MUDIAO WOOD CARVING
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Copyright Š 2018 All Rights Reserved. Designed and Compiled by: Anuradha Kumari, Mehak Kaul, Srishti, Vaishnavi Dhumal, Vikash Kumar National Institute of fashion Techonology, Kangra
ACKNOWLEDGMENT
The completion of this document would not have been possible with-
out the combined efforts of our experienced and knowledgeable faculties who have taught us the subject of Field Study. We express our gratitude to Asst.Prof. Mrs. Chavvi Goyal who accompanied us through our documentation process. It was under her guidance and mentor-ship that we could successfully plan and carry out our required ventures to complete our survey comprehensively. We would like to greatly express our appreciation towards the craftsmen and their mentors at Norbulingka Institute for taking out their valuable time for us. We highly appreciate the patience and willingness of artisans to tell us their stories and details about the craft of wood carving. We feel deeply obliged and grateful to our college, NIFT Kangra for providing us this opportunity to document this beautiful craft of Tibetan wood carving.
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PREFACE
Craft documentation is an introduction to the handicraft industry to
give the students working knowledge of the traditional craft. It blends there secondary research and primary research. It also aims of providing the students with the knowledge of the design process and manufacturing process followed since ages. Craft documentation is an important part of a student’s life. Where they get to know more about the traditional skills. It helps to understand the limitations and criteria for designing a product which can sell itself in the market for a longer time period. This document is a means to share our experiences and learnings from the macro and micro environment. We have tried to share all the knowledge that we have gained while studying this craft.
Entrance gate, Norbulingka Institute
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CONTENTS
1. Overview 2. Norbulingka Institute 3. Woodcarving •Raw materials •Tools •Process •Product and Design •Motifs 4. Case Study 5. Problems Faced 6. Swot Analysis 7. Conclusion 8. References 9. Appendix
08-11 13-15 17-21 22-22 23-25 26-28 29-29 30-30 31-35 36-36 37-37 39-39 41-41 42-43
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OVERVIEW
The tradition of wood carving existed in India from ancient times. The early
wood carved temples bear witnesses for this. Wood-Carved temples are surviving till date in Himachal Pradesh and Uttar Pradesh. In India, each region has developed its own style of structures and carvings. Local traditions and locally available wood varieties influence them a lot. Assam has places of worship including large carvings of mythical figures like half man, Garuda, Hanuman, lion, etc. In Kashmir, the houses are lined with wood, with ceilings worked in geometrical patterns and lattice- worked windows are made up of pieces of wood, locally known as Pinjara. Gujarat is too rich in woodcarving tradition. They have houses with carved facades. In Tamil Nadu, not only are the houses and temples decorated with wood carving, but also Tanjore dolls made of wood are used for educating small children. Andhra Pradesh has a tradition of manufacturing wood carving for religious centers. In Kerala, houses have carved pillars, beams and carved family temples. In Uttar Pradesh, Saharanpur is an important centre of wood carving. Manipur focuses on metal thread work done in furniture, called Tarkashi, whereas in Orissa, the deity of Lord Jagannath is produced in wood. Karnataka specialises in sandalwood carving, whereas in Rajasthan, wooden carved figures of Ghangore are worshipped. 8
Source D-Maps
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HIMACHAL PRADESH
The Hilly area of Himachal has remained isolated from the world for a
long time. This isolation has acted as a boon for the region as it has enabled them to have a culture of their own. The vivacious assortments include detailed work of wood, classical embroidery on leather, wonderfully decorative carpets, customary woolen shawls apart from other things. Wood has always been an instrumental element in Himachal. One of the only places where it is used as a basic structural material, Trees like Pine, Cedrus deodara, and wild black mulberry are some of the woods that are in generous quantity in Himachal. Places like Chamba, Kalpa, Kinnaur, Kullu and Tisza are well known for the same. With carved doors, Windows and balcony panels, Wood is undoubtedly the most used material in the village houses. Kinnaur and Kullu exhibit this the best.
Source D-Maps
District Boundaries 9
SIDHPUR, KANGRA
Sidhpur is beautiful village settled in the lap of Dhauladhar ranges near
Dharmshala (HP). The Bodh monastery, Norbulinga is in this village. Beautiful hotels and good people makes village more beautiful. People are understandable and hardworking. The Aghnjar Mahadev temple, Indrunag and Chaddai Mata temple are the main places to see. The famous slates (extricated stones)making of houses are the major source of income to the people of this place. A good convent school , Sacred heart is the prime source of good education by ICSE board, Delhi. The village people are mostly in govt jobs. Max people are in Army. The village has produced good sportsmen too. The village has many employees in civil jobs like teachers, few are in civil services and defense services officers and in ranks.
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Sidhpur Village, Kangra
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NORBULINGKA INSTITUTE
Norbulingka is a place in old Tibet and Norbulingka Institute is located in northern Himachal Pradesh considered to be the traditional summer dwelling to Dalai Lamas success which serves as administrative and also as a religious center. This institute provides a great support for teaching and training many of the Tibetan arts namely- Wood Carving, Metal Craft, Thangka Painting, Wood Painting and Appliqué work. The Institute is solely dedicated to the preservation on Tibetan Art and Culture. “We are a self-sustaining community located in Dharamsala, India, dedicated to ensuring that the integrity of Tibetan artistic traditions is maintained for generations to come.” -Norbulingka Institute
Articraft room in Norbulingka
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HISTORY
In the early 1980’s, Kelsang Yeshi, Minister of the Department of Reli-
gion and Culture, and his wife Kim Yeshi began to imagine an institute in India which could act as a cradle for the revival of Tibetan art, and provide a haven for artists to practice their crafts. The goal was to return Tibetan art to its former glory, following the strictest standards in terms of the selection of materials, quality of craftsmanship, and adherence to traditional methods.
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GEOGRAPHY
“The moment you step inside the gates of Norbulingka, it is as if you are transported to a different world. Gurgling streams run through immaculately maintained Japanese styled gardens, while birds of all different species can be seen fluttering among the treetops. The architecture, built in traditional Tibetan style gives a feeling of returning to old Tibet. There is much to see and do here, and you will want to allow for at least several hours to explore our institute.” At the entrance, you will be asked to pay a small fee of 40 rupees for locals and 100 rupees for tourists, which goes towards the maintenance of our grounds. Address: Norbulingka institute PO, near Dhramshala, Sidhpur, Himachal Pradesh, 176057 Geo Location(DMS): Latitude : 32 ° 11’ 55.25” N Longitude: 76 ° 21’ 32.373” E Altitude: 1231 meters
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WOOD CARVING
The Tibetan tradition of woodcarving dates back to the seventh cen-
tury, commonly appearing in the crossbeams of houses, door and window frames, as well as in furniture. Various types of flowers, mountains, clouds, and other elements in nature, as well as religious symbols, all have a style in which they must be drawn. Although woodcarving is not a religious art, because Tibetan culture is so linked with Buddhism, many of the popular motifs do have a religious significance. Among the most common symbols to be carved are the Tashi Targye, or Eight Auspicious Symbols. These are also the first designs that any beginning student learns to make. Wooden carved furniture is usually created without the use of any hardware but as carved panels that are ingeniously assembled to form the whole piece. When carving, first an image of the design is transferred onto the flat surface of the wood. Then a Tibetan bamboo fret saw is used to cut out holes in the image. Finally, chisels are used to carve the design from both the front and back, creating depth. The initial training for woodcarving students is three years.
Wood Carving done on a cabinet
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Brain Storming, Mind Mapping, Kippling Method
Brain Storming 18
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Macro Enviornment
Macro Enviornment 21
RAW MATERIALS
Simple and basic tools are generally used for Tibetan wood carving. Usu-
ally Pine (for frame) and Teak wood are preferred for making the carvings on the products as it is highly durable. The wooden planks are purchased from Gagal village and Yol only to be brought to Norbulingka. 1. Pine wood (Kail) – It is used because it’s affordable and easy to carve. 2. Teak (Rai) – It is largely preferred as it contains natural oil content and is highly flexible, durable
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Pinewood planks
TOOLS
Muti-Angular Chisels
• Table Saw – These are wood working equipment which supports to cut the wood into required shape. • Hand Saw – The extra edges of the wood are removed using hand saw. • Carbon Sheet – It is used to trace the designs on the wood. • Adhesive – It is used to stick the designed paper sheets on the wood. • Drilling Machine – It is used to create holes. • Bah (Traditional tool) – It is used to cut the wooden part which is not required in the motif of design. • Bench Vice – These are used to hold the wood that is bolted to carve. • Hand Chisels – These are used to carve out the wood which is struck with wooden mallet. 23
• Semi Curved Chisels – These are used to cut the wood in semicircular shape. • Wooden Mallet – It is used to strike the chisels according to the required shape. • Files – These are used to soften and even the surface of wood. • Planer – It is used make the surface of the wood flat. • Hammer – It is used to fit-in the two parts of the wood tightly. • Cutting Plier – It is used for cutting and pulling the wires. • Sand Paper – It is used to soften the surface of the wood. • Buffing Machine – It is used as an equipment to buff the top surface of the wood. • Varnish – Its transparent, protective finish applied on the wood as a coat. • Natural Paintings – These are preferred to paint the wood surface on requirement. 24
Tradtional Tool -BAH
Motorized coping saw is used to cut and extract the worod between the patterns
An artisan in action 25
PROCESS
1. Cutting of wooden planks The planks of wood are stored on the shelves after seasoning. Based on orders, wooden planks are cut with the table saw to the required shapes and sizes. 2. Tracing the design on wood The new designs are traced with the help of a carbon sheet, butter paper and pencil to the wood surface. In case of the bulk requirement the designs are photocopied and pasted with the adhesive on the surface of wood.
2. Design to be carved
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1. Hand saw and Bench vice to hold the plank 21
3. Drilling holes Holes are drilled to the part of the design to distinguish the wooden parts of the design to be cut. Unwanted wooden parts of the designs are cut with traditional cutters called Bah/cutters or Motorized Saw wire.
3. Drilling holes
4. Use of bench/table vice The wood is fixed firmly to the table vice so that the craftsmen can remove the outer portion of the design with different types of chisels to get the outline of the design.
4. Motorized saw wire
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5. Carving of intricate designs After carving the outlines, intricate carving is done on it by experienced craftsmen (artisan), where certain parts are highlighted to uplift the motif of the designs.
6. Smoothening As the intricate portions of the design are carved and sanded with the sandpaper to obtain a smooth finish. With the help of tooth brush the fine dust is removed from the wooden parts. 5. Using different chisels
6. Orbital sander in use
7. Finishing The carved -wooden portions are fixed to each other to form frames which are locked firmly to make it to frames and stands of the products. Varnish is applied on the wood to make the surface more lustrous and further painted with different colors on requirement. 28
7. Varnish application 23
PRODUCT AND DESIGN
Wood carving contains different varieties of products that are mainly done by the Tibetan community. The products are vended in Norbulingka, McLeod Ganj, also in abroad like Japan and China. The design carved on the wood are usually of Tibetan culture and of Tibetan motifs. Listed below are some of the products made in Norbulingka Institute: 1. Wooden frames 2. Boxes 3. Lamps 4. Chairs 5. Cupboards 6. Wooden treasure box 8. Wooden stairs 9. Music Instruments 10. Photo Frames
Photo Frames
Magnified view of photo frame 29
TRADITIONAL TIBETAN MOTIFS The Golden Fish
The golden fish symbol symbolizes the auspiciousness of all living being in a state of fearlessness, without danger of drowning in the ocean of sufferings, and migrating from place to place freely and spontaneously, just as fish swim freely without fear through water Vase of Treasure The treasure vase symbolises an endless rain of long life, wealth and prosperity and the benefits of this world and liberation. Lotus Flower The Lotus flower symbolises the complete purification of the defilements of the body, speech and mind, and the full blossoming of wholesome deeds in blissful liberation.
Victory Banner The victory banner symbolises the victory of the activities of one’s own and other’s bod, speech and mind over obstacles and negativities. It also stands for the complete victory of the Buddhist doctrine overall harmful and pernicious forces. Precious Umbrella The precious umbrella symbolises the wholesome activity of preserving beings from illness, harmful forces, obstacles and so forth in this life, and all kinds of temporary and enduring sufferings of the three lower realms, and the realms of men and Gods in future lives. It also represents the enjoyment of a feast of benefit under its cool shade.
White Conch The white conch which coils to the right symbolises the deep, far reaching and melodious sound of the Dharma teachings, which being appropriate to different natures, predisposition and aspirations of disciples, awakens them from the deep slumber of ignorance and urges them to accomplish their own and other’s welfare. Endless Knot The endless knot, or auspicious drawing symbolises the mutual dependence of religious doctrine and secular affairs similarly, it represents the union of wisdom and method, the inseparability of emptiness and dependent arising at the time of path, and finally, at the time of enlightenment, the complete union of wisdom and great compassion. Golden wheel The golden wheel symbolises the auspicious turning of the precious wheel of Buddha’s doctrine, both in its teaching and realisation, in all realms and at all times, enabling being experience the joy of wholesome deeds and liberation.
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Source: www.forbiddenmotifs.com
CASE STUDY
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Tenzin
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Tashiphuntsok
Age: 38 Sex: Male Education level: Primary Language known: Hindi, English, Tibetan
Age: 48 Sex: Male Education level: Secondary Language known: Hindi, Tibetan
Tenzin has been associated with Norbulingka since 2004, when he came to India all the way from Lhasa, Tibet just to master the art of woodcarving and carpentry by starting with a basic course of three years. He is 38 years old and is now employed at Norbulingka Institute as a worker. Since childhood, he has had keen interest in this craft and it was his passion for this profession that drove him here to Norbulingka Institute. He is not married and wishes to stay the same. His monthly income is around 10,000 currently.
Tashiphuntsok is an experienced teacher at Norbulingka Institute. His story dates back to 2002, when he left his hometown in Central Tibet for better education and job opportunities. After completing secondary school, he enrolled himself for a 5 year course of wood carving at Norbulingka Institute. According to the 48-year old, the salary he gets (15,000-20,000p/m) is not enough for a family of four. Thus, he owns a small road side restaurant, run by his wife to fully support their household.
Ngwang
Sonam
Age: 29 Sex: Male Education level: Secondary Language known: Hindi, English, Tibetan
Age: 21 Sex: Male Education level: Secondary Language known: Hindi, English, Tibetan, French
In spite of being a Tibetan, Ngwang’s family has been settled in Chandigadi, Orissa for many decades. The 29-year old, is a 10th standard drop out. He has also worked in South India for a long time and has been learning at Norbulingka Instititue for the past one and a half years. He prefers the traditional ways of carving as according to him, machines can never reach the accuracy and intricacy of hand. His vehemence towards this craft was clearly visible while he was being interviewed. He loves to play Billiards and is positive with his life.
Sonam, a native of Manali, Himachal Pradesh has been quite passionate about learning this craft of wood carving since his adolescent days. As soon as he passed his 10th standard, he started developing interest in Tibetan wood carving which led him to join Norbulingka Institute two years back. The 21-year old student is enrolled as a student and is currently provided accommodation as well as monthly expenses by the Institute itself. He is full of life and loves to play guitar and enjoys football. 33
Age: 40 Sex: Male Education level: Hindi, Tibetan Language known: Hindi, Tibetan At the age of fifteen, Gyaltsen travelled to Lhasa to learn carpentry. Tenzin Gyaltsel is from Ngamring, a region in U-Tsang, Tibet. At the age of fifteen, Gyaltsen travelled to Lhasa to learn carpentry. He explains that during his youth, most of the youngsters aspired to learn carpentry, as there was never a shortage of work for a skilled craftsman. He spent three years in Lhasa as an apprentice. In 1998, his brother thought this would be a great opportunity for Gyaltsen to further his skills and convinced him to migrate to India for better education and learning. Later he joined as a student at Norbulingka Institute under Master Choe Phuntsok . Choe Phuntsok’s curriculum was unique in that it taught both carpentry and carving, where before these had been considered separate skills. After a six-year course, Gyaltsen became a professional artist, and worked together with the carving team creating Norbulingka’s line of carved products such as incense burners and nomad tables, as well as special commissions. In 2010, Gyaltsen became the master of the woodcarving section, heading a team of about 10 individuals. He believes that it is extremely important to preserve the tradition of Tibetan woodcarving, because it is through the various customs and traditions that an entire culture is preserved, and he, like all Tibetans, wishes to see Tibetan culture flourish for many centuries to come. He has more than 13 years of experience and now is currently married with no issues, which is why his salary of 30,000 is quite sufficient for him and his wife. The 40-year old holds the thought that artisans should be paid more since it includes a lot of labour work and long tiresome stretches to get work done. 34
Tenzin Gyaltsen (Master Artisan)
Gyaltsen’s Workplace
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PROBLEM FACED
Lack of exposure
Artisans/workers in particular just come and do their work. They don’t know the worth of their craftsmanship because; they work under someone who pays them for their work. At Norbulingka Institute, there were many workers employed who might have been passionate about it but they have no clue about status of this craft.
Low pay
They are not paid enough for the excellent work they do (bulk production; paid based on the quantity of the products you create).
Health issues
They have to work for long, laborious hours for days to complete a product which causes them painful back aches, minor injuries and teary eyes due to the dust particles.
Obsolete Tools
Due to obsolete machinery and tools, the artisans need to put in way more effort to carve intricate designs on wood. Tool sharpening then becomes an issue.
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Raw Material Cost
The cost of raw materials keep increasing every month which causes the products to become even more expensive, thus in order to make good sales, they have to go through minor financial losses.
SWOT ANALYSIS Strength 1.Skill
2. Demand 3. Good Masters 4. Making traditional motifs •
Weakness 1. No exposure to general market. 2. Health problems due to sitting postures.
Making traditional motifs STRENGTH
Opportunity
• Skill • Demand • Good masters in interna1. More acceptance • Making tional Market.traditional motifs
2. Use of traditional motifs makes
• Skill their products unique. • Demand • Good masters • Making traditional motifs
Threat 1. Slow technology adaptation. 2. Lower education level of the artisan. 3. Less number of master.
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SUGGESTIONS
1. Introduction of modern technology and new tools for making things easier for the artisans. 2. The workplaces should be upgraded for a better work environment. 3. More number of skilled masters should be involved in order to keep this traditional craft from going extinct and to pass this to the new generation. 4. The artisans should be earning more as they will never think of introducing this craft to their children, thus it won’t be able to make through generations.
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CONCLUSION
Our study was conducted to know the process involved in the craft of
Tibetan wood Carving at Norbulingka Institute, Dharamshala and to study about the artisans and their current situation in the industry. From the analysis it is found that the artisans are facing some problems in relation to the craft which also takes toll on their health. In spite of being passionate about wood carving as a craft, their income/commission is not enough to support their families. Therefore, necessary steps should be taken to limit the worries of the artisans and help them to make a better life fore themselves. Though Norbulingka Institute is contributing it’s best to promote the age-old tradition of wood carving by encouraging artisans /students/workers to get involved in this craft and even provide them with free hostel and food facilities.
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REFERENCES
http://www.dsource.in/resource/tibetan-wood-carving-himachal-pradesh/tools-and-raw-materials http://www.discoveredindia.com/himachal-pradesh/culture-in-himachal-pradesh/art-and-crafts/wood-craft. htm http://www.holidayiq.com/Kangra-Sightseeing-398.html http://www.dsource.in/resource/tibetan-wood-carving-himachal-pradesh/introduction http://www.dsource.in/resource/tibetan-wood-carving-himachal-pradesh/making-process Interview form the artisans
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APPENDIX 1. Artisan’s Name_____________________ 2. Contact No___________________ 3. Artisan’s Address_________________________________________________ 4. Artisan’s age5. Artisan’s Sex (a) Male (b) Female 6. Education level of artisan’s. (a) illiterate (b) Primary (c) Secondary (d) College 7.Language known _______________________________________________________________ 8. Size of the family unit (a) 1-2 (b) 2-3 (c) 4-6 (d) More than 6 9. For how many years the craft has been practiced by you? (a) 2 years (b) 3 years (c) 4 years (d) more than 4 years 10.Why did you get involved in this craft? (a) passion (b) livelihood (c) to promote tradition (d) others 11.How much time is needed to prepare a full finished product? (a) 5-10 days (b) 10-20 days (c) more than 20 days 12.Is there any specific month/time of the year when the demand of the craft is high? (a) Yes (b) No If yes, then specify_________________________________________________ 13. Are you planning to train your children in your traditional craft practices? (a) Yes (b) No Your reasons for your choice_________________________________________ INCOME RELATED QUESTIONS 14. Current monthly income of the artisan’s (a) 2500-5000 (b) 5000-10,000 (c) 10,000-15,0other00 (d) More than 15,000 15. Do you have a saving account in the: (a) Bank (b) Post Office (c) Any other (d) NO 42
ASSETS 16. Dwelling (a) Own house (b) Rented (c) Hostel 17. Type of house (a) Kaccha (b) Pucca (c) Semi pucca 18. Monthly rent________________________________________________ ____ 19. In the last two years have you purchased /changed/added any of the following (a) Cattle (b) Land (c) Two-wheeler (d) Four-wheeler (e) Electronics ( TV, radio,etc.) (f) Mobile (g) Gas connection (h) Computer (i) any other items (j) none 20MEDICAL FACILITY 20. Are they any occupational health hazards, diseases linked with your craft practices? (a) Yes (b) No If yes please, specify______________________________________________________ (21) Do you have health/life insurance policy? (a) Yes (b) No DESIGN AND TECHNOLOGY 22. Are you working on (a) Traditional design (b)Latest design (C)Market demand design 23. who give the designs? (a)own (b}Trader/Agent (c)Old patterns (d)Designers/ Masters 24. Has there been any adoptions of new techniques in development of craft? (a)Yes (b)No If yes please,specify_______________________________________________________ 25. How you explored new materials either than traditional? (a)Yes (b)No If yes please,specify _______________________________________________________ (a)Better pricing (b)Nonviability (c)Creative persuasion (d)Any others
26. Identify the skill level of the artisans(as per the artisan perception) with respect to the handicraft only? (a)Unskilled (b)Semiskilled (c)Skilled (d)Master craftsman 27. Are you self-employed? (a)Yes (b)No If No, specify place_________________ 27. which department would you like to strangeness for your growth? (a)Production (b)Design (c)Packaging (e)Marketing (f)Other TRAINING 28. Where were you trained? _________________________________ 29. How many people have trained you?_____________________ 30. How many people were with you in your training batch? (a)Less than 10 (b)More than 10 but less than 20 31. Have you received any training recently for upgrading your skills? (a)Yes (b)No 32. Do you need further training? (a)Yes (b)No 32. In which of the following areas would you want to be trained/you are trained? (a)Skill development (b)Design and innovations (c)Others 33. Do you know how to use computers? (a)Yes (b)No
PRICING 35. Who or what decides the pricing of the products? (a)Self (b)Traders/agent (c)Raw materials (d)Local market demands (e)Labor cost (f)Other 36. Where do you purchase raw material from? (a)Local market (b)Agents (c)Nearby markets (d)Far away markets 36. Do you have any problem in buying raw materials? (a)Yes (b)No If yes than specify____________________________________________________ (a)Often (b)Sometimes (c)Rarely MARKETING 37.How do you sell your product? (a)Directly to costumer (b)Melas and festivals (c)Exports (d)Local market (e)Trade fairs (f)Online (g)Other 38. Are you facing any difficulties in marketing your products? (a)Yes (b)No If yes what are the main reasons: (a)Distance from your unit to market (b)Transportation (c) Lack of domestic (d)Local market (e)Others
34. Do you use Internet? (a)Yes (b)No If yes what do you use it for__________________________________________ __________ (a)Personal (b)Business purpose (c)Both 34. Have you benefited in any way by the use of Internet? (a)Yes (b)No If yes specify___________________________________________________________ 43