yet there is need for resources, documentations and retainment of skills, material and processes within crafts as a sector in all fields. Indian Handicrafts have been a traditional craft and the skill of making handicraft has been passed in families from generation to generation. Millions of Indians still depend on indigenous modes of production, traditional skills and techniques to make a living based on handmade products. They are unique expressions of a particular culture or community through local craftsmanship and materials. With increased globalization, however, products are becoming more and more commoditized and artisans find their products competing with goods from all over the world. This demand for a product and change in its style, design, and colour, offer a great threat to craftsmen producers and push these deep-rooted traditional handmade products out, replacing them with mass, factory-made, machine crafts. Also, one of the biggest issues in India is that our markets do not recognize the true value of craft. When this value is recognized, and if people are willing to pay a higher price for craft based products, this should translate into higher wages for weavers and craftspeople and act as a boost to millions of rural-based livelihood opportunities associated with this sector. Propelled by loss of markets, declining skills and difficulty catering to new markets, a large number of artisans have moved to urban centres in search of low, unskilled employment in industry. “Handicrafts are the second largest source of employment in the country, after agriculture. Yet India’s hand industries are in a crisis of misunderstanding.”-Crafts Council of India-2011 Craft is a form of self-expression. The starting point of this research is inspired by the fact that if 95

we accept that crafting objects by hand is one of the defining traits of being human, then our present state of culture in which craft has disappeared in the “overdeveloped” world and is rapidly disappearing in the developing world should cause us to pause and think about what it is that has been lost or is about to disappear. Craft today is defined by preciousness, and an extraordinary value is attributed to the handmade as an exotic species. In our developing world, it is either considered to be lowly hand-work, or a resurrected practice for the poor to gain access to valuable foreign exchange. While design intervention in crafts is welcomed by some as a necessity and an opportunity for exploring new prospects and help in craft revival, it is often considered by others as a threat. It is however argued that a link between the apparently conflicting tenets of sustainability can be achieved through responsible and strategic design innovation which integrates the social, economic, ecological and cultural aspects. In short, collaborative innovation between designer and craftsperson is a good means of expanding the Craft vocabulary and tapping contemporary markets.

Bamboo craft

Bamboo is very versatile and widely used for every day materials and products in rural areas of India. Bamboo stands out among woody plants because it possesses unique qualities and offers a wide array of uses. Bamboo is a low cost material that is strong and durable and forms the raw material which meets the requirements of everyday life- from house building to making baskets, fishing traps, items of dress, construction of suspension bridge, religious paraphernalia, etc. In fact there is nothing in a tribal hut which is made without using these indigenous plants. In the past, bamboo production area would only refer to bamboos naturally growing in the forest and in ‘natural stands’ in private lands. India is a land of arts and crafts, which thrive in every corner. These crafts have origin in past and characterize Indian cultural legacy. Bamboo craft of India is popular across the globe for its functional and aesthetic appeal. Especially in the state of Jharkhand this is an important source of livelihood for the people. Craftsmen produce a variety of utilitarian items using natural material like cane and bamboo. Not only these materials, readily available, they are also easy to work with and hardly require the use of specialized tools or equipment. In India crafts associated with bamboo, have generally been carried out by different tribal societies within the country. The tribals, since ancient times, have been using 96

bamboo to give expression to their art and to earn a living. Bamboo is generally used in the production of items pertaining to furniture and making of baskets and mats.

Cluster Location

Situated in the outskirts of Ranchi City, there is a major cluster of basket weavers concentrated in the village Navatoli. Majority of the people living in the village weave baskets to earn a living. Be it man or woman, young or old everybody in this village knows the art of basket weaving. They say that this art has been practiced in their village since generations. However, this craft is practiced more by the woman folk as a household craft for gifting presentations on auspicious occasions like marriage ceremonies and chatth.

Roots of Bamboo craft in Ranchi

The local artisans in the interiors of Ranchi city have ben indulged in the practice of making small utilitarian products from bamboo since decades. They usually make mats, baskets and soops out of bamboo and sell in the local market through which they earn their livelihoods. Their product demand rises during wedding season and festivals. The products they sell are very cheap, there are better and cheaper alternatives available in the market and so the demand for bamboo products is declining. Hence, there is a need for intervention in this craft because it is sustainable craft which has been practiced by our ancestors since so long and it has good scope it the market if few design interventions are done.

Why Design Intervention in Bamboo Craft?

Design Intervention is a process that involves designing new products; redesigning existing products, with changes in shape, size, colour, surface manipulation, function and utility; exploring new markets and reviving lapsed markets; applying traditional skills to meet new opportunities and challenges; and the introduction of new materials, new processes, new tools and technologies. It is seen as an interface between traditional and modernity, that matches craft production to the needs of modern living. Design intervention is tohelp make connections, • to encourage questioning of notions, • to add value and to review the techniques, process and strategies incorporated earlier and now. Since time immemorial, people have been seeing the

same products made from bamboo which are- mats, baskets and other small containers. These local artisans have no knowledge that how intricately beautiful products can be made from bamboo. There has been distortions and deterioration in craft traditions and activities, resulting out of many intentional design interventions. The validity of design intervention is understood if it is seen as a amplifying factor, rather than a walled cage. It must create potential rather than confinement. Presently, it is seen that customers buy the crafted products only because of its aesthetics, price point and efficient usefulness rather than from a philanthropic concern. Artisans thus need design interventions to compete efficiently with the products and services provided by the industrialized modern producers at cheaper price points. Design interventions also assist in creating awareness among artisans of methods, materials, tools, processes and clientele base. In many cases the artisans of a region have lost or rather do not have a documented form of the craft. Also in a situation where a material may not be available at a region, and is a significant part of a craft production process, is at times available in nearby regions and states. Design intervention can help in documenting the processes and materials involved in a craft, to form a database that can be interpreted by an illiterate artisan, who lacks in the knowledge of traditional methods and processes. Thus design interventions can become a means for preservation of cultural resources. As we can see that with the very same raw material i.e. bamboo from which the local artisans only make simple baskets and mats etc. , many artistically beautiful products can be made like lampshade, mobile stands, flower vase, bags and table organizers. These products are sustainable, handcrafted, durable and aesthetically pleasing. The demand of these products is high in western market and the artisans can definitely yield good profit.

Design Interventions and Markets

There is potential for debate about what kind of market should a design intervention open for craftsman. As a result of design intervention, the artisan is creating products for lifestyles that are alien and remote from their own, in highly competitive markets. They may not have even seen that client, or for the fact even know them. Designers are continuously trying to assist the artisan in coping with the demands of the new markets or

to get familiar with an alien client. Also this new client follows an ethereal guideline of trends and fashion, those changes with alarming frequency. This provides for a short term solution for the artisans as a potential market. Even the changes brought-in by design interventions are applicable for a short period of time because of the ever changing, fickle demands of the urban client. Supporters of this argument are in favour of a form of design intervention that opens up local, organic and closely related markets to artisans, as it used to be in earlier times. They support the viewpoint that it is more profitable in the long run for the designers to intervene in design development that provides unique point and edge to the product that competes well in the local market. However in the conventional setup, designers come in close interaction with such artisans for a short span of a project periods, which makes it challenging to incorporate long term interventions and review of implementations. (Sethi, et al., 2005)

The Designer as a Facilitator

Designers play a very crucial role in tapping the gap between the craftsmen and the market. They certainly act as a facilitator between the craft and its appreciators. Millions of people who possess traditional skills and knowledge make a living by producing traditional handicrafts. In India, more than 330 million people are engaged in the informal sector, of which traditional crafts sector occupies a large chunk. Design innovations in Indiaâ&#x20AC;&#x2122;s fashion products result from a fusion of modern technologies and traditional craft skills. The design process in fashion begins with research and observation. The uniqueness of a designerâ&#x20AC;&#x2122;s creation lies in the interpretation of design sources. Sources of inspiration exist everywhere; anything visual, tactile, indeed sensual, can lead to inspiration in design. In India the craft and design sectors share a symbiotic relationship. Through craft the designer connects with the natural world and the collective past. Traditional craft skills are adapted to contemporary design (Sanjeev Kumar and Nandini Dutta-2011) Designers bridge the gap between the market and the artisan, as today the artisan is geographically apart from his/her client, to be able to understand his/her aesthetic and socio-cultural needs. Designers help in finding the relevance of craft with respect to the artisan, the consumer and to the global market. Designers are thus an interface, between the past and 97

the present, the traditional and the modern, trying to match craft production to the needs of modern times and demands (Sethi, 2005) Designers should be trained not only to solve problems, but what is more important they should be trained to help others solve their own problems. One of the most valuable functions of a good designer today is to ask the right questions and of those concerned so that they become freshly involved and seek a solution themselves.( Charles and Ray Eames“India Report ) Also the biggest question today is that has Indian design, in fifty years of the country’s independence, empowered the crafts community to become “freshly involved” and “seek solutions themselves” on how to resolve this problem of designing for new markets? Have designers asked the right questions of the crafts community to lead to such empowerment? Perhaps it is now time to do so. “With adequate social opportunities, individuals can effectively shape their own destiny and help each other.”( Poonam Bir Kasturi- 2005)

traditional technology or scaling down modern technology. There is lack of awareness in the society about the latest technology and at the same time, there are competitive products available in the society which are technologically advanced and cheaper.

• Lack of resources • Lack of resources in terms of both human and material results in less hand-skill works.

In looking for a fuller understanding of the role of design, we have to take note of: Its direct relevance to the well-being and freedom of the artisan, Its indirect role through influencing social change and its direct role through influencing economic production.

Objective When we look into the reasons for design intervention, there are several aspects which needs to be covered; they are:

• Market trend and economy

Looking into the aspects of globalization and upcoming market trend

• Society and culture

There is a loss of identity of craft based products in the market at the same time less value is given to crafts in the society

• Craft knowledge at stake

New generations are moving into newer service pushing themselves away from crafts and traditional knowledge

-Amartya Sen, 1999

• Design and Production

Design interventions are not only product based interventions, but can also be technological. Technology can play a role at solving problems without compromising core of the craft. For this to happen, they should be efficient and gradual, because if sudden they can result in casualty of a complete cultural literacy. Suitable technology for design intervention can be achieved by either upgrading 98

Methodology

This paper is based on a review of the literature and takes a case study approach. The paper aims to suggest that collaborative innovation between designer and craftsperson is a means of expanding the craft vocabulary, and reviving basketry craft traditions and tapping contemporary markets.

The research will cover accessory designers, communication designers and 15-30 basketry craftsmen for design intervention in the form of questionnaire in certain regions of Ranchi to ascertain that a link between the apparently tents of sustainability can be achieved through responsible and strategic design in intervention which integrates the social, economic, ecological and cultural aspects and thus help in the revival of basketry craft traditions. This paper is an exploratory & conclusive study.

Design Intervention

A successful design intervention is considered to be the one which regenerates the local market, which seem to run-over with machine made products. Designers help in finding the relevance of craft with respect to the artisans, the consumer and to the global market and form an interface between the past and the present, the traditional and the modern, trying to match craft production to the needs of modern times and demands. Interventions could involve: • Designing new product lines • Re-designing existing products and standardizing them; with changes in shape, size, color, surface ornamentation, function and utility. • Employment opportunities for a community • Education for future generation and the craftspeople for better interaction with clients • Incorporating traditional skills to meet new opportunities and challenges Determining the Reasons for the Intervention: • To preserve a heritage, a dying craft, and a way of life, • To preserve cultural values and crafts as cultural symbol, • To create a database to support proactive intervention, • To create sustainable livelihoods and development, • To create visibility for a particular craft, or a group of artisans, • For problem solving • To create new product lines, to provide knowledge of the market and establish new market links

Revival of dying bamboo Craft

It is a craft that requires imagination, concentration

and precision. We all can see simplicity and grace in a handmade bamboo product. Anything you can imagine can be beautifully made out of bamboo; intricate design, utilitarian products with a western touch and numerous other things can be glorified with bamboo. Thus, it is very important to protect our dying craft and revive it. We’re living in a new golden era of good design, and collaboration between designers & craftspeople is largely the reason to be thankful for. As consumers, we’re more aware of materials now – not just their visual and sensual appeal, but also where they come from, why they matter. We’re more curious about how things are made and who made them. (The Craft of Design- Joyce Lovelace-2013) Collaborative innovation between designer and craftsperson is a means of expanding the craft vocabulary and tapping contemporary markets. It is also argued that a link between the apparently conflicting tenets of sustainability can be achieved through responsible and strategic design innovation which integrates the social, economic, ecological and cultural aspects. (Rebecca Reuben’s 2010) It has now been recognized that indigenous innovations are crucial for any developing nation in order to achieve cumulative growth, both economically and socially. These innovations, as they will be mostly in the form of appropriate modifications in the existing products, will require further critical interventions and handholding efforts for their transition into markets. Design intervention can help bring in the much needed empathetic understanding and holistic vision to connect and integrate the various efforts towards a positive outcome. One would come across amazing indigenous innovations in India that can be developed into marketable products and thereby help in creating business success. These could provide vital directions for a country like India, to transform into an innovationdriven economy. ( Ascertaining the Scope for Design Interventions for their Successful Commercialization- Ravi Mokashi-Pune)

Conclusion

From the study we can conclude that the intervention initiative focuses on strengthening individual craftsperson in the community and bring awareness and value for their skills; overall strengthening the artisan communities. Also, promoting craft products at national, regional and enterprise level is essential 99

for the non-profits to re-generate market demand. Developing Business Models that blend commercial and social goals to provide value added services and market opportunities especially to craftspeople that produce relatively low volumes seasonally. Thus, design intervention definitely promotes and strengthens the craft and craftsperson at national level. The importance of crafts in the Indian context is indispensable, and thus calls for proper documentation and review in its current status and existence, so as to create awareness and database for future preservation of theories and processes. The inter-connection of culture, tradition and crafts are established, to clarify the importance of identity of crafts and the stakeholders associated with it. A clear demarcation between crafts and “machinemade” items is achieved to help understand crafts and its function in the Indian context. Along with this, the sustenance of crafts and the role of design intervention in achieving it, and the role of designers in being able to conduct the design intervention effectively, are recognized. Yet there is a lack of review amongst authors regarding the topic in the Indian context. Many loosely coupled strands of existing research and documentation are present, which need review and contextualization. There is a lack of referencing amongst authors, and a lack of learning from previous works of research. This can be achieved in future works, with help of further collection of primary data, field study, participatory observations and on- field experiments that will help in testing the already proposed frameworks, to improve upon them, and to formulate new ones that gives a more concise and comprehensive set of directions for an efficient framework for design interventions in crafts.

Refrences • Books:

Balaram, S. Thinking Design, National Institute of Design, Ahmedabad, 1998. Dhamija, J., Living Tradition of Iran’s Crafts, Vikas Publishing House Pvt. Ltd., New Delhi,1979 Sethi, R.; Duque, C.; Vencatachellum, I. Designers Meet Artisans, A Practical Guide, CraftRevival Trust, New Delhi, 2005 Websites: http://www.academia.edu/1768784/Design_ Intervention_and_its_execution_in_Crafts_of_India 100

https://www.google.co.in/search?q=craft+and+design • Research Papers: Craft and Design-What’s the Distinction? by Howard Risatti-(2008) Design Intervention and its execution in Crafts of India-Amrita Panda M.Des, SemesterII, NIFT,

101

102