Channapatna toys by S Vignesh

Channapatna :

Gombegalla Kathe

About NIFT National Institute Of Fashion Technology was set up in 1986 under the aegis of the Ministry of Textiles, Government of India. It has emerged as the premier Institute of Design, Management and Technology, developing professionals for taking up leadership positions in fashion business in the emerging global scenario. NIFT has been granted statutory status under the act of Parliament of India in 2006, empowering the Institute to award degrees and other academic distinctions. The Institute is a pioneer in envisioning and evolving fashion business education in the country through a network of sixteen professionally managed domestic centres at Bangalore, Bhopal, Bhubaneswar, Chennai, Gandhinagar, Hyderabad, Jodhpur, Kangra, Kannur, Kolkata, Mumbai, New Delhi, Patna, Raebareli, Shillong and Srinagar. NIFT has set academic standards and excelled in thought leadership by providing a pool of creative and technically competent professionals. The Institute provides a common platform for fashion education, research and training.

Published in the year 2021. National Institute Of Fashion Technology (NIFT) (Ministry Of Textiles, Government Of India) Bengaluru, India. Images © Copyright (National Institute Of Fashion Technology) NIFT

This document is originally submitted as a part of academic learning to NIFT, Bengaluru and is for academic purpose only. The opinion expressed in the document is solely those of the author and NIFT does not bear any responsibility for the nature of its content. Reproduction of any part of this document must acknowledge the author and NIFT Bengaluru.

Preface

Bonafide Certificate

Channapatna, a small town which is now known for its toy making, lies between Bengaluru and Mysuru in Karnataka, India. As in most small towns, economic and social life revolves around the vicinity of a mosque or a temple. The lathe-turned toys have been through many ups and downs, but the resilience of their makers has seen them survive and thrive. In 1904, the Maharaja of Mysore sent Mian Bavasmia, a local craftsman, to Japan to learn its lacquerware technique. He returned and trained artisans in an industrial unit set up in Channapatna, in Karnataka, by the Maharaja. Numbers are never certain because some join the workforce and others leave it to travel to larger towns and cities in search of less arduous work. Those who are adept at lacquer wood crafting, and have no other skill set, stay when earnings are regular and respect is given to the craft. Many individual artisans have set up their own units and among them many, including women, have achieved recognition and success. Each worker is specialised in a particular task and takes pride in his or her skill.

This is to certify that this document is a bonafide work of Akanksha Pandey (MD/19/86), Manish Kumar (MD/20/265), M P Kanmani (MD/20/272), Neetu Singh (MD/20/276), Pranjali Sonker (MD/20/398), Utkarsh Srivastava (MD/20/31) and Vignesh S (MD/20/219) from the 2020-22 batch, who worked on this document under our supervision.

Ms. Biniya Arul Jyothi

Mr Prashanth KC

Assistant Professor & Center Coordinator Master of Design Space NIFT, Bengaluru

Associate Professor Master of Design Space NIFT, Bengaluru

The objective of this documentation is to revisit a 200 year old toy and an attempt has been to reorient this craft by doing secondary research.And secondly,to understand the problem which artisans go through this whole process and how the transformation has taken place from traditional to modern craft.

Acknowledgement We are thankful to acknowledge the role of NIFT Bengaluru for giving us the great opportunities to conduct this craft cluster study and development of product. We would like to ectend our sincere thanks to the Director of NIFT Bengaluru, Ms.Susan Thomas and we would also like to thanks greatfully to our Course Co-ordinator Mr. Prasanth KC, and Campus Co-ordinator Mr Biniya Arul Jothi. We would express our thaks to all the members of NIFT Bengaluru, Artisans of Channapatna, poeple whoever helped us directly or indirectly to know this craft project successfully.

Contents 1. Map 12-13 2. Demography 14-15 3. Agriculture 16-17 4. Tourist places 18-19 5. Festivals 20-21 6. Economic status 22-23 7. Introduction 24-25 8. Craft Overview 26-27 9. History 28-31 • Town

• Craft/Art

• Wood Processing • Colours making process

• Retailing, • Services

10. Making of toys 32-45 • Raw materials, 11. Tools 46-47 12. Post Production Process 48-51 • Packaging, 13. Evolution in Channapatna Toys 52-53 14. Schemes & Subsidies 54-57 15. Artisan Profile 58-65 • Life Story • Case study • Problems faced • Online presence OF Artisans/selling of products • Post Covid scenario 17. SWOT Analysis 64-65

16. Conclusion 66-67 17. Glossary 66-67 18. Our Experience 68-69 19. Bibliography 68-69

Map

Demography

Channapatna is located 60 kilometers south-west from Bangalore and right on the Bangalore-Mysore highway. The Channapatna taluk is part of the Ramanagara district and covers an area of 53,587 hectares. It is about 739 metres above sea level giving Channapatna weather conditions that are similar to Bangalore. The average temperatures during the summer months are around 32 degree C and during the winter months around 19 degree C. This weather is suitable for various agricultural activities too. Channapatna is noted for its famous handmade lacquer wooden toys all over the world. As of 2011 India 14

census, Channapatna City Municipal Council has a population of 71,942 of which 36,098 are males while 35,844 are females as per report released by Census India 2011.The official language is kannada and total are is 12.87km square. The origin of the wooden toys date back to the period of Tipu Sultan,the ruler of Mysore who was a great admirer of the wooden toys.The artisans still follow the traditional method of the making the toys for nearly two centuries and the artisans are only using ivory wood for making the toys and very rarely use sandalwood and rosewood are used. But slowly the artisan slowly started to use other wood like teak,pine,rubber,and cedar wood.

Mostly Rice Ragi, Jawar, Maize, Pulses, Oil seeds, Cashews, Coconut, Arcenut (Supari), Cardamom, Chillies, Cotton, Sugarcane and Tobacco are the major crops that are mostly cultivated in Channapatna region.

Agriculture 16

Tourist Places

• The Kengal Aanjaneya Swamy Temple is located on the way from Bangalore to Channapatna. 5 kilometres before Channapatna. It is located next to the Bangalore-Mysore High-Way.

• Kanva Maharshi : Math and Brahmanya Theertha Brundavan is 6 kilometres from Channapatna, on the way to Kanva Reservoir.

• Bettada Timmappa is located 1.3 kilometres from Channapatna. It’s on the way to the city of Nidasalige

• Igloor Barrage is 20 km away from the Channapatna City Igloor Barrage is on the way to Santemogenahalli and Akkooru.

• Kokkare Bellur bird sanctuary: Spot-billed Pelicans and Painted Storks from different countries fly here and live for a few months.

• Kanva Reservoir is 13 km from Channapatna with an automatic siphon system.

Festivals

The major festivals celebrated by artisans and locals of Channapatna are Yugadi, Dussehra, Makar Sankranti, Karaga, rum, and Eid-ul-Fitr. In Channapatna, festivals such as Hampi Festival, Hoysala Mahotsava, and Vairamudi.Diwali, Eid-ul-Adha, Tula Sankramana, Muharram are also celebrated with great enthusiasm.

Economic Status

The established artisan may be skilled, but their pay in relation to the work done is pitiful. When an entire family is reliant on a single source of income, such as a skilled artist, they deserve a healthy lifestyle in which quality education, food, and health are easily accessible without financial hardship. 22

However, the figures tell a different story. Working in conditions where the percentage of sawdust in the air is high enough to cause severe respiratory problems, it is unfortunate that the government fails to provide artists with better medical facilities that should be freely available to all artisans. The local government hospital may be functional but enquiry provides us with enough information to believe that functionality of the hospital binds the local artisan to opt for a private 23

Introduction

This is study of channapatna toys and its artisans.Its important to keep the heritage and to spread awareness about its historical importance. Transition from hand lathe to power lathe is an important evolution for the artisans and its users..Channapatna toys is a wooden artefacts made on hand powered lathe.The products are called lacquerware because lacquer is applied to the exterior.It has become flourished export with the concomitant introduction of the electric lathe,which has resulted in the complete change in the kinds of products manufactured,the skills required and the type of production which has shifted from household to the factory base.

A craft cluster is defined as a geographic concentration (city/town/few adjacent villages) of units producing similar products and facing common opportunities and threats. An artisan craft cluster is defined as geographically concentrated (mostly in villages/townships) household units producing handicraft/handloom products. In a typical cluster, such producers often belong to a traditional community, producing the long-established products for generations. Indeed, many artisan clusters are centuries old Artisan. 24

Craft Overview

Channapatna craft is not only famous in India but also in countries abroad..The products are unique and exotic in their own way. They are tough and eco-friendly ,painted in bright colours, with smooth, rounded edges, all of which make them safe and child-friendly. Channapatna toys add a contemporary appeal to the purchaser’s environment, beautifying the interiors and decor of their homes. Flexible forms and dazzling colours add to the versatility of these wooden carvings and sculptures. Hanging wooden carvings would splash a bit of antiquity into the buyer’s home. These toys are a great indulgence for children during their play time.Channapatna toys are pretty much everywhere. You could grab your favourites from streets or vendor stores. Channapatna craft has increasingly become famous after few famous people shown interest in this craft. It gained absolute global momentum after President Barack Obama and his wife, Michelle Obama showed immense interest in owning these adorable pieces of art. During their first Indian visit in 2010, the US President, along with the First Lady, visited the city and purchased these toys in delight. The American White House now housing shelves of Channapatna dolls increases not only the beauty of the President’s home but also Channapatna’s recognition as the land of toys. Ever since tourists visiting South- India never fail to visit the city lined with these bright artefacts. The interesting fact about the Channapatna toy business is that it is not a large-scale business. A small-scale business, the industry consisted of professional women and men carving out these gorgeous models in the vicinity of their homes. 26

Town Channahpatna is well-known for producing various types of wooden toys; thus, it is known as Gombegala ooru, which translates as “Toy Town” in the local language. It is 60 kilometres south-west of Bangalore on the Bangalore-Mysore highway. It has a total land area of approximately 53,587 hectares. There are 71912 people in the city. Channapatna is well-known for its wooden handicrafts. A plethora of shops selling traditional as well as modern toys can be seen.The other handicrafts that the place is famous for is door hangings,powder boxes,traditional jewellery. Channapatna Taluk has an Artisan Training Institute (A.T.I) which was established 94 years ago.This institute was founded in order to promote Channapatna toys. These channapatna toys are well-known all over the world. The main distinguishing feature of these appealing and plentiful toys is that they are handmade with wood and natural dyes. They are produced on a small scale in traditional or advanced industries. Today, approximately 5000 artisans make a living from this brilliant craft. This traditional art is now protected as a ‘geographical indication’ under the World Trade Organisation, administered by the government of Karnataka. Other residents of channapatna are also involved in carpentry , farming , coir and blacksmithy .It has a sizeable number of craftspersons belonging to the muslim community. Manufacturing and twisting of raw silk and Coconut is a major product of Channapatna taluk.

History 28

Craft/Art Persians invented the entire toy industry. Hand lathes were employed. (Hand-operated machines) . Tipu Sultan adored these wooden toys, and he introduced the people of Channapatna to the toy-making craft. Rosewood and sandalwood were used on occasion. The first artisans were locals from Channapatna, and they made toys without being paid. They had a living that doubled as a workplace. In Urdu, the tools were referred to as ‘patari.’ Bawa Sahib Miyan founded the artisans who created lac ware toys. He also established the Kaveri factory. In Channapatna, there were approximately 6000 artisans. The number of artisans is decreasing. It was taken over by the government in 1970. Previously, animal and flower motifs were used. Previously, flowers and animal motifs were used. The designs are now completed in accordance with market demand and more functional toys have been made.

Making Process of Toy

Channapatna toys are made up of soft wood also known as hale mara which is close grained and ideal for turning. It is then coated with lacquer which is also known as lac. Lacquer is made out of vegetable dyes. These vegetable dyes are nontoxic in nature and does not possess any threat to children. Talking about vegetable dye for different colour different vegetables are used for example to get red colour apple, beetroot powder are used which is the costliest color in comparison to other colors. This craft is practiced from generations and passed on to generations. This craft is like a legacy which is being carried by generations.

Raw Materials 34

Hale Mara Wood Special type of wood is required for making channapatna toys which have light weight, easily grained and easy to work with wood like Hale mara wood, Rosewood, Sandalwood, teakwood,silverwood,pinewood etc which is naturally find in geographical area which is used for making toys and suitable for it.Artisans also use colour called shellac its is first heated over flame and mixing colour with the help of stick in zig zag pattern after cooling it they use it for colouring.

Lac Lac is non-toxic and a natural substance. It is used in food preparations, for pharmacy and other products. It is scraped from the bark of the trees after it’s secreted by the insects and then it’s cleaned and harvested for use.. Lac can be sprayed or brushed on products due to its high adhesive quality. Natural lac is very expensive and is available in limited shades.

Wood Processing

Any art requires patience , skill and perfection. The process of making channapatna toys is also meticulous ,unique and nature friendly practiced by the skilled artisans. The raw material (aalamara wood ) brought from the forest is seasoned for a period of 4 to 6 weeks and cut to suitable length. It has to be completely dry before it comes to use. The woods are dry indoors. A wood is immediately rejected during the quality check if it is found moist.The wood is then cut into pieces with the jigsaw machine. And then on the lathe machine for smoothening. With the rotation of the lathe machine, the artisan shapes and designs products with the help of different types of chisel. For measuring the size and maintaining the precision, artisans frequently use Vernier calliper and divider. The lac stick mixed with vegetable colors are pressed against the wooden pieces to be lacquered . When the wood keeps revolving on a lathe , the heat generated by friction softens the lac and makes it melt, leading the color stick on the surface.

The process of making toys starts by getting the raw material that is from local wood supplier. Some artisans prefer seasoned wood while some get the woods and keep it for seasoning. Normally seasoning of woods require 1-3 months. When the wood which is cut from the tree tends to be heavier as it contains moisture while after seasoning wood loses significant amount of weight. Wood is then cut into different sizes as per requirement. It tends to be hollow for making of toys. If even one wood piece gets spoiled then it can effect whole lot, for this reason the wood piece which is spoiled gets thrown away. After the procurement of raw material and seasoning, wood pieces are mounted on lathe machine. Different tools like chisel are used to provide shape as per the design requirement of the toys. After shape is being provide, artisan use sand paper on the same wood which is turned into a toy in order to get smooth surface.

Colouring process After shaping and smoothing of the surface colouring process started.artisans press the lacquer stick against the wooden piece due heat generated from the friction lacquer get applied on the wood surface.

Purchase of raw materials

Finishing

First artisans purchase raw materials from wood suppliers.then its sourced for 1-3 months depends upon the plank size .Government suppliers are supplying wood but for the lower cost artisans buy it from local artisans.

Artisans use dried palm leaf for spreading and giving shiny finishing to the wooden piece.

Cutting and shaping of wood Woods are cut into different sizes according to the need.after cutting wood it is fixed to the lathe machine and given a different shape with the help of tools like spherical,oval,circular as needed.

Size measurement For measuring the size artisans use vernier calipers and dividers.

Smoothen the surface

Final product

After shaping wood it is rubbed with sand paper in order to smoothen the surface.

When the product is made it is detached from the lathe machine decoration on the surface of the toys takes place after that toys are ready for selling.

Colouring Process

Artisans prepare natural dyes from vegetables and fruits which is chemical free after that shellac is heated over flame till melting after that the colour dyes are added to it and mixing it in a zigzag pattern over flame after mixing colour they give it a stick shape and keep it for cooling now the colour is ready for use. Lac is mixed with colored dyes that are obtained from various natural sources like the root of the turmeric plant is dried and then powdered to obtain yellow color. The indigo plant is used to prepare blue and black color dye.Turmeric is mixed with lime to get kumkum which is mixed with lac to derive orange color. beetroot and Manjistha (Alizarin) are dried to obtain red. Green color is obtained either by mixing turmeric and indigo and also obtained from the green leafy plants, Light Brown colour is obtained from a plant called Katha Mixing of lac with the natural dyes: lac is heated on charcoal fire,once they start melting, dye is added and mixed well with sticks to form a solution. Later, it’s thoroughly blended and kneaded into long sticks before it gets hard. These sticks are cut into small pieces of desired size and used for color coating on the wood. 42

Colouring Process • They employ powdered colours, such as spinach, flowers, and leafy vegetables, for example. Tree bark is used for the chocolate hue, and beetroot and apple are used for the red hue.

Raw lac

• Toys have a one-year shelf life when mixed with water, but only 20 days when mixed with water. If we try to apply colour after 20 days, it will not adhere and will flake off.

Applying Lac on wood

Mixing of the lac

• Chennai and Mumbai are the origins of the colours. • Lac is 1500 rs per kg, which is of inferior quality and has a rough texture, whereas lakh is 1800 rs per kg, which has a smooth and complete texture. • Colors cost 40 rupees per ten grammes, whereas red costs 60 rupees per ten grammes.

Mixing of Lac

• To provide colour for children’s toys. As a result, they combine dambar with lakh to achieve a rubber-like texture when combined with water and colour. • They have separate glasses for each colour. As a result, no glasses are wasted. • A small amount of water is added to the colour to get a paste-like consistency. Applying Lac on wood

Processed lac

Boiling process 44

Round Compass (A compass is used for making the radii on the objects before shaping them. The local language it is called Elle)

UGRAVOLI (Gouge chisel )Used in round shaped and beads, coves and so on.

Side Uli (Give straight shapes from side and hollow created in the centre)

Baachi/Hammer (To cut the wood from the edge to fit

inside the chuck and hammer to push the wood inside. This tool is used to fix wood into the lathe and also to fix two parts together)

Tools

Snappers (It is a tool to hold the product while working on it with another tool)

Chisels (Chisels are used for shaping the objects while on lathe. In local language they are called Jiru Guttu) 47

Post Production Process 48

Packaging

Retailing

Services

Shilpa is the only company that performs in-house packaging; after being manufactured, the products are packed for the domestic and export markets by the manufacturing setup itself. Shilpa uses the FOB (freight on board) method of payment for both international and domestic vendors.

Typically, exported goods are sold in the buyer’s name. In and around Channapatna, each manufacturing unit has its own retail store. They have no target audience; they are a niche segment. Their main customers are those who appreciate art and artisans, and the majority of them are repeat customers.

Artisans proudly inform that till date there are no complaints registered from the customers after usage of product in the retail store. But in case of exports the rejected pieces are sold in the retail outlet of the manufacturer.

Evolution in Channapatna Toys

There has been evolution in Channaptana toys. Evidence can be seen from the transformation of traditional toys to modern toys. The toys have always been around but now, thanks to finding good markets, proper support systems, talented accessory and furniture designers interested in the crafts sector, the product range has finally begun to get diversified. A 20th century Channapatna toys when design were naive and usually embellished with some hand painted features A lathe turned smoothly lacquered toy couple dressed in traditional Indian clothes,made in Channapatna The range today is an improved version of toys found commonly in earlier times at rural fairs and bazaars that spring up around temples or mosques at festival times. Periodic infusion of design ideas from well-qualified external designers have reintroduced bright colours and natural dyes. Ideas have also been borrowed from the education tools required by Montessori and other such schools. Channapatna toys are quirky, fun, fashionable and sophisticated. It was the enthusiasm of the ruler Tipu Sultan in the 18th Century that ensured high quality production of these artefacts. 52

Schemes & Subsidies 54

Marketing Promotion Programme Government organizes Special Expos, Craft Melas, Urban Haats and Marketing Complexes. Gives National Awards and National Merit Certificates to weavers and artisans. Holds seminars with professional designers and marketing consultants.

Government scheme Loan and Welfare Schemes for Artisans

Handicraft: Babasaheb Ambedker Hastshilp Vikas Yojna (AHVY)

The Office of Development Commissioner (Handicrafts) provides MUDRA loan and margin money to handicrafts artisans. The office of Development Commissioner (Handicrafts) regularly organizes craft awareness programmes in the craft clusters for awareness of the schemes implemented for the welfare of handicrafts artisans including Interest Subvention and Margin money as a welfare measure for handicrafts artisans under Direct Benefit to Artisans, like SHISHU, KISHOR, TARUN.

Issue of ID cards to the artisans, supply of improved modern tools, training seminars, marketing, exposure tours, loans.

Ambedkar Hastshilp Vikas Yojana The Government launched the Ambedkar Hastshilp Vikas Yojana (AHVY) in the year 2001-2002. The scheme was launched with a view to mobilize the artisans into Self Help Groups and training the groups on various aspects of forming and running the community business enterprises for self sustainability of artisans. The salient features of the Yojana are Baseline Survey & Mobilization of Artisans, Design & Technology Upgradation, Human Resource Development, Direct Benefit to Artisans, Infrastructure and Technology Support, Research and Development, Marketing Support & Service.

Handloom scheme Technology Upgradation Fund (TUF) 1.

Run by Ministry of Textiles-under Office of the Development Commissioner

It provides subsidy to weavers for:

• Purchase of new machineries and equipments; • Factory building and • renovation of existing factory building

Marketing Support & Services Scheme for Handicraft Sector

Integrated Handlooms Development Scheme (IHDS)

The Marketing Support & Services Scheme is being implemented during the 11th Plan Period with the aim to provide direct marketing outlets to the craftspersons for participation in various marketing events/melas for augmenting their sales. The Minister further said that the aim of the scheme is to provide more marketing outlets to craftspersons which indirectly create more employment channels and not to provide full time jobs.

IHDS also contains a sub group that is Self Help Groups (SHGs) under which the government gives you money for buying raw materials and machines, training in weaving, dyeing, designing and business Management. 56

Artisans Profile 58

Mr. Shakeeb

Mr. Asif

• Artisan Mr Shakeeb has been in the craft for 14 years, is the father of two girls, and has a brother. Shakeeb Khan has been creating woodturning items such as dolls, bangles, napkin rings, earrings, and so on. Shakeeb’s grandfather started the crafts business, which he later learned from his father. His brother assists with the craft, and his wife assists with product packaging. He explains that drying the raw material takes 2 to 3 months and is time consuming and laborious. And one of the most common issues encountered throughout the manufacturing process is the lack of electricity. Prior to the current business slowdown, he made the majority of his money by bulkexporting napkin rings. Napkin rings were used. The best part of work, as Shakeeb is a master in creating bangles and tublur products, is being an expert in any certain product. Shakeeb accepts orders and produces products in accordance with them, as well as selling to wholesalers.

• Artisan Mr. Asif has been in this business for 24 years.He is 41 years old, learned the Channapatna woodturning craft from his uncle and has been an artisan for more than 20 years. His family consists of his wife, two sons, and a daughter. Asif ’s wife assists him with product packaging. His father was a teacher, while his mother was a stay-at-home mother. He completed the fifth grade and now lives with his wife, mother, and three children (two sons and one daughter). Since the previous 20 years, all three of his children have gone to a government school in Channapatna.

• He makes the majority of his sales during the Dussera festival, with bangles being the most popular item. Another notable event that occurs in his neighbourhood is the annual Eid fair at the Aqheel Shah Qadri dargah. Shakeeb is an artisan who created his own tools which he uses in shaping and carving the wood, which is named as Uli depending on the work the tool does the name varies from the example shape uli used to shape the products. Every month Shakeeb pays 2.5k for his workplace as rent. 59

• The majority of his products are sold to Naseeb stores, a local wholesale store. The products are then distributed throughout the country, including to cities such as Chennai. Asif does not own a store and instead works for Cluster. He can make 75 dolls every day and is compensated based on the products he creates. Asif works on his lathe and collects wood from the forest. • The primary raw material for lac-turney is hala mara wood. During festivals, his sales double, and

he earns twice as much as he does on other days. Local dealers supply him with raw materials at a cost of 6-7k per tonne. His best-selling items are bangles, but he also makes pen stands, ring sets, and dolls. Asif claims that his.

profits have dropped by half over the years. He is completely unaware of the government’ MSME SECTOR initiative. He hasn’t been able to fold his fist properly since he injured his finger in this profession.

Mr. Anwar

Mr. Sayed Abdul Khader

• Anwar Khan, 38 years old, lives in Channapatna and has been working for the past 20 years. He goes to work at 8 a.m. every day. Anwar, who lost his thumb finger while working on the wood cutting process, detailed how the machine is sharp and can slash the finger when working on the wood cutting process.

• Syed Abdul Khader is a master craftsman. He has 30 years of work experience, lives in Channapatna, has children who are in school, and holds a 10th grade education. • Completely reliant on his trade, he is a proud artist whose livelihood is contingent on orders. Products he makes are showpieces, puzzles, games, dolls, bangles, stationery, and rings. He also creates furniture out of plywood, tea wood, and rosewood.

• The main difference between the channapatna crafts industry now and when he started working 15 years ago is that the prices of all raw materials have risen over time. As a result of the low profit margins in the business, people of the current generation in the area do not want to learn the craft and carry it forward because they do not see much potential in it.

• He has a team of four or five people working with him. All of the workers live in Channapatna and are paid according to the amount of work they perform. They create products based on festivals such as PALNA, CHRISTMAS TREE, and so on. They don’t utilise any advanced machinery to create the craft.

• Anwar is under loss due to low productivity in the current Covid 19 pandemic. He is willing to work and sell his products on an online platform but he isn’t educated on how the online business works. • According to Artisans, the only way to avoid such accidents is to be extra cautious while performing the skill. 60

Artisan: Case Study

Mr. UMESH • Artisan Mr. Umesh is 30 years old from channapatna, he has a daughter and son, who works in a small cluster and also owns a little store at his house. He has two elder brothers and one elder sister, of which two brothers perished. They worked for this craft for a while before abandoning it due to severe losses.

the Tamil Nadu fair, he sold all of his inventory twice. Another occasion when he made a good profit was at the Sujarkand fair in Delhi.

• Currently, he has lost his daily revenue as a result of the pandemic, and his production has suffered as well. He sells to wholesalers. Umesh makes a profit of 4-5 rupees on one product (varies from product to • Then Umesh continued his work on craft. He products) studied till ninth grade while simultaneously learning • He used to make traditional pieces when he the craft from his brothers who were employed on had just started with the craft such as he used to making the toys. Other than craft, he has no knowledge produce napkin rings, bangles, necklaces, bead neckon how to work on anything else. laces, and egg cups, but such items are no longer in demand, and the only items from that era that are still * Following receipt of the order, Umesh in use are bangles and bead necklaces, but now he creorganises his workshop to produce the appropriate ates innovative ones. number of toys for the marketplace. Umesh isn’t involved in any other businesses. • Toys were previously coloured and carved by hand. They used to use stick colours that were creat• He has taken part in numerous bexhibitions ed in China 15 years ago, as well as a chemical-based in Chennai, Maharashtra, Tamil Nadu, Haryana, and spray bottle. Stick colour was outlawed in India.The Karnataka. Umesh believes that the government’s product, for example, a napkin ring that was created support is insufficient because 15 to 20 members 12 years ago has not spoiled yet; simply keep it away apply for a single stall and only a few are chosen. At from water. 61

Between December 2020 and January 2021, the central government has assigned a designer (Aparna) to provide new product concepts. Umesh used to be the craftsmen’ leader. They also received 1000 rupees a day for their efforts, as well as a certificate. The craftspeople were also supported by the Prime Minister. •

Events and Exhibitions Every year, the

government organises melas in locations such as Delhi Haat and Channapatna craftsmen. Out of the 15-20 people that apply, just one individual is chosen to set up a stand in the mela. Surajkund Mela is the name of the mela. They take money and place stalls in the mela for those who can afford to pay the most. Umesh only travelled to four melas: Delhi, Haryana, Nagpur, and Tamil Nadu. He earns 20,000 INR every month, with a profit of 4000-5000 INR.

Problem Faced By Artisan

Mr. Anwar, an artisan who lost his thumb finger while working on the wood cutting process, • Sitting on stool whole day- uncomfortable position • Napkin Rings

Injuries- lost thumb finger

Condition of hand of artisan while toy manufaturing. •

Never wore gloves while work

•

No own store

•

Manufacturing place rent 3000 INR and high

• Concentration in work is only option to avoid injuries • Electricity bill and power cuts keep happening • Wearing gloves will not give the finishing

Online Presence of Artisans/selling of products During the discussion, artisans described how the an interview, Artisans addressed concerns regarding pandemic has put most of them out of business how clients go about making payments. because it has slowed output. They encountered problems uploading the pictures Few of them have opted for online selling of products of products which is to be done frequently, it was on Whatsapp business and Amazon, where online informed to use the catalogue option in the respective selling differs from retail purchasing and wholesale online platform. selling in terms of production rate. One of them stated that being on the phone and Artisans ran into issues while conducting online maintaining the platform is tough for them because business, such as confirmation of a customer’s they are busy doing the craft, so craftsmen overcome these challenges in the new regular mode. payment. In 62

Strength • GI tags to the channapatna toy industry • Wood which is used for toys are light weight cannot be used in furniture • Colors which are used are organic and dried form of vegeta bles and fruits. • Lac which is used in colors, comes naturally from insects. • Toys are safe for kid’s heath. • Art form is practiced from thousand if years and still flour ishing

Weakness • • • • • • • •

Artisans work whole day to make toys but they get paid very less. Loans/schemes and subsidies late reach to the artisans, they do not able to take profit of it. Middle man and the dealers take all the profits. The toy industry of Chaanapatna is not able to keep up with the latest trends of the market. Products are for kids and females. Due to pandemic, artisans are forced to look at new oppor tunities apart from this craft. Artisans are not aware on how to use different online plat forms for selling their products. Injuries while working on lathe machines.

Opportunity • New products lines can be created for example home décor and DIY’s. • Artisans can make their presence globally by using social media and can use online platform to sell their products. • As there is very low reach on subsides/schemes and loan, there is possibility of working on ground level to rectify the issue. • Artisans can be given assistance on how to teach about their craft to the younger generations on online platforms. • Products can be created as per user needs and artisans should be provided tools to advertise their customizing plan online. • New products than can help artisans to keep themselves safe while working on lathe machine.

Threat • • •

Constantly changing demand of the market. Chinese toys and low cost replicas as substitutes. Artisans have to pay or bid to get a stall in mela’s.

Post Covid scenario The covid-19 pandemic has crippled the toy industry of channapatna. The number of artisans of channapatna are decreasing. While in pandemic, for their livelihood they opted for other work like farming, worked on food stalls, etc. Already Chinese toys and cheap replicas of channapatna toys are being sold which already possess threat to the toy industry while due to covid-19 they are now in debt. Artisans are facing

difficulty to even get rations and feel ashamed to ask for money. Artisans also mentioned that they have not received a single penny or any relief fund from the government. They also earn from the tourism while in lockdown there was no opportunity to make or sell. They were not even aware on how to use different online business platforms to sell their toys, they mostly depends on bulk orders from dealers.

Conclusion Channapatna toys are not an art form it’s a legacy that has been passed through generation but the decreasing number of artisans is indicating that is something that needs to be fixed. The artisans are not aware on how to upgrade their skill and also the industry is not future proof. As there is constant shift in the market that happens each passing day has increased a lot of pressure to meet the needs of constantly changing market. There will always be threat to the channaptan toy industry by some or the other means it can be either cheap Chinese toys or the replicas. Government can actually help them through schemes, subsidies, advertising which can actually connect them to a larger audience, upgrading their skill through

workshops, making them understand the shift in market and users need. There is a need for proper system which can help the artisans to get their hard earn money rather than getting one tenth of what they deserve. The policies, schemes and subsidies never reach artisans, they get to know about all schemes or subsidies when it’s over. The question that arises here is, are we actually doing something for them or all this is going to remain on papers only. This is the right them to provide all the benefits that they deserve as the pandemic has hurt badly and future of craft remains in danger if artisans are forced to earn their livelihood from somewhere else. Now is the time to provide them what they deserve rather than a fraction of it.

Glossary Baachi- In Kannada- to become dry, to lose moisture. To cut the wood from the edge chuck and hammer to push the wood inside.

Cutting tool with a sharpened edge corners of the wooden piece and at the end of a metal blade,used- for boring often by driving with a mallet or hammer. Side Uli- Give straight shapes from side and created in the centre Gombegala nagara- town of toys Bairgay- A parting tool Helps in Toduli- Round head chisel To making a mark or core the wood, Kuivyol- A Spear point chisel remove material from the inside of for parting the wood or marking , Onvoli A slanted blade chisel A rounded objects like pots or round hollow depth to remove material Parting chisel for scoring, marking vases gives angular shapes and used in Borer- Screwdriver shaped tool scoring or groove Ugravoli- Gouge chisel Used in used to drive holes or mark surfaces round shaped and beads, coves and Matvoli- Straight chisel Trim the so on. Chisel- In Kannada Chiruguttu. 66

Our Learning Experience

Bibliography https://www.deccanherald.com/content/456372/channapatna-toys-gain-popularity-barack.html

It was an great experience that we got to learn from the Channapatna artisians, regardless of Covid-19 Pandemic, we could connect with the artisians and interact, got to seek insights on the process of craft making, colouring process and many other activities. Channatapa toys popularly known as Gombe in kannada have been a wonderful journey of artisians working behind. To the save the craft, their dedication and commitment towards the work is something that makes one feel proud on the craft. This is the first time when we did the craft research in Online Mode. Our task was to collect the information about the craft and its current scenario. We had interacted with most of the artisans who are practising Channapatna Craft. We had collected information from the artisans, and also through secondary research.

http://www.fao.org/3/x5859e/x5859e04.htm https://www.holidify.com/pages/channapatna-toys-2296.html https://bloncampus.thehindubusinessline.com/columns/brand-basics/the-channapatna-toy-story/article8691097.ece https://www.indianmirror.com/culture/indian-specialties/channapatnatoys.html https://www.toysofcpt.com/ https://en.wikipedia.org/wiki/Channapatna_toys#cite_note-tt-3 https://www.indianmirror.com/culture/indian-specialties/channapatnatoys.html https://www.indianmirror.com/culture/indian-specialties/channapatnatoys.html http://www.dsource.idc.iitb.ac.in/resource/channapatna-toy-ii/toy-making-process https://www.dsource.in/resource/channapatna-toy-ii/master-craftsman-story https://artsandculture.google.com/exhibit/how-to-make-a-channapatna-toy-dastkari-haat-samiti/fwKisovsWjHlLQ?hl=en https://www.dsource.in/resource/channapatna-toy-ii/toy-making-process https://www.sahapedia.org/the-crafting-process-channapatna-toys https://issuu.com/ishitasrivastava0/docs/clusture_new_pages_final https://www.amazon.in/TRUE-TOYS-Channapatna-Wooden-Toys/

Group Members ( left to right):- M P Kanmani (Group Coordinator), Neetu Singh, Pranjali Sonkar, Akanksha Pandey, Manish Kumar, Utkarsh Srivastava, Vignesh S