Final document

sujani of Bihar Documented By : Shruti Vyas Shweta Kaushal Soni Kumari Vijaya Patel

Guided By : Mr. Sumeet Sagar

Dedicated to the NIFT, Patna

Digital publication of student document for private circulation only B.Des Fashion Communication National Institute of Fashion Technology, Patna (Bihar) The craft documentation has been written, edited, illustrated, designed and photographed by student researchers Shruti Vyas, Shweta Kaushal, Soni Kumari & Vijaya Patel.

All rights reserved under international copyright convention. No part of this document may be reproduced to transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or any other information page and retrieval system, without prior permission in writing from the publisher.

Published 2017 Processed at National Institute of Fashion Technology

Sujani Patna NIFT 2017

sujani of Bihar Documented By : Shruti Vyas Shweta Kaushal Soni Kumari Vijaya Patel

Guided By : Mr. Sumeet Sagar

PREFACE Set up in 1986, NIFT is the pioneering institute of fashion education in the country and has been in the vanguard providing professional human resource to the textile and apparel industry. It was made a statutory institute in 2006 by an Act of an Indian Parliament with the President of India as ‘Visitor’ and has full fledged campuses across the country. Over the years NIFT has also been working as a knowledge service provider to the Union and State Governments in the area of the design development and positioning of handlooms and handicrafts.

NIFT has been greatly involved with crafts as a major focus, for study research and development. And Craft Documentation is a way to research, study, experience a craft and a region for students and also document it as a source knowledge and reference for other students, designer and researchers.

Academic building, National Institute of Fashion Technology, Patna

We choose to go Upendra Maharathi Patna, Bihar for our Craft Documentation. We searched in the resource center about the crafts being covered from the region.

“Sujani’ craft interested the both of us, and seeing that it was covered more than two decades ago, gave us the opportunity to take it up as our subject. We searched and contacted people, who could help us with our research.

After reaching Upendra Maharathi and meeting people it became clear that the ‘Sujani’ craft was continued in the region. We met Craftsmen Mrs. Sanju devi family which was covered in the earlier document, and learnt that she was runs and institution “Sujani Mahila Jiwan” in which 300 women learn and work on craft.

This is how we met out craftperson Mrs. Sanju Devi indulging in Sujani. This document has our experience and observations, information on Patna, Bihar, the various crafts practiced and sold here. It has a detailed account on the craftperson, his daughter, the material, tool and process of making Sujani. Photograph taken on this journey, the future we see for the craft. Experience of this project was gratifying and we are thankful to everyone who made it possible.

ACKNOWLEDGMENT It was an enriching experience and great opportunity to do the secondary research and prepare questionnaire for further survey on the topic “Sujni Craft” of Bihar. We are grateful to NIFT for providing us such a wonderful opportunity to do the secondary research and further survey on Sujni craft of Bihar.

Name Shruti Vyas Shweta Kaushal Soni Kumari Vijaya Patel Address - NIFT , Patna (B.Des, FC) Date - 17/11/2017

We would like to express on deep regards and gratitude to out Director Mr. Sanjay Srivastav. Our subject faculty Mr. Sumeet Sagar. Our course co-ordinator (C.C.) Mr. Kumar Vikash and the COE department and department of Fashion Communication Staff’s Prashant and Amit for giving us the proper guidance, direction and constant support during the whole project hat gave our enough exposure to learn the functioning of whole Sujni craft and enabled us to learn the intricacies involved at all the levels.

ontent

C

1.

Introduction about Bihar

1-2

14.

Annexure

28-40

2.

Introduction about Patna

3-4

15.

Conclusion

41

3.

Introduction of Sujani Craft

5-6

16.

Photo Gallery

42

4.

Sujani in Bihar

7-12

17.

Bibliography

43

5.

Raw Materials

13-14

6.

Product Development Stage

15-16

7.

Ranges of the Product

17-18

8.

New Development of the craft

19-20

9.

Problem faced by craftsmen

21-22

10.

Marketing

23

11.

Present Day Scenario

24

12.

Cluster Sampling

25

13.

SWOT Analysis

26-27

introduction

about bihar

B

ihar is an Indian state considered to be a part of Eastern as well as Northern India. Ancient Bihar, known as Magadha, was the center of power, learning, and culture in India for 1000 years.

India’s first empire, the Maurya empire as well as one of the world’s greatest pacifist religion, Buddhism arose from he religion that now makes modern Bihar. Magdha empires, notably under the Maurya and Gupta dynasties, unified large parts of South Asia under a central rule. Its capital Patna, earlier known as Patalipura, was an important political, military and economic center of Indian civilization during the ancient and classical periods of history. Many of the ancient Indian text, written outside of the religious epics were written in ancient Bihar.

b a n g l e s o f Muzzaffarpur are very famous. The Stone work of Bihar is also a popular craft. Some beautiful examples of stone craft can be seen in cities like Gaya, Nalanda, and Patna.

Another crafts in Bihar is Sujni, Wood Inlay, Lacquerware, Sikki, Mache crafts and Khatwa, which is an applique work in designing by cutting of one fabric and stitiching the piece of another fabric.

Cuisines of Bihar Culture of Bihar Rich in diversity, Bihari culture is a neat mosaic of three major religions Hinduism, Buddhism, and Jainism - that had defined its literature, arts and crafts, cuisine, architecture and festivals.

Gautam Buddha attained enlightenment at Bodh Gaya, a town in the Gaya district that gave rise to Buddhism which spread across the world.

Also, Vardhamana Mahavira the 24th and the last Tirthankara of Jainism, was born in Vaishali around the 6th Century B.C.

Crafts of Bihar The crafts of Bihar are popular across the country. Of the many interesting crafts of Bihar, The Madhubani Paintings are the most famous, which are mostly practiced in the region of Mithila.

These paintings are painted during wedding and festivals as these regarded as auspicious.

Other crafts like

Bihar cuisine is a blend of different religion of India and it is very much known for its rich dairy products and sweets. some of the most sought after sweets of Bihar maal pua, basundi, rabri, kala jamun, moti choor ka laddu, mithai khaja, til barfi, peda, makhana kheer, thekua, khurma and parwal ki mithai. Litti Chokha is a famous Bihari dish which is usally eaten with sattu paratha. No breakfast of a Bihari is without Sattu. Sattu drink mainly in summer season. Otherwise normally a Bihari meal has bhat (rice), dal (lentil), tarkari (vegetable), and achar (pickle). Choka which is prepared with mashed potatoes is also an important dish of Biharis. The Biharis are known for the different kinds of stuffed parathas they make.

Fair and Festivals of Bihar People celebrated festivals and religious events with absolute sense of happiness which is shared across communities. The Holy festival is a grand occasion for merrymaking and fun among Biharis. Chatt Puja, Sama-Chakeva, Ramnavami, Makar-Sankranti, Bihula, Madhushravani, Teej, Pitrapaksha Mela, Sonepur Mela, Shravani Mela this are the main festivals.

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introduction about patna

P

atna the capital of Bihar ranks amongst the fastest developing cities in India. The capital city has a rich cultural and historical heritage dating back to 600 B.C. Patna is an altitude of 53m above sea level and is situated on the southern banks of river Ganga. Once known as a Pataliputra or Patlipattan it was famous center of learning. Today is the principal administrative, industrial and educational center of Bihar. It is the second most populous city in Eastern India. The city has a strong Buddhist and Sikh connection. Today Patna stands as one of the most urbanized city in India and has all the infra structural facility giving it a tag of metropolitan city in India.

Transport Being the state capital Patna is well connected with the rest of India. Bihar State Road Transport Corporation runs tourist buses on an all popular routes.

Patna is well connected with all major cities via rail too. The city has a good road transport network. National Highways 19,30,31 and 83 connects the city to other parts of India. It has regular bus services to the all the nearby tourist spots. Taxis are available throughout the city. Like most India cities, Patna has auto rickshaws, cycle rickshaws, and tongas plying the road. These can be used for short distance travel with in the city. BSRTC also operates city bus connecting local destinations.

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Geography and Climate of Patna

Ÿ Golghar Ÿ Martyr’s Memorial

The city is spread over an area of 3,202 kilometers (1,236sq. mil.) . Patna located on the southern bank of the Ganges. The city is approximately 35 km long and 16 km to 18km wide. Patna distict comprises 6 sub-division namely- Patna Sadar, Patna city, Barh, Danapur, Masaurhi, Paliganj. The agricultural products grown here include : Paddy, Maize, Pulses, Wheat and oil seeds.

Ÿ Funtasia Water Park Ÿ Patna Museum Ÿ Patna High Court Ÿ Planetarium Ÿ Padri Ki Haveli Ÿ Gandhi Setu Ÿ Pathar Ki Masjid

The best time to visit Patna is from October to March. Avg. annual temperature of Patna is 26 degree C. In summer season, the temperature could go up till 40 degree C. and in winter it could drop till 10degree C. Average summer temperature is 13 degree C.

Apart from these there are many other located in and around the ancient city of Patna.

Events/Festival in Patna Places to Visit Patna is a scared city for Hindus, Jains, Buddhist and Muslims alike. Every year, thousands of Hindu, Jain and Buddhist pilgrims flock Patna for pilgrimage. The city is home to famous Gurudwaras, Mosques and Temples.

Glimpse of Afghan architecture and British architecture can be seen by visiting famous monuments of those era. Various archeologically and historically important sites like the ruins of Asokan Pataliputra at the Kumhrar and Agam Kuan and relics of Mauryan art at Didarganj Yakshi gives are reflection of bygone era of the Mauryan empire. Apart from these Patna is also flooded with modern shopping malls, libraries, boating clubs and cinema houses. Patna is dotted with numerous hangout destinations.Some of the popular tourist destination in and around Patna are mentioned below :

All major festivals of India, especially the Diwali, Dussehra, Ram Navami are celebrated in Patna. Chatth Puja devoted to Sun God is one of the most popular festival in Bihar. The city attains festive look on Id, Bakrid and on the eve of Christmas. All these adds to the secular look of the city. Apart from these every year Kite Festival in the city. The largest cattle fair in the world the Sonepur Mela is held at a place 25km from Patna on the day of Karthik Purnima, in the mouth of November and also, Pitrapaksha Mela is celebrated in Gaya in September.

Ÿ Sanjay Gandhi Jaivik Udyan Ÿ Har Mandir Takht/Takht Sri Patna Sahib Ÿ Gandhi Maidan Ÿ Gandhi Sangrahalaya ---- 4 ----

introduction T

he Sujni of Bihar is very similar to the Kanthas of Bengal. Initially Sujni was made for traditional purposes. At the time of child birth, patches of different colored cloth from old saris were sewn together with a simple running stitch to make a quilt called Sujni.

Of Sujani Craft Sujani Embroidery Work of Bihar Geographical Indication Description : Sujani Embroidery of Muzaffarpur district of Bihar Type : Textile art Area : Muzaffarpur district Country : India Registered : 21 September 2006 Material : A traditional textile fabric of simplest of stitches, with any fabrics and also old pieces of cloth.

But Sujni production had virtually disappeared until it was revived in 1988 by ADITHI and its product adapted to urban market. ADITHI works through the Mahila Vikas Sahyog Samiti (MVSS), a small autonomous society, based in Bhusura District of Mujaffarpur, Bihar. Sujani made by women and depicts the animal, bird and day to day activities of village life. The product is a quilt-cum-bedspread, sometimes stuffed with tattered cloth to give it added thickness. Sujani is labour intensive-the number of stitches per square inch varies from 105-210. A fine running stitch all over the sheet in the same colour as the base cloth creates the background upon which motifs are outlined in chain stitch. The design is then filled in with tiny running stitches in coloured thread. An ageold practice among women in almost all parts of the country, what makes Sujani remarkable is the unique narrative elements in its embroidery. Women stitch their experience, their sorrows and their realities on the Sujani, transforming a mundane quilt into a testimony of their lives. Old Sujani had motifs from religion, nature and daily life.

The difference between Sujni and Kantha :Sujni is very simlar to Kantha because both are made of old materials and embroidered with thread unpicked from borders of saris. But they differ in techniques : Ÿ In Sujni, running stitch worked in straight line but in Kantha they use spiral, circular

and conical forms.

Sujani

Ÿ In Sujni the outline of the motifs are done by chain stitch in dark color but in Kantha

out lines are done by running stitch. Ÿ In Sujni the motifs are filled with running stitch and rest of the area is also embroidered

by the running stitch with the same base color thread but in Kantha only motifs are filled.

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Brief History :The history of this craft dates back to 18th century. People at that time utilized old materials like saris or dhotis to make quilts and other utilitarian products for new born babies. The design of these products interprets a mother’s emotion and imagination regarding her baby. In these quilt the design depicts the mother’s dream for her new born.

It is made by old materials like saris or dhotis. Saris or dhotis in this area are predominantly white and borders are in black or red or blue and sometimes yellow or blue. Three or four section of saris or dhotis are laid on top of each other and than quilted with the thread unpicked from borders of saris or dhotis. The filling of the motifs is done by simple running stitch and the out line of the motifs is usually done in chain stitch in dark colors filled with running stitch.

Ancient Beliefs :First, cloth bound together by Sujni served a ritual function it invoked the presence of a deity, Chitiriya Ma, the Lady of the Tatters and stitching together these disparate pieces symbolically embodied the holistic Indian concept that all parts belong to the whole and must return to it.

The second purpose of stitching pieces of old cloth together was to wrap the newborn; to allow it to be enveloped in a soft embrace, resembling that of its mother. New cloth is considered to be too harsh on the baby's skin. In fact, the word Sujni itself reflects this principle – su means easy and facilitating, while jani means birth.

To wrap the newborn, to allow it to be enveloped in a soft embrace, resembling that of its mother. New cloth ---- 6 ----

Sujani

in Bihar

was considered to be harsh on its skin. When dissected, the term Sujani reflects the abovementioned functional nature of this practice – "su" means easy and facilitating, while "jani" means birth. A woman would be attributed as a sugrahini, if she recycled the used cloth and make it into new, to be meant for not just her children but grandchildren as well.

Sujani is an age-old practice among women of Bihar and what make it remarkable is the unique narrative elements in its embroidery. Women stitch their experience, their sorrows and their realities on the Sujani, transforming a mundane quilt into a testimony of their lives. Old Sujan is had motifs from religion, nature and daily life. Today design depict details of village life and Hindu epics, social issues like female infanticide, election violence, education of girl, scenes of domestic abuses dominate the designs. Lessons of health care, parables about environment and images of women struggling

Bihar :-

for their right are very empowering. This is very interesting and encouraging because it comes from Bihar, where dowry

Every region in India has its own distinctive style of

cases and instances of female infanticide are widely

embroidery, embodying its unique cultural essence.

prevalent.

Delicately or densely patterned, with muted or vibrant shades,

.Since

these designs have a universal appeal. No wonder then, that

world but the need is to document the original motifs, fabric,

they have survived the onslaught of time.

technique and colors used in contemporary fashion. Hence

.There

are two traditions of folk embroidery in Bihar-

Bihar has been formulated with the following objectives: to

Kashidakari and Sujani. The former uses the cross-stitch on a

explore and document the organization of the industry,

red, green, yellow or blue surface. The material and yarn are

manufacturing techniques, colors and designs used, their

all new and brightly colored. This stitch is used to embroider

significance, status and welfare benefits of the artisans of

caps for newly born boys, blouses for the bride and such like.

Sujani embroidery of Bihar; design intervention by

Sujani instead is similar to the Kantha of Bengal. The

developing the embroidery motif modifications and to create

unstitched, un-sewn length of cloth, with its thick colorful

arrange of embroidered swatches using traditional and

border, is not thrown away when it frays. Instead, the borders

contemporary designs in traditional and contemporary color

this craft of Sujani embroidery is well known over the

keeping the above points in mind this study on Sujani craft of

are removed and several saris are folded into layers and

combinations; mechanization of technique by developing the

quilted with a needle and thread. Sujani is a term for straight

embroidery swatches using machine embroidery and surface

running stitch embroidery on layered cotton. Women quilt

ornamentation; to compare the traditional swatches with the

together old sari and other pieces of cloth with tiny running

newly developed ones and to find out the acceptability of the

stitches, and embroider these beautifully. The product is a

developed range of samples and to develop and assess

quilt-cum-bedspread; sometimes stuffed with a tattered cloth

products such as stoles using variations in Sujani embroidery

to give it added thickness.

for upliftment of the craft.

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METHODOLOGY

These tools were chosen keeping in mind the low literacy

‘A Study on Sujani Embroidery of Bihar and Modification of

answers. Data regarding the origin and history of the

its Designs and Techniques for Revival’ was undertaken in

embroidery was collected through review of literature by

two phases. The first phase of the study was an exploratory

referring books, journals, online web journals, other

field study to acquire a comprehensive insight into the

published and unpublished matter, web sources, MVSS

traditional and contemporary state of the art and artisans.

(MahilaVikasSahiyogSamiti) located in Bhusuda,

The study reviewed the organization of the industry,

Muzzafarpur.Data collected through interviews and non-

manufacturing techniques, colors and designs used, their

participant observations and was subjected to a detailed content analysis.

level of the artisans and descriptive nature of the expected

significance, status and welfare benefits of the artisans.

The second phase of the study focused on motif and design modification and thereafter product development. The

Phase II of the research was undertaken in the following stages:

following methodology sets forth the methods and procedures undertaken for the collection and analysis of data with the objectives of the study in mind.

In Phase I of the study, a visit was conducted to Bihar to gain first hand information about the craft. The study was

Preparation of a Questionnaire A structured questionnaire was framed to gather information regarding awareness on Sujani embroidery amongst the respondents (hundred college students).

conducted in Bhusuda village and Baghakhal village, Muzzafarpur where the craft of Sujani originated and there are small craft clusters engaged in the embroidery in these villages. Fifteen artisans from Baghakhal and Bhusuda villages were interviewed. A visit was undertaken to MVSS (MahilaVikas SahiyogSamiti) which is a small autonomous

Collection of Sujani Motifs The motifs of Sujani were selected from various sources such as, information collected from available literature, web sources and field survey conducted in the Phase I of the study.

society based in Bhusuda and its office is located in Bhusuda only. This organization works entirely on Sujani and its revival and also provides financial marketing assistance to many women embroiderer of Bhusuda. A detailed interview schedule (open-ended) was formulated to know more about the art from the artisans concerning their background and manufacturing techniques. Data was collected through open ended interview schedule with non- participant observation.

Adaptation of Sujani Motifs into Contemporary form using CAD The four selected motifs of Sujani were modified and adapted to create stylized motifs (Figure 3).

The designing into contemporary form was done through CAD software i.e. Corel Draw (Version X-8).

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Figure 3 : Modified Motifs

Arrangement of Modified Motifs in Different Layouts Each of the four modified motifs was arranged in a layout for stoles. Four different arrangements were made for each modified motif.

Evaluation of the Developed Layouts The developed layouts were evaluated by a panel of thirty judges including textile experts, textile designers, manufacturers of embroidered textiles and boutique owners. One best layout from each of the four selected category was used to apply them on stoles. All the designs were ranked according to their scores attained. A five point Scoring Performa was used for this purpose as given in Table 1.The attr ib u tes o n w h ich th e ev alu atio n o f lay o u t d es ig n s w as d o n e w er e arrangement/placement of the design, appropriateness or suitability of designs for particular product and overall aesthetic appeal.

Table 1 : Rating Scale for Evaluation of Developed Layouts, Sample and Assessment of Developed Products

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Rating Excellent Very Good Good Fair Average

Score 5 4 3 2 1

traditional and contemporary colors. All the samples were ranked according to their scores attained by the same panel of judges as before using rating scale as given in Table 1. The attributes on which the evaluation of embroidered samples was done were neatness of embroidery, clarity of design and overall aesthetic appeal.

Figure 7 : Execution of Sujani Hand using Machine Embroidery (Category 4)

Development of Embroidered Samples and their Evaluation The four contemporary motifs (one from each category) and the four original traditional motifs were used to develop embroidered samples with following speciďŹ cations: Figure 4 : Execution of Sujani Hand Embroidery on

Category 1: Execution of Sujani hand embriodery on cotton fabric (Figure 4)

Cotton Fabric (Category 1)

Hand and Machine Embroidery (Category 5)

Product Development and Cost Calculation The selected layouts and technique were used to develop four

Category 2: Execution of Sujani hand embroidery on silk fabric (Figure 5) Category 3: Execution of Sujani hand embroidery with surface ornamentation (Figure 6)

Figure 5 : Execution of Sujani Hand Embroidery on Silk Fabric (Category 2)

Category 4: Execution of Sujani using machine embroidery (Figure 7) Category 5: Execution of Sujani using combination of hand and machine embroidery (Figure 8) Figure 6 : Execution of Sujani Hand Embroidery

Colors used were of two combinations:

Figure 8 : Execution of Sujani using Combination of

with Surface Ornamentation (Category 3) ---- 10 ----

Acceptability of Developed Products The acceptability was seen through an assessment Performa subjected to the hundred respondents. The attributes considered for rating were neatness of embroidery, clarity of design overall appearance and cost of the product.

Analysis of Data: The data collected was subjected to detailed statistical analysis by using Percentage, Ranking, Pie diagram, Bar diagram and two-way ANOVA.

Figure 9 : Developed Embroidered Stoles

RESULTS AND DISCUSSIONS Phase I of the Study Many facts were gathered by interviewing artisans of Sujani embroidery who were located in Bihar. It was a useful study as it helped to realize the shortcomings of Sujani embroidery and to work more on that.

Origin: According to the findings of the phase I study, Sujani embroidery originated in Bhusuda which is situated at a distance of 30 kilometers from Muzzafarpur railway station in the state of Bihar. Further, 10 kilometers away from Bhusuda is another village named Baghakhalwhere also this embroidery is practiced. There are a number of small craft clusters spread across the surrounding areas of Bhusuda besides Baghakhal, namely –Hasna, Ramnagar, Durganagar, Dahiya, Kothiya, Chidaila, Jarang where this embroidery is practiced.

Technique: At present, raw material, which is used as a base fabric for Sujani, is usually made of cotton, locally known as “salita cotton” which is a coarse cotton fabric (count 44/50). Embroidery threads are procured from Muzzafarpur market.

Usually Anchor or Dolly embroidery threads are used. Few tools required for making the end product are sewing needles (No. 9/10), embroidery frame, scissors, pencil markers, chalk powder, tracing paper etc. The designs are transferred onto the fabric by drawing it directly onto cloth with pencil marker or are traced using tracing paper and pores are made with needles. It is transferred onto the desired fabric by placing the tracing sheet and rubbing a thick mixture of blue chalk powder with kerosene onto the tracing paper. The pores in the tracing sheet absorb the chalk powder resulting into the creation of outline of the designs onto the fabric. The background is filled with the fine running stitch with thread whose color is similar to the background. It gives a wavy effect. Chain stitch usually in black, brown and red thread is done for the main outline of the motif and the design is then filled with running stitch in colored threads. Sujani is labour intensive; the number of stitches per square inch varies from 105-210.

Problems and Prospects: Problems faced by Sujani artisans are lack of education, lack of fund and problems due to regular floods.Initially MVSS was started with approximately two thousand women embroiders. But later this reduced to round 250 women embroiders due to lack of market demand. Recent buyers include few entrepreneurs and fashion designers specializing in traditional embroideries. Some popular article made of Sujani are cushion covers, bed spreads, dupattas, stoles, sarees and ladies kurta yokes.

Phase II of the Study: Important findings of the study were as follows: ---- 11 ----

Awareness on Sujani Embroidery Ÿ Majority of the respondents (eighty percent)

were not aware of Sujani embroidery. Ÿ Amongst the respondents who did not like the

embroidery reasoned lack of overall appeal of the embroidery for not liking it. And reason of liking the embroidery was because of its intricacy, bold patterns and its traditional background. Ÿ · Fifty one percent of respondents amongst

those who knew about the embroidery, were interested in seeing innovations in Sujani embroidery. Ÿ According to the general preference of the

respondents, sixty four percent respondents liked contemporary designs more than the traditional designs.

Assessment of Developed Samples Forty samples showing five different techniques of embroidery: hand embroidery (T1), hand embroidery with surface ornamentation (T2), machine embroidery (T3), combination of hand and machine embroidery (T4) were developed and evaluated (Table 2). From the survey it was concluded that combination of hand and machine embroidery was ranked highest (Table 1).

Table 2 : Preference towards Embroidery Technique T Neatness Cost Aesthetic Rank Effective Appeal (cum) T1 T2

267 312

270 285

261 294

3.55 3.96

X IV II

T3 T4

345 276

291 288

306 285

3.77 4.18

III I

T: Technique; WS: Weighted Score

Therefore, the technique of combination of machine and hand embroidery was used for the final products.

This probably could be because the respondents felt that the combination was keeping the tradition of hand embroidery alive, yet with the use of some machine embroidery, products could be more cost effective and sellable. Though the cost of hand embroidery with surface ornamentation was higher, still it obtained 2nd rank. Respondents preferred it over the traditional hand embroidery (rank 4).

From the survey conducted on developed samples, it was evident that majority of respondents preferred the sample SA7 (contemporary fish motif), sample SB5 (contemporary floral motif), sample SC8 (female figure motif),sample SD8(contemporary female figure motif),SE8 (contemporary female figure motif) amongst all the samples of category A,B,C,D and E respectively as per the mentioned attributes.

other developed stoles. All the evaluations were tested through two way-ANOVA test. There was a significant difference in the acceptability of the final products.

CONCLUSIONS Sujani is expensive in markets because of its time consuming factor, intricacy and hard work. However, if we explore more on the different techniques of embroidery to make it more commercially available, we can help retaining the age old tradition of Bihar. Therefore, the attempt in this study to use combination of hand and machine embroidery can be explored as it creates a good blend of the traditional hand work as well as creates a greater market by using some mechanization.

This would also provide employment opportunities to many rural women in underprivileged areas of Bihar where poverty issue is one important factor. Sujani craft has all the potential to create its impact and can become commercially accessible too if it is explored more towards the use of techniques and designs by retaining its natural charm.

Assessment of Developed Layouts From the conducted survey, it was obtained that most chosen stole layouts were- LA1, LB4, LC1 and Ld1 amongst all the stole layouts of each designs.

Assessment of Developed Stoles As per the preference of techniques in embroidered samples and layouts of stoles judged by respondents, four stoles were embroidered on Tussar silk fabric using cotton embroidery threads. From table 6, it was seen that stole with female figure border design (P4) was chosen by majority of respondents amongst all the ---- 12 ----

---- 13 ----

Raw

material

Vikas Sahyog Samiti. Today about 600 women from 22 villages around Bhusura are working under this project.

Rangoli or Anchor Thread - It is used for filling of the motif and the out line of the motif. per reel price is 1.80 Rs. and the box price is 25 Rs.

Raw Materials :-

Producer Communities :-

ground filling. The color of the thread is similar to the base color.

COTTON Salita -It is used as base of the embroidery. Salita is very good quality cotton and mainly used for export. Salita is 75 Rs. per meter.

Tools Used :Needle - 9 number needle is used for embroidery.

Frame - Frame is used for tightening the cloth. It helps in avoiding the winkles.

Initially expecting mothers of all the communities use to make Sujni for their child.

But now women of all community, mainly below the poverty line are engaged in this craft.

White or Colored Markeen - This is not of very good quality and mainly used for the exports market. Markeen is 30 Rs. per meter.

Casement - It is used for wall hanging and cushion cover.

Scissors - is used for giving finishing touch and cutting the extra knots and threads.

Nirmala Devi was the first women to take the initiative in the Sujni project under the Mahila

EMBROIDERY THREAD Moon Thread - Moon thread is used for back

Inch Tape - Inch tape issued for measuring the cloth and marking when design is drawn.

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product

1

2

3

4

development stage Following steps are followed during making of Sujni :Drawing and Tracing : The outline of design is traced or drawn directly on to the cloth by the women. Stories, compositions and color combination are worked out by the women on their own.

Embroidery : The back ground is filled with the fine running stitch with thread whose color is similar to the back ground. It gives a wavy effect. Chain stitch usually in black, brown and red thread is done for the main out line of the motif and the design is then filled with running stitch in colored threads. Sujni embroidery is very simple but

7

6

requires a lot of patience and time. The smaller items can be made individually and to make large bed sheets or quilts, three or four women work t o g e t h e r, s t a r t i n g f r o m d i ff e r e n t e n d s approaching towards the center.

Finishing : In this process all the extra threads or knots are cut from the edges to give it better finishing.

Washing and Calendaring : ---- 15 ----

5 When the embroidery work is finished then the article is properly washed and then calendered.

Packaging and Labeling : Finished products are properly labeled with the brand name ‘Sujni’ and price tags. They don’t have special packaging for the product, if they give special packaging, the cost would increase.

Color

and Form

Quite fundamentally, Sujani is a form of quilting. Traditionally its canvas was old sarees and dhotis that were layered together. These were embellished with simple line or motifs in running stitch to give the recycled structure a new look. The layers of decorated muslin cloth were transformed into a quilt or mat for home use.

Sujani often gets mistaken with the kantha of Bengal as it is seemingly similar in appearance. The subtle dierence lies in the colour scheme and theme. By tradition, the embroidery is always on a cream-base fabric and the pattern usually portrays village life.

Also, in sujani the motifs are almost-always outlined in black chainstitch with the inner detailing being in colour. The other distinction between the two is that unlike kantha where the stitch can be done in any direction, in sujani these are always in straight lines.

---- 16 ----

Ranges

Of the Product

---- 17 ----

---- 18 ----

---- 19 ----

were also symbolically used, such as red, signifying blood, a life force, and yellow for the sun.

Now contemporary patterns mostly organic forms are becoming a fashion statement by the design interventions done by some of the designers in recent times. Minimalist approach and market understanding of fashion and consumer has led to breakthrough in this age old tradition which, now sees some changes from the rudimentary pattern.

New development

Embroidery Industries in India :-

in bihar

New Development :Apart from the straightrunning long stitches, Sujani also features intricate geometric patterns and motifs. These motifs and patterns on the fabric were often purposeful and ritualistic, becoming an adornment for the kobarghar (nuptial chamber) and as gifts for family members. The varieties were endless. For example, one could find sun and cloud motifs signifying life-giving forces, fertility symbols, sacred animals, fantastic winged creatures for protection against destructive force, and other motifs to attract blessings from the gods. Different colored threads ---- 20 ----

Embroidery Industry is rich and widespread in India in its variety of form and regional styles. Machine made embroidery has still not able to replace some of the authentic and unique hand embroidery style. Even when the machine embroidery is getting flooded in the market in the imitation form for embroideries like Phulkari and Kashmiri stitch but for Sujani and Kutch embroidery still the imitation has failed to attract the consumers. In India some of the most popular and commercial embroideries are Zardozi, Kashmiri, Kutchi, Phulkari. Sujani was always overshadowed by these embroideries as it was limited to Kanthas or quilts. The beauty of Sujani is now creating its demand and value in market off late and no doubt due to its rich narrative and unique surface style it is becoming more and more popular for the surface embellishment works on various kinds of products other than decorative. It is now popularly used in lifestyle accessories and Home furnishing accessories and has now found its place in apparels and ramp shows of Lakme fashion week.

Problem Faced by the Craftsmen :Ÿ

In Bihar flood is a major problem and poor people suffer a lot due to lack of basic infra structural facilities.

Ÿ

Bhusara and surrounding villages are only practicing Sujni as they are getting financial and marketing assistance from ADITHI. But in the remaining areas the craft is dying due to lack of money and other basic necessities.

Ÿ

Lack of education is also a main problem for this craft, the artisans don’t know how to market their products.

ISSUES:

• The existing products are limited to the dictated needs and designs of the NGO. There is no imagination or creativity from the artisans part, hence the craft is losing its ethnic flavour.

Problem Faced By Craftsman

---- 21 ----

• The products are limited to order basis, and no one's making products apart from the ones where material is provided for. This is mainly owing to firstly lack of market acceptable quality raw material nearby and secondly the cotton fabrics and yarns used for good quality products is expensive and most of the artisans belong to below poor households.

• None of the pieces are made here, they get a pre-designed and traced fabric with all color and yarn specifications, all they do is follow instructions.

From color, size, stitch everything is pre-decided.

• New motifs inspired by local textiles and heritage can be developed.

• New ideas and skills to make their own products and sell instead of depending on order based clients.

• The existing market range of Sujani products, seems to have lost its flavor, it has succumbed to modern designs and patterns, hence they look like just a piece of embroidery in running stitches and not a native Bihari craft.

• Using the traditional motifs will give the product a local identity.

• Stitching training can make this cluster a lot for independent and sustainable • Product diversification, is limited again to what has been asked for, nothing new from their own inputs.

• Since they have been tuned to blindly follow instructions, they are an ware of using their own potential to diversify or progress, whether its design or product range.

POSSIBILITIES:

• Making them avail SMEs subsidy loan for starting their own enterprise.• Training them in making most of the investment in sensible manner.

Ÿ Sujani products have a huge upcoming market in international and national

trade fairs and exhibitions.

Ÿ It makes a room for more employment opportunities in the

• There is a good scope for introduction of new products.

handicraft sector.

• The existing traditional embroidery designs can be simplified, hence making them market friendly without losing its ethnic flavor.

---- 22 ----

Marketing Introduction :-

With the improvement in marketing facilities and assistance from ADITHI, the market of Sujni has grown from national level to international level. Now Sujni can be seen in local haats, as well as in exhibitions, design stores, export stores. They are earning a lot from the exposures they received from craft fairs, exhibition overseas, and at national level also with the brand name 'Sujni '.

Now Sujani has become a product for Niche market. In India only some people are able to buy this craft and mainly it is made for export market.

Differentiation in price in national and international market

• FINANCIAL MARKETING ASSISTANCE: In marketing, Sky Morisan was first lady who supported Sujani embroidery in export market. And also in National market Sujani embroidery is supported by Government and NGOs. • LABOUR COST: Because of the intricacy in the work, labor cost of Sujani is very high. It is 10 paise per square inch. A bed sheet's (60*90) labor cost is Rs. 1500 (for October 2oo4) approximately.

---- 23 ----

• One bed sheet (60*90) which in India cost 1700 Rs. (for October 2oo4) in export market it is about 5400 Rs. (for October 2004).

• One bed sheet (100*100) which in India cost 3000 Rs.(for October 2004) in export market it is about one lakh.

present day scenario

girl, scenes of domestic abuses dominate the designs. Lessons of health care, parables about environment and images of women struggling for their right are very empowering. This is very interesting and encouraging because it comes from Bihar, where dowry cases and instances of female infanticide are widely prevalent.

Present-Day Scenario :With the rising popularity and vibrancy of other Bihar originated crafts like Madhubani and papier-mache, Sujani embroidered got overshadowed. But today, the production of Sujani embroidery is done in about 15 villages of India. The rural women of Muzaffarpur district in Bihar continue to embroider in the Sujani style, using combinations of a fine-running stitch and chain stitch. When rural women are not allowed to step out and work outside their homes, practicing this art form acts as the prime source of earning a livelihood for them and that's how they add to their family's income through this art.

Ÿ MARKET : Initially Sujni was made only for personal used but

today Sujni has created a national and international market.

However, Sujni is facing a lot of competition from Kantha and other embroidery crafts. Ÿ

WOMEN STATUS : Today Sujni craft is seen as an important source of income for women. It has also played a major role in rural society.

Ÿ

Initially, women rarely left their homes, men and women did not interact at all and physical violence against women was common.

Now because women are working and are becoming independent they move around, interact with men and protest against abuse and ill-treatment.

Changes in recent years :Ÿ TECHNOLOGY: Initially in Sujni they used old materials like sari

or dhoti .Different layers were sewn together to make the whole but today only one sheet of new materials like salita, markeen, casement and tusser silk is used. Ÿ DESIGN: Initially the design used to depict daily life, flowers, trees,

flying birds, fishes, elephants with rider, deities whose attributes are reflected in various ways- the energy emanating from Durga manifesting it self through quality of the hair of the tiger on which she rides. Ÿ

But today design depict details of village life and Hindu epics, social issues like female infanticide, election violence, education of ---- 24 ----

cluster

sampling Cluster sampling (also known as one-stage cluster sampling) is a technique in which clusters of participants that represent the population are identified and included in the sample. Cluster involves cluster of participants that represent the population are identified and included in the sample. This is popular in conducting marketing researches.

Ÿ Larger sample size can be used due to increased level of accessibility

of perspective sample group members Disadvantages of Cluster Sampling Ÿ Requires group-level information to be known

The main aim of cluster sampling can be specified as cost reduction and increasing the levels of efficiency of sampling. This specific technique can also be applied in integration with multi-stage sampling.

A major difference between cluster and stratified sampling relates to the fact that in cluster sampling a cluster is perceived as a sampling unit, whereas in stratified only specific elements of strata are accepted as sampling unit.

Ÿ Commonly has higher sampling error than alternative sampling

techniques Ÿ Cluster sampling may fail to reflect the diversity in the sampling

Advantages of Cluster Sampling Ÿ It is the most time-efficient and cost-efficient probability design for

large geographical areas Ÿ This method is easy to be used from practicality viewpoint

---- 25 ----

frame

swot analysis

strength Weakness Opportunities

Threats

Ÿ Sujani embroidery is a cultural Ÿ Sujani products bring in foreign Ÿ Doing Sujani embroidery is very Ÿ Sujani products have a huge

heritage of India. Ÿ Sujani is G.I registered.

exchange by export market. Ÿ Illiterate people can learn this craft

strenuous job. Artisans lose/weaken their eye sight in the process of practicing Sujani over the years.

upcoming market in international and national trade fairs and exhibitions.

owing to its simplicity. Ÿ It is a kind of handicraft which

Ÿ Due to the intricacy of the craft Ÿ I t m a k e s r o o m f o r m o r e requires lots of patience and skill Ÿ Earlier, Sujani only depicted a story form, artisans often com-plain of employment opportunities in the for crafting the embroidery which is of a market, a neighbor-hood, a headaches and backaches. handicraft sector. mother's dreams, etc. But now, apart developed on different varieties of products, hence helping the artisans from traditional designs and Ÿ Inspite of the hard work artisans do, Ÿ Artisans when go to display their patterns, it depicts all social causes make a living. they receive only 40 paise for an artifacts in various places, they get like human trafficing, AIDs, inch which have approximately 150 the opportunity to know other Ÿ It consists of two simple stitches importance of education, save stitches. handicrafts, different variety of running stitches and chain stitches. water, etc. It is an effective mode of products, interact with other education. Ÿ It's a time consuming work. culture, get to know their clients, Ÿ Simple motifs are used in Sujani. etc.

Narrates stories of the daily life of the locals. Ÿ Every one has the opportunity to learn Sujani as this em-broidery is Ÿ It's simple yet intricate. the simplest of all embroideries. Ÿ Raw materials are easily available

in the market.

strength weakness ---- 26 ----

Ÿ Has a huge scope of exploration in

terms of product inter-vention and design.

swot strength weakness Ÿ There is huge scope of creating Ÿ The art is fading as artisans are

lump sum amount of market demand for the craft with better advertisements, marketing strategies.

shifting to less intricate, time consuming and profit making crafts. This leads to the less availability of the craft in the market, and hence out of sight out of mind phenomena takes on to the prospective customers. Ÿ Kantha stitch is a threat to the craft

which is so similar and already established in the market. Ÿ Due to less production, demands

have reduced too. Ÿ Due to less attention from the

government, the craft is dy-ing.

opportunities

Threats ---- 27 ----

opportunities threats

A

questionaire data analysis

nnexure ---- 28 ----

ANNEXURE I Dear sir/ma’am we came to you from NIFT Patna to conduct a survey on Sujani Craft of Bihar to collect some primary data from the artisans of this craft please try to co-operate with us it will be very helpful for us.

Name : Contact No : Address : Gender : Age : Size of the family unit

5. What line of products do you make under this craft ? (a) Cushions (b) Bedsheets (c) Bags (d) All of the above 6. How do you promote about your products ? (a) Through agents (b) NGO’s (c) Government’s help (d) None 7. Where do you sell your products ? (a) Local haats (b) Exhibition (c) Design Stores (d) Export store

Choose any one of the following : 1. Education level ? (a) Illiterate (c) Secondary

(b) Primary (d) College

2. Language known ? (a) Hindi (c) Local

(b) English (d) Local, Hindi

3. For how many years the craft has been practiced by family ? (a) 0-5 years (b) 5-10 years (c) 10-25 years (d) beyond 25 years 4. How do you sell your products ? (a) Directly to customers (b) In Fairs and Festivals (c) Sealers or Agents (d) All of the above

8. What cost price does the raw materials required. (a) Rs.250 - Rs.300 (b) Rs.300 - Rs.450 (c) Rs.450 - Rs.600 (d) above Rs.600 9. Number of months for which artisans is involved in craft related activity ? (a) 1-3 months (b) 3-6 month (c) 6-9 months (d) Throughout the year 10. Who gives the design ? (a) Own (c) Old Pattern

(b) Trades/Agent (d) Designers

11. Are you working on ? (a) Traditional Design (b) Latest Design (c) Market demand design (d) None of the above ---- 29 ----

12. Do you have a saving account in the :(a) Bank (b) Post office (c) Any other (d) None 13. What is your monthly income ? (a) 2500-5000 (b) 5000-7500 (c) 7500-10,000 (d) More than 10,000 14. Are you a member of any of the following occupation ? (a) SHGs (b) Co-operative (c) Society (d) Any other 15. What kind of stitches do you used in Sujni embroidery ? (a) Running Stitch (b) Stem Stitch (c) Chain Stitch (d) All of the above 16.What are the price range of the products? (a) 50-100 (b) 100-200 (c) 200-300 (d) above 300 17. What kind of motifs do you used in Sujni embroidery ? (a) Geometric pattern (b) Fish and floral ornamentation (c) Abstract pattern (d) All of the above 18. What are the new materials do you used in Sujni ? (a) Salita (b) Markeen (c) Casemet (d) Tusser silk

(e) All of the above 19. What kind of thread do you used in Sujni ? (a) Moon thread (b) Rangoli thread (c) Anchor thread (d) All of the above 20. Which fabric do you used for making the Quilt ? (a) Old sarees (b) Dhotis (c) Both (d) None 21. Which are would you like to strengthen for your growth ? (a) Production (b) Marketing (c) Packaging (d) Any other 22. In which of the following areas would you want to be trained ? (a) Skill development (b) Capacity building (c) Design innovation (d) Market (e) Any other 23. Who decides the pricing of your products? (a) Self (b) Agent (c) Local Market Demand (d) Labour cost 24. Where do you procure raw material from ? (a) Local market (b) Agents (c) Near by markets (d) Far away markets 25. Who helps you in making these products ? (a) No one (b) Family

(c) Friends

(d) a or b

Agree or disagree : 26. Should the government help you by organizing some monthly fairs and hoots for your product (a) Strongly agree (b) Disagree (c) Neither agree or disagree (d) Neutral 27. Are you satisfied in this work ? (a) Strongly agree (b) Disagree (c) Neither agree or disagree (d) Neutral

33. Do you have any government support? (a) Yes (b) No 34. Are you satisfied with your monthly income ? (a) Yes (b) No 35. In Sujni the outline of the motifs are done by chain stitch? (a) Yes (b) No 36. Do you also feel that our craft is going to exhausting from our culture ? (a) Yes (b) No

Tick Yes or No : 28. Are you engaged in any other activity apart from the craft? (a) Yes (b) No If Yes, specify the Occupation ………

29. Has there been a change in the location or area of the craft? (a) Yes (b) No 30. Have you explored new material than traditional? (a) Yes (b) No 31. Do you have health / life insurance Policy? (a) Yes (b) No 32. Are there any occupational health / diseases linked with your craft practise ? (a) Yes (b) No If Yes, please specify……..

---- 30 ----

37. Are the new products more profitable than the old products? (a) Yes (b) No 38. Are you Self – Employed ? (a) Yes (b) No 39. Have you received any training recently for upgrading your skills? (a) Yes (b) No If Yes, Specify the kind…………..

40. Are these kind of training good for your work opportunities? (a) Yes (b) No 41. Do you need further training? (a) Yes (b) No 42. Do you know how to use computers? (a) Yes (b) No

43. Do you use Internet? (a) Yes (b) No If yes, what do you use it for? i. Personal ii. Business Purpose iii. Both

50. Services provided by organization like upendra maharathi, jhar craft etc. i. Poor ii. Good iii. very good iv excellent

embroidery?

44. Do you have any problem in buying of raw material? (a) Yes (b) No If Yes, then Specify….. i. Often ii. Sometimes iii. Rarely

Short Question and Answer :

61.Complete the story:-

51. Any Month in the year that is high in demand for craft?

“ Sujni is usually a quilt or bed spread which was earlier made of easily available old clothes and dhotis but is now made of……………………………………………… …..............................................……………… ………………………………………………… ………………………………………………… ……………………….

45. Do you get any subsidy from the Government while procuring raw materials? (a) Yes (b) No 46. Are you facing any difficulty in marketing your product? (a) Yes (b) No

52. If rented house, what is the monthly income?

53. What are the raw materials do you required for doing Sujni ?

54.What kind of tools do you use while working on Sujni?

47. Do you have Aadhar card? (a) Yes (b) No

55. How much time does it takes for completing one product?

48. Is Sujni craft or this business is sufficient for your whole family expenditure? (a) Yes (b) No

55. What are the Techniques use to make Sujni?

Rate in 1/2/3/4 according to your satisfaction , if you are more satisfied then rate 4 and accordingly 49. Training given by the government? i. Poor ii. Good iii. very good iv excellent

56. What are the Price ranges of the products?

57. What kind of products do you make by sujni?

58. What is the process of sujni embroidery?

59. What is the current scenario of sujni ---- 31 ----

60.What are the new products that you developed in last two years?

62. Production in Bihar:Muzaffarpur district, Madhubani district,……………………………… …………………………………..

Thank You ! for your cooperation

vuqca/k 1 fiz; lj@eSMe! ge bl f’kYi ds dkjhxjksa ds dqN izkFkfed vkadM+ksa dks ,d= djus ds fy, fcgkj ds lqtuh f’kYi ij ,d losZz{k.k djus ds fy, fu¶V iVuk ls vkids ikl vk,] d`i;k gekjs lkFk lg;ksx djus dh dksf’k’k djsa] ;g gekjs fy, cgqr mi;ksxh lkfcr gksxhA

5. vki bl f’kYi ds rgr mRikn dh dkSu ls js[kk cukrs gSaA (a) dq’ku (b) pknjs (c) cSx (d) Åij ds lHkh 6. vki vius mRiknksa dk izpkj dSls djrs gSa ? (a) ,tsaVksa ds ek/;e ls (b) xSj ljdkjh laxBu (c) ljdkj dh enn (d) dksbZ ugha

uke : Qksu ua0 : irk : fyax : vk;q : ifjokj bdkbZ dk vkdkj %

fuEufyf[kr esa ls fdlh ,d dks pqusa % 1. f’k{kk dk Lrj ? (a) fuj{kj (c) ek/;fed

(b) eq[; (d) dkWyst

2. Kkr Hkk"kk ? (a) fgUnh (c) LFkkuh;

(b) vaxzsth (d) LFkuh;] fgUnh

3. ifjokj }kjk fdrus lkyksa dk vH;kl fd;k x;k gS ? (a) 0-5 lky (b) 5-10 lky (c) 10-25 lky (d) 25 lky ls Åij 4. vki vius mRiknksa dks dSls csprs gSa ? (a) xzkgdksa dks lh/ks (b) fu"i{k vkSj R;ksgkjksa esa (c) lSylZ vkSj ,tsaV (d) Åij ds lHkh

7. vki vius mRiknksa dks dgk¡ csprs gSa ? (a) LFkkuh; gkV (b) izn’kZuh (c) fMtkbu LVksj (d) fu;kZr LVksj 8. dPps eky dh dher D;k gSA (a) Rs.250 - Rs.300 (b) Rs.300 - Rs.450 (c) Rs.450 - Rs.600 (d) Rs.600 ls Åij 9. eghuksa dh la[;k ftlds fy, dkjhxj f’kYi lacaf/kr xfrfof/k esa 'kkfey gSa ? (a) 1-3 efguk (b) 3-6 efguk (c) 6-9 efguk (d) lky Hkj 10. dkSu fMtkbu nsrk gS ? (a) viuk (c) iqjkus iSVuZ

(b) VsªMksa@,tsaV (d) fMtkbuj

11. D;k vki dke dj jgs gSa ? (a) ijaijkxr fMtkbu (b)uohure fMtkbu ---- 32 ----

(c) cktkj dh ekax ds fMtkbu (d) buesa ls dksbZ Hkh ugha 12. vkidk cpr [kkrk fdlesa gS :(a) cSad (b) Mkd ?kj (c) dksbZ vkSj (d) dksbZ ugha 13. vkidh ekufld vk; fdruh gS ? (a) 2500-5000 (b) 5000-7500 (c) 7500-10,000 (d) 10,000 ls T;knk 14. D;k vki fuEufyrf[kr esa ls fdlh Hkh O;olk; dk lnL; gSa? (a) ,l ,p th (b) lgdkjh (c) lekt (d) dksbZ vkSj 15. lqtuh d<+kbZ esa vki fdl izdkj ds Vkads bLrseky djrs gSa ? (a) juhax Lvhp (b) LVse Lvhp (c) psu Lvhp (d) Åij ds lHkh 16.mRiknksa dh dher lhek D;k gS ? (a) 50-100 (b) 100-200 (c) 200-300 (d) 300 ls T;knk 17. lqtuh d<+kbZ esa vki fdl izdkj dh izLrqfr;ka mi;ksx djrs gSa ? (a) T;kferh; iSVuZ (b) eNyh vkSj Qwyksa dh vyadj.k (c) lkj iSVuZ (d) Åij ds lHkh

18. lqtuh esa ubZ lkexzh D;k gS ? (a) lyhrk (b) ekjdhu (c) dSlesV (d) rq"kkj js’ke (e) Åij ds lHkh 19- lqtuh esa vki fdl izdkj dk FkszM bLrseky djrs gS ? (a) panzek /kkxk (b) jaxhyk /kkxk (c) yaxj /kkxk (e) Åij ds lHkh 20- jtkbZ cukus ds fy, vki fdl diM+s dk bLrseky djrs gaS ? (a) iqjkuh lkM+h (b) /kksrh (c) nksuks (d) dksbZ ugha 21- tks vki vius fodkl ds fy, etcwr djuk pkgrs gaS ? (a) mRiknu (b) foi.ku (c) iSdsftax (d) dksbZ vkSj 22- fuEu esa ls fdu {ks=ksa esa vki izf’kf[kr gksuk pkgrs gaS ? (a) dkS’ky fodkl (b) {kerk fuekZ.k (c) fMtkbu uohurk (d) cktkj (e) dksbZ ugha

(a) dksb ugha (c) nksLrksa

(a) gk¡

(b) ifjokj (d) a vkSj b

(b) ugha

33. D;k vkids ikl dksbZ ljdkjh leFkZu gS? (a) gk¡ (b) ugha

lger vkSj vlger gSa % 26. D;k ljdkj vkidks vkidh mRikn ds fy, dqN ekfld esyksa vkSj >qXxksa dks O;ofLFkr djus esa enn djsxh ? (a) n`<+rkiwoZd lger (b) vlger (c) u rks lger uk vlger (d) rVLRFk

34. D;k vki viuh ekfld vk; ls larq"V gSa? (a) gk¡ (b) ugha 35. lqtuh esa cákjs[kk :ikaduksa dks psu flykbZ }kjk fd;k tkrk gS ? (a) gk¡ (b) ugha 36- D;k vki ;g Hkh eglwl djrs gSa fd gekjh dyk gekjh laLd`fr ls Fkdk gqvk gS? (a) gk¡ (b) ugha

27- D;k vki bl dke esa larq"V gaS ? (a) n`<+rkiwoZd lger (b) vlger (c) u rks lger uk vlger (d) rVLRFk gk¡ ;k uk fVd yxk,a %

37- iqjkus mRiknksa dh rqyuk esa u, mRikn vf/kd ykHknk;d gS ? (a) gk¡ (b) ugha

28. D;k vki f’kYi ls vyx fdlh Hkh vU; xfrfof/k esa O;Lr gaS ? (a) gk¡ (b) ugha ;fn gka] rks O;olk; fufnZ"V djsa

38- D;k vki Lo&fu;ksftr gSa ? (a) gk¡ (b) ugha

29- D;k dqN ifjoZru fd;k x;k gS f’kYi ds LFkku ;k {ks= esa ? (a) gk¡ (b) ugha

23. dkSu vkids mRiknksa dh dher r; djtk gS ? (a) [kqn (b) ,stsaV (c) LFkkuh; cktkj dh ekax (d) Je ykxr

30. D;k vkius ikjaifjd ls ubZ lkekxzh dk irk yxk;k gS ? (a) gk¡ (b) ugha

24- dgk¡ ls vki dPps eky [kjhnrs gaS ? (a) LFkkfu; cktkj (b) ,stsaV (c) cktkjksa ds ikl (d) nwj cktkj

31. D;k vkids ikWfylh gS ? (a) gk¡

25- dkSu bu mRiknksa dks cukus esa vkidh enn djrs gaS ?

32. D;k vkidh f’kYi izFkkvksa ls tqM+s fdlh Hkh O;olkf;d LokLFk; jksx gSa ?

ikl

LokLF;@thou

chek

(b) ugha

---- 33 ----

39- D;k vkidks gky gh esa vius dkS’ky mé;u ds fy, dksbZ izf’k{k.k izkIr gqvk gS? (a) gk¡ (b) ugha 40- D;k vkids dke ds voljksa ds bl rjg dk izf’k{k.k vPNk gS ? (a) gk¡ (b) ugha 41- D;k vkidks vkSj izf’k{k.k dh vko’;drk gS ? (a) gk¡ (b) ugha 42. D;k vki tkurs gSa fd daI;wVj dk mi;ksx dSls djsa ? (a) gk¡ (b) ugha

43- D;k vki baVjusV dk bLrseky djrs gSa ? (a) gk¡ (b) ugha 44- D;k vkidks dPpk eky dh [kjhn esa dksbZ Hkh dfBukbZ gksrh gS ? (a) gk¡ (b) ugha 45- D;k vki dPps eky dh [kjhn djrs le; ljdkj ls fdlh Hkh lfClMh izkIr djrs gSa ? (a) gk¡ (b) ugha 46- D;k vki vius mRikn ds foi.ku esa fdlh Hkh dfBukbZ dk lkeuk dj jgs gSa ? (a) gk¡ (b) ugha

51. dkSu lk eghuk iwjs lky esa f’kYi dk T;knk ek¡x jgrk gaS ?

52- ;fn fdjk, ij ?kj gS] rks ekfld vk; D;k gS ?

53- lqtuh djus ds fy, vkidks dPph lkekxzh D;k&D;k pkfg, ?

54- lqtuh ij dke djrs le; vki fdl rjg ds midj.k dk mi;ksx djrs gaS ?

55- ,d mRikn dks iwjk djus ds fy, fdruk le; yxrk gS ?

56- mRiknksa dh dher lhek,a D;k gaS ?

47- vkids ikl vk/kkj dkbZ gS ? (a) gk¡ (b) ugha

57- lwtuh }kjk vki fdl izdkj dk mRikn cukrs gaS ?

48- D;k lqtuh f’kYi O;olk; vkids iwjs ifjokj ds O;; ds fy, i;kZIr gS ? (a) gk¡ (b) ugha

58- lwtuh d<+kbZ dh izfØ;k D;k gaS ?

vkidh larqf"V ds vuqlkj 1@2@3@4 esa nj] ;kfn vki vf/kd larq"V gSa rks nj 4 vkSj rnuqlkj 49. ljdkj }kjk fn, x, izf’k{k.k ? (a) [kjkc (b) vPNk (c) cgqr vPNk (d) vfr mRd`"V50. misUnz egkjFkh] >kj f’kYi vkfn tSls laxBu }kjk iznku dh tkus okyh lsok,a ? (a) [kjkc (b) vPNk (c) cgqr vPNk (d) vfr mRd`"V y?kq iz’u vkSj mRrj %

59- lwtuh d<+kbZ dk orZeku ifjn`’; D;k gaS ?

60- fiNys nks lkyksa esa vkids }kjk fodflr u, mRikn D;k gaS ? dgkuh izfrLi/kkZ lwtuh vkerkSj ij ,d jtkbZ ;k fcLrj Qsyk gS tks igys ls vklkuh ls miyC/k iqjkus diM+s vkSj /kksrh ls cuk;k tkrk Fkk ysfdu vc cuk gS -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 34 ----

61. fcgkj dk mRiknu eqTtQjiqj ftyk] e/kqcuh ftyk]-----------------------------------------------------------------------------------------------------------------------------------------------------------------------vkids lg;ksx ds fy, /kU;oknA

Annexure II Dear Sir/Ma’am we came to you from NIFT Patna to conduct a survey on Sujani Craft of Bihar to collect some primary data from the artisans of this craft please try to co-operate with us it will be very helpful for us.

Name : Contact No : Address : Gender : Age : Size of the family unit : 1. What are the raw materials and tools do you required for doing Sujani ?

2. How much money do you earn after working for a whole day ?

3. What kind of product do you make from Sujani and what is the price range ?

4. What are the problems do you face while working on Sujni ?

5. Can you explain the whole process of making of product from Sujani ?

6. What is the current status of Sujni ?

Tick one of the following according to your appropriate answer :7. Is Sujni gives you sufficient amount of money for family expenditure as well as for

savings ? a) Yes

(b) No

8. Are you engaged in any other activity apart from the craft? a) Yes (b) No If, yes specify the occupation………………………………… ……………………………………………… …………………..

9. Are there any occupational health/diseases linked with your craft practice ? a) Yes (b) No If, yes then specify the disease……………………………………… ……………………………………………… …………

10. Do you get any training from any government organization ? (a) Yes (b) No If, yes then is it helpful for your business…………

embroidery? (a) Geometrical pattern (1) (b) Fish and floral ornamentation (2) (c) Both (3) 14. What kind of stitches do you used in Sujani embroidery? (a) Running stitch (b) Stem stitch (c) Chain stitch (d) All of the above 15. Do you have a saving account in the(a) Bank (b) Post office (c) Any other (d) None 16. Where do you sell your products? (a) Local haats (b) Exhibitions stores (c) Design stores (d) Export stores 17. For how many years the craft has been practiced by family? (a) 5 yrs. (b) 10 yrs. (c) 25 yrs. (d) 35 yrs.

11. Do you get any subsidy from the government while procuring raw material ? (a) Yes (b) No

18. Education level? (a) Illiterate (1) (b) Primary (2) (c) Secondary (3) (d) College (4)

12. Should the government help you by organizing some monthly fairs and harts for you product ? (a) Strongly agree (b) agree (c) disagree (d) strongly disagree (e) Neutral

19. How do you promote about your products? (a) Through agents (1) (b) Self selling (2) (c) NGO's (3) (d) Government (4)

13. What kind of motifs do you used in Sujni ---- 35 ----

20. Who gives the design (a) Own (1) (b) Trader/Agent (2) (c) Old pattern (3) (d) Designers (4)

26. What line of products do you make under this craft? (a) Quilt (1) (b) Bed sheets (2) (c) Bags (3) (d) All of the above (4)

21. What kind of thread do you used in Sujni ? (a) Moon thread (b) Rangoli or Anchor thread © Both (e) None

Rate in 1/2/3/4 according to your satisfaction, if you are more satisfied then rate 4 and accordingly:

22. Where do you procure raw material from? (a) Local market (1) (b) Agents (2) (c) Nearby markets (3) (d) Far away markets (4)

27. Training given by the government? (a) Very poor (b) Poor © Good (d) Excellent

23. Who decides the pricing of your product? (a) Self (b) Agent (c) Local market demand (d) Labor cost

28. Services provided by any organization like Upendra Maharathi. What was the experience of that organization? (a) Very poor (b) Poor © Good (d) Excellent

24. What cost price does the raw materials required? (a) Rs 250-300 (b) Rs 300-450 (c) Rs 450- 600 (d) Rs. 600 - 1000 25. Which fabric do you used in sujni? (a) Salita (1) (b) Markeen (2) (c) Casement (3) (d) Tusser silk (4) (e) All of the above (5)

29. What is your monthly income ? (a) 2500 -5000 (b) 5000-7500 © 7500-10000 (d) above 10000 30. Complete the story “sujni is usually a quilt or bed spread' which was earlier made of easily available old clothes, but now it is made up of………………………………………………

---- 36 ----

………………………………………………… ………………………………………………… ………………………………………………… ………………………………………………… ………………………………

Thank You ! for your cooperation

vuqca/k 2 fiz; lj@eSe! ge bl f’kYi ds dkjhxjksa ds dqN izkFkfed vkadM+ksa dks ,d= djus ds fy, fcgkj ds lqtuh f’kYi ij ,d losZz{k.k djus ds fy, fu¶V iVuk ls vkids ikl vk,] d`i;k gekjs lkFk lg;ksx djus dh dksf’k’k djsa] ;g gekjs fy, cgqr mi;ksxh lkfcr gksxhA uke : Qksu ua0 : irk : fyax : vk;q : ifjokj bdkbZ dk vkdkj %

iz’uksa ds mRrj % 1. lwtuh djus ds fy, vkidks dkSu lh dPph lkexzh vkSj midj.k pkfg, ?

2- iwjs fnu dke djus ds ckn vki fdruk iSls dekrs gSa ?

3. vki fdl izdkj dk mRikn lqtuh ls djrs gSa vksj eqY; lhek D;k gS ?

4- lqtuh ij dke djdrs le; vkidks D;k leL;k,a vkrh gSa ?

5- D;k vki lqtuh ls mRikn cukus dh iwjh izfØ;k le>k ldrs gSa\ 6. lqtuh dh orZeku fLFkfr D;k gSa ?

vius mfpr mRrj ds vuq l kj fuEufyf[kr esas ls ,d dks fVd djsa %&

7. lqtuh ls vkidk ifjokj O;; ds fy, vkSj lkFk gh cpr ds fy, iSls dh i;kZIr ek=k gks tkrk gSa ? (a) gk¡ (b) ugha 8. D;k vki f’kYi ls vyx fdlh vU; xfrfof/k esa yxs gSa\ (a) gk¡ (b) ugha 9. D;k vkids f’kYi vH;kl ls tqM+s fdlh Hkh O;kolkf;d LokLF; jksx gSa ? (a) gk¡ (b) ugha 10. D;k vki fdlh Hkh ljdkjh laxBu ls dksbZ izf’k{k.k izkIr djrs gSa ? (a) gk¡ (b) ugha ;fn gk¡] rks chekjh funsZ"k djsa -----------------------------------------------------------------------------------------------------11. D;k vki dPps eky dh [kjhn ds nkSjku ljdkj ls fdlh Hkh lfClMh izkIr djrs gSa ? (a) gk¡ (b) ugha 12. D;k vkidks dqN ekfld esyksa vkSj vkidks mRiknksa ds fy, gkVZ~l ds vk;kstu ds }kjk ljdkj dks enn djuh pkfg,\ (a) iwjh rjg ls lger (b) lger gSa (c) vlger (d) n`<+rk ls vlger 13. :ikaduksa vki fdl rjg lqtuh d<+kbZ esa bLrseky djrs gS ? (a) T;ferh; iSVuZ (b) eNyh vkSj Qwyksa dh vyadj.k (c) nksuksa (d) dksbZ ugha ---- 37 ----

14. fdl rjg dh flykbZ vki lqtuh d<+kbZ esa bLrseky djrs gSa? (a) py jgh flykbZ (b) LVse flykbZ (c) psu flykbZ (d) mijksDr lHkh 15. vkidk cpr [kkrk fdlesa gS :(a) cSad (b) Mkd ?kj (c) dksbZ vkSj (d) dksbZ ugha 16. vki vius mRiknksa dks dgk¡ csprs gS ? (a) Lfkkuh; gkV (b) izn’kkZuh Lvksj (c) fMtkbu LVksj (d) fu;kZr LVksj 17. ifjokj }kjk fdrus lkyksa dk vH;kl fd;k x;k gSa ? (a) 0&5 lky (b) 5&10 lky (c) 10&25 lky (d) 25 o"kZ ls vf/kd 18. f’k{kk Lrj vkidk D;k gS ? (a) fuj{kj` (b) izFkkfed (c) ek/;fed (d) dkWyst 19.vki vius mRiknksa ds ckjs esa dSls izpkj djrs gS ? (a) ,tsVksa ds ek/;e ls (b) Loa; fczØh (c) ,uthvks }kjk (d) ljdkjh lg;krk 20. dkSu fMtkbu nsrk gS ? (a) [kqn (b) O;kikjh ;k ,stsaV (c) iqjkus iSVuZ

(d) fMtkbZuj

21. /kkxk fdl rjg dk lqtuh esa iz;ksx fd;k tkrk gSa? (a) panzek /kkxk (b) jaxksyh ;k ,d ,Sadj /kkxk (c) nksuksa (d) buesa ls dksbZ ugha 22. vki dgka ls dPps eky dh [kjhn djrs gSa? (a) LFkkuh; cktkj (b) ,tsaV~l (c) fudVre cktkj (d) cgqr nqj cktkj 23. dkSu vkids mRikn dh dher r; djrk gSa? (a) Lo;a (b) ,stsaV (c) LFkkuh; cktkj dh ekax (d) Je ykxr 24. dPps eky dh dher D;k gSa? (a) 250&300 # (b) 300&450 # (c)450&600 # (d) 600 ls vf/kd 25. dkSu lk diM+k vki lwtuh esa bLrseky djrs gSa? (a) lyhrk (b) ekfdZu (c) ltk (d) rlj js’ke 26. bl f’kYi ds rgr vki fdu mRiknksa dh js[kk cukrs gSa? (a) jtkbZ (b) pknj (c) cSx (d) mijksDr lHkh

(a) [kjkc (c) cgqr vPNk

(b) vPNkk (d) mRd`"V

28. fdlh Hkh laxBu }kjk lsok iznku fd;k tkrk gS tSls dh misUnz egkjFkhA ml laxBu dk vuqHko dSlk Fkk? (a) [kjkc (b) vPNk (c) cgqr vPNk (d) mRd`"V 29. vkidk izfr ekg fdruk vk; gSa? (a) 25000 & 5000 (b) 5000 & 7500 (c) 7500 & 10000 (d) 10000 ls Åij 30. dgkuh izfrLi/kkZ lwtuh vkerkSj ij ,d jtkbZ ;k fcLrj Qsyk gS tks igys ls vklkuh ls miyC/k iqjkus diM+s vkSj /kksrh ls cuk;k tkrk Fkk ysfdu vc cuk gS ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------vkids lg;ksx ds fy, /kU;oknA

vkidh larw"Vh ds vuqlkj 1@2@3@4 esa njA ;fn vki vf/kd vf/kd larq"V gSa rks nj 4 rnkuqlkj dj ldrs gS %& 27. ljdkj }kjk izf’k{k.k fn;k x;k dSlk gksrk gSa? ---- 38 ----

Data Analysis

Artisans Sikha Devi Reenu Devi Leela Devi Ritu Kumar Saloni Kumari Sunaina Devi Rinki Devi Pinki Devi Sabita Devi Sarita Kumari Sushmita Mishra Ranju Devi Meena Devi Pinki Kumari

Age 51 41 44 21 19 53 55 25 40 40 30 35 39 34

Average Sum Standard Deviation

37.64286 527 11.24

Score 0.03 0.01 0.01 -0.03 -0.04 0.03 0.03 -0.02 0.00 0.00 -0.01 -0.01 0.00 -0.01

Account 1 1 1 1 1 1 4 1 4 2 1 1 1 1

Education 4 3 4 3 3 2 1 3 1 1 1 2 2 3

Size of Family 4 4 4 5 5 12 15 6 8 9 15 6 12 11

Monthly Income 10000 10000 10000 7500 7500 7500 5000 5000 2500 2500 2500 2500 2500 2500

25000 25000 25000 10000 10000 10000 7500 7500 5000 5000 5000 5000 5000 5000

Mid Value 17500 17500 17500 8750 8750 8750 6250 6250 3750 3750 3750 3750 3750 3750

1.5 21 1.09

2.36 33 1.08

8.29 116 4.05

5535.71 77500 3128.43

10714.29 150000 7992.10

825 11750 5454.4

---- 39 ----

No. of years Craft Practiced 25 15 25 5 5 35 25 10 10 10 10 10 10 10 14.64 205 9.09

Cost of Raw Material 600-1000 600-1000 600-1000 600-1000 300-450 600-1000 300-450 450-600 450-600 600-1000 300-450 450-600 600-1000 600-1000

800 800 800 800 375 800 800 375 525 525 800 375 525 800

Standardize Score 799.93 799.93 799.93 799.93 374.93 799.93 374.93 524.93 524.93 799.93 374.93 525.93 799.93 799.93

Fabric they used 5 5 5 4 2 5 5 4 5 4 5 2 2 4

Procuring of Raw Material 3 4 2 2 3 3 1 3 1 4 4 1 4 4

Standardize Score 2.93 3.93 1.93 1.93 2.93 2.93 0.93 2.93 0.93 3.93 3.93 0.93 3.93 3.93

Who Gives Design 4 2 1 3 1 3 1 1 3 4 1 1 1 1

Standardize Score 3.93 1.93 0.93 2.93 0.93 2.93 0.93 0.93 2.93 3.93 0.93 0.93 0.93 0.93

650 9100 186.83

649.93 9099.00 186.83

3.86 54 1.29

2.79 39 1.19

2.71 38.00 1.19

1.93 27 1.21

1.86 26.00 1.21

---- 40 ----

Conclusion The visit to the Sujani Cluster in Bihar was a memorable experience; giving insights about the conditions of the dying craft. Interaction and observation led to the understanding and discovery of many facts and ďŹ gures. There is a huge scope of promoting and reviving the traditional craft that narrates the stories of Bihar on cloth. Right planning, strategizing and implementation of proper developmental activities can make this cluster a self sustained cluster. Skill and design based workshops should be conducted at regular intervals to enhance their overall skill sets and make them competitive. Formation of groups and associations can give them recognition and to be taken seriously by the traders and the middlemen. Regular participation in trade fairs, national and international exhibitions will give them exposure, so that they are updated with the present and the latest happenings. AďŹ&#x192;liation to various organizations, craft councils and tie-ups with design experts will act as facilitator in their development. Many more options and suggestions both micro and macro level are discussed in the report.

---- 41 ----

Photo Gallery ---- 42 ----

Group Members

Name - Shruti Vyas Contribution - Research Work

Name - Shweta Kaushal Contribution - Layouting and Videography

Name - Soni Kumari Contribution - Collaterals, Research Work

Name - Vijaya Patel Contribution - Photography, Collaterals

Book Ÿ

Handmade in India

-

Page No. 186

Website Ÿ

https://www.google.co.in/url?sa=t&source=web&rct=j&url=http://www.craftmark.org/sites/default/files/P027%2520Sujni%2520Embroidery.pdf&ved=0ahUKEwiszKaPr7LX AhUfSY8KHTuyA88QFgiZATAY&usg=AOvVaw3yEgNEDHaCK9GDmGStFs2L

Ÿ

https://www.google.co.in/url?sa=t&source=web&rct=j&url=https://en.m.wikipedia.org/wiki/Sujini_embroidery_work_of_Bihar&ved=0ahUKEwjG0KTrm7LXAhUHN48KHe lMBugQFgh5MBA&usg=AOvVaw27AMCSsJyNnbRcfwyr9x4O

Ÿ

https://www.google.co.in/url?sa=t&source=web&rct=j&url=https://www.utsavpedia.com/motifs-embroideries/sujaniembroidery/&ved=0ahUKEwjG0KTrm7LXAhUHN48KHelMBugQFghtMA8&usg=AOvVaw0SZkOMR0w05d0ESji-Sf0

Ÿ

http://www.slideshare.net/winnermuskan/bihar-23491347

Ÿ

http://www.thisismyindia.com/bihar/bihar-culture.html

Ÿ

http://www.camelcraft.com/bihar-handicraft.html

Ÿ

http://indianmirror.com/culture/states-culture/bihar.html

Ÿ

http://patnaonline.in/city-guide/about-patna

Ÿ

http://research-methodology.net/sampling-in-primary-data-collection/cluster-sampling/

Bibliography ---- 43 ----