Cluster Detail

West Bengal     Birbhum     Bolpur

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 A cluster is defined as a geographic concentration (a city/town/few adjacent villages and their adjoining areas)of units producing near similar products and facing common opportunities and threats. An artisan 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.

 Hand Embroidery:-

Kantha is the most popular embroidery of West Bengal done with folk motifs. Other embroideries include the chikan work, the zari work and Kashida. The fine subtle form of chikan embroidery is usually done on very fine textured cloth like muslin and cotton. The embroidery is usually done by the same coloured thread as the cloth itself. Like blue thread is used on light blue cloth while white thread may be used on white cloth. Though white on white is a popular combination other colored threads are also used in white cloth.

Silk embroidery on cotton clothes, the Kashida, is the most common form and is used primarily for caps and scarves used by the Muslims for prayers. More contemporary modern embroidery involves Kashmiri stitches, Cross stitches, Convent stitches, Cut work and combinations. Kathiawari mirror work is also used in abundance. The modern style uses alpana designs and motifs of flowers, animals and birds.The main flat stitches with their traditional names are:

Taipchi: Running stitch worked on the right side of the fabric. It is occasionally done within parallel rows to fill petals and leaves in a motif, called ghaspatti. Sometimes taipchi is used to make the bel buti all over the fabric. This is the simplest chikan stitch and often serves as a basis for further embellishment. It resembles jamdani and is considered the cheapest and the quickest stitch.

Pechni: Taipchi is sometime used as a base for working other variations and pechni is one of them. Here the taipchi is covered by entwining the thread over it in a regular manner to provide

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the effect of something like a lever spring and is always done on the right side on the cloth.

Pashni: Taipchi is worked to outline a motif and then covered with minute vertical satin stitches over about two threads and is used for fine finish on the inside of badla.

Bakhia: It is the most common stitch and is often referred to as shadow work. It is of two types:

1. Ulta Bakhia: The floats lie on the reverse of the fabric underneath the motif. The transparent muslin becomes opaque and provides a beautiful effect of light and shade.

2. Sidhi Bakhia: Satin stitch with criss-crossing of individual threads. The floats of thread lie on the surface of the fabric. This is used to fill the forms and there is no light or shade effect.

Khatao, khatava or katava is cutwork or appliqué - more a technique than a stitch.

Gitti: A combination of buttonhole and long satin stitch usually used to make a wheel-like motif.

Jangira: Chain stitch usually used as outlines in combination with a line of pechni or thick taipchi.

The bolder or knottier stitches include the following:

Murri: A very minute satin stitch in which a knot is formed over already outlined taipchi stitches.

Phanda: It is a smaller shortened form of murri. The knots are spherical and very small, not pear shaped as in murri. This is a difficult stitch and requires very good craftsmanship.

Jaalis: The jaalis or trellises that are created in chikankari are a unique specialty of this craft. The holes are made by manipulation of the needle without cutting or drawing of thread. The threads of the fabric are teased apart to make neat regular holes or jaalis. In other centres where jaalis are done, the threads have to be drawn out. In chikankari, this is not the case. Names of jaali techniques suggest the place where they originated from --- Madrasi jaali or Bengali jaali ---- or possibly the place of demand for that particular jaali. The basic manner in which jaalis are created is by pushing aside wrap and weft threads in a fashion that minute openings are made in the cloth. Shape of openings and the stitches used distinguish one jaali from another.

Raw materials:-

The fabric is worked upon with a long needle,threads,tikris and beads.Multi sized frames are used, usually about 1.5 feet high,to secure the cloth on which the design is sketched with a stencil. One hand secures the thread under the cloth to the needle while the other hand moves the needle on top of the cloth with ease. Process:-

The production process of a chikan garment, assuming it is a kurta, goes through several processes. In each process a different person is involved. The final responsibility is, however, that of the person ordering the manufacture, who is also usually the seller. Chikan work involves several stages. The fabric is cut by the tailor into the required garment shape, after which the basic pre-embroidery stitching is done so that the correct shape is available to the block-printer to plan the placement of the design. The design is printed on the semi-stitched garment with fugitive colors, and the embroidery of the garment is then begun. After completion, the article is checked carefully since most defects can be detected at first glance. However, the finer flaws surface only after washing. The washing is done in a bhatti, after which the garment is then starched and ironed. The whole cycle can take from one to six months. Originally, chikan embroidery was done with white thread on soft, white cotton fabric like muslin or cambric. It was sometimes done on net to produce a kind of lace. Today chikan work is not only done with colored threads but on all kinds of fabrics like silk, crepe, organdie chiffon, and tussar.

Techniques:-

There is a discipline and method in the application of the stitches. The darn stitch is worked on rough cotton fabric to fill angular designs and to cover the surface of the fabric, while satin stitching is done exclusively on delicate fabrics like silk, muslin, or linen. In chikan some stitches are worked from the wrong side of the fabric, while others are worked from the right side. It is however unique in its discipline in as much as stitches designated for a particular purpose are used only for that purpose --- they are not replaced by other stiches. For example, the chain stitch (zanjeera) will only be used for the final outline of a leaf, petal, or stem.

Different specialists work with different types of stitches. For example, open work or jaali is not done by embroiderers who do the filling work. Each worker completes his/her bit and the fabric is then sent to the next embroiderer. The wages for each job are fixed separately. ___________________________________________________________________________________________________________________________ Leather Craft:-

Variety of articles such as Hand Bags, Wallets, Jewellery, Utility Box,  key Rings Etc are made from leather in Bolpur.   Raw materials’s Leather Craft:- The main raw material that is used for making leather crafts in West Bengal is the skin of goats and sheep. The creating of leather crafts specifically the leather puppets follows some procedures like washing the hide, cleaning and decorating it with immense perfection and dexterity. Once the puppets are structured, then the dyeing and outlining of the borders are done. Apart from creating these leather puppets, the craftsmen of West Bengal  create leather items that are used for home décor like lamp shades, wall hangings, Hand Bags, Wallets etc.

  Leather Craft’s Process:-

Leather is bought from the wholesale market and soaked for two days in huge drums. It is then washed thoroughly to rid it of excess tanning ingredients. While fully wet it is stretched on the floor and left to dry. This process involves some skill as the leather needs to be stretched uniformly to avoid wrinkles. Good stretching can also increase the leather surface area by 5 - 10%. At this stage the water in the wet leather acts as an adhesive and holds it firmly to the floor. As the leather dries it automatically disengages from the floor.After this it is marked and cut to size with scissors and cardboard formats.he piece which needs to be embossed is then moistened with a sponge and rolled out with a rolling pin.A block is made according to the desired design by the acid etching process used in old letter presses. The die is placed in a ball press machine and the leather is sandwiched between the die and a sheet of hard rubber and strongly compressed.The leather is again cut according to patterns and assembled to make bags or boxes. Boxes are made using cardboard stiffeners and everything is pasted together using a rubber-based glue. Cardboard is cut using a die, because the cutting has to be very precise. Even a slight error ruins the final shape of the bag.  Leather Craft’s Techniques:-

Various other techniques are involved in making a complete product, the most important of which is skiving (to disguise the edge of the leather without increasing thickness though fashion pundits have opposing views on this), creasing (to ensure an even fold), beating(with a mallet to increase effectiveness of the adhesive) and polishing (rubbing the leather hard with a smooth piece of stone or glass to give the leather that shiny surface, the pressure and heat involved also closes the pores and gives the leather a high and even density). Bags are made by stitching together the pieces using a sewing machine. Unlike fabric stitching leather has to be stitched with a more heavy duty machine and a certain amount of pre-stitch adhesion is required to keep piece in place. ___________________________________________________________________________________________________________________________ How to Reach:-

Netaji Subhash Chandra Bose International Airport is the nearest airdrome, located about 160 km from Birbhum. Located at Kolkata, the airport is well connected to the entire country as well as to certain international destinations. After de-boarding from the air carrier, tourists can either opt for a train heading towards Birbhum or arrange for a bus/personal cab to reach the beautiful and striking district. Birbhum is well-linked to the other districts in West Bengal by railways. The Howrah-Sahibganj loop of the Eastern Railway passes through this district. While the junction at Nalhati connects Birbhum to Azimganj in Murshidabad district, the Andal-Sainthia line connects it to the main Howrah-Delhi main line. In short, Birbhum is appropriately linked to the other districts, which makes traveling to the place fun. Birbhum is very well connected to the other districts in West Bengal. The Panagarh-Moregram Expressway linking Grand Trunk Road (NH 2) with NH 5 cuts across the district. Apart from this, there are several other entry points for

the place as well. Regular bus services from Kolkata, Siliguri and other cities connect Birbhum to all the districts in West Bengal. As for the local transport, there are bus services, auto rickshaws and taxis that make traveling easy. Apart from this, the entire district is covered by local trains that connect all the major divisions of Birbhum. Ahmadpur, Dubrajpur, Rampurhat, Asansol, Murarai, Sainthia, Bolpur Shantiniketan, Nalhati, Siuri,Chatra, Rajgram and Swadinpur, each of the towns has a railway station, linking the entire region of Birbhum..

HANDICRAFTS IN WEST BENGAL

Clusters

o A cluster is defined as a geographic concentration of units producing near similar products and facing common opportunities and threats.

o The producers often belong to a traditional community, producing the long-established products for generations.

Some facts:o To promote local production, innovation and collective learning.

o It is estimated that 400 modern SSE and 2000 rural and artisan based

clusters exist in India. o These contribute upto 60 percent of India's manufactured exports.

o The SSE clusters in India are estimated to have a significantly high share

in employment generation Cluster development steps

o Selection of the cluster

o Selection of a cluster Development Agent

o Diagnostic Study

o Preparation of Action Plan for intervention.

o Approval of the project and release of the funds.

o Implementation of Trust Building between Cluster Actors and

Cluster Development agent o Monitoring and Evaluation

o Self Management Phase

List of Indian clusters

BIRBHUM CLUSTER

o Birbhum is a district in West Bengal.

o The name Birbhum comes probably from the Land ("Bhumi")

of the Brave ("Bir") .o Is famous for its topography and cultural heritage .

o VisvaBharati University at Santiniketan, established by

RabindranathTagore, is one of the places Birbhum is internationallyrenowned for. 

BirbhumGeographical Area: 4550 sq. k.m. Total Population (2001 Census): 3012546 Forest Area: 15966 hectares. Net Area Available for Cultivation: 531463 hectares. Resources: Livestock. Minerals: China Clay, Fire Clay, Black Stone and Crude Clay Agricultural produce: Paddy, Wheat, Potato and Sugarcane. No. of Registered SSI Units: 3624 No. of Large/Medium Units: 4 Banks & Branches Commercial Banks -  109Rural Bank - 65 Co-operative Bank - 18 

BANKS VISITEDState Bank of India

o Location : Sriniketan Branch

o 5 Groups of artisans were given loan from

the branch.o Interest: 11% (half yearly compounded)

o Scheme –SHG

o Loan a/c is opened and loan is given

o 4 times the saved money in 1 year.

UCO BANKo Location : Bolpur

o Rate of Interest: 11% per annum

o No of group under this branch: 10

o Criteria of selection: corpus fund, subsidy, operation.

o DOCUMENT REQUIRED:

o Demand Promissory Note, Letter of Weavers.

o Processing time: 15 Days.

  PASCHIM BANGA GRAMIN BANK

o Location : Sriniketan Branch

o Loan amount: Minimum 2500,

o maximum 2, 50,000 per group

o The bank gives short term loan of amount

maximum of Rs.25, 000 which they haveto return in 12 months.

o Interest rate: 11% annually

o No. Of SHGs under this branch: 350

o The loan amount sanctioned is 4 times the amount of saving done by group done last year. The sanction of loan and processing takes about 10 days.

CRAFTS IN BIRBHUM

o Shola-pith. 

o Artistic Leather Goods. 

o Macramé Ornaments.

o Suri Bowls are symbols of excellence of Bengal Art

o Silk Weaving.

o Katha

Handicraft concentration KANTHA

o Traditional form of embroidery of West Bengal.

o Running style of stitch.

o Done on quilts, bedsheets, blankets, saris, salwar suits, stoles, napkins, etc.

o It is also known as ‘Dorukha’.

o Means making worn out garments into beautiful garments. Therefore is also

known as recycling art.o Origin lies during the era of Lord Buddha.

o Quite closely spaced stitches, often in brightly coloured blocks of pattern

which denotes specific symbols and produces a rippled effect upon the fabric. KANTHA

Different types of kantha

o Sujanikantha

o Durjanikantha

o Lepkantha

o Archilatakantha

o Rumalkantha

o Oaarkantha

Different types of patternso Jaal

o Folk life designs

o Dhanchori

KANTHAProduct: Items basically comprises of sarees, Punjabi suits, dupatta, sotles, shawls, bags, etc.Commonly used fabrics is tusaar silk, Bangalore silk, cotton, etc.Price: Product type.Fabric and raw material.Intricacy of design made on fabrics.Promotion: Fairs: EPCH fairs, SarasmelaRetail Outlets: AmarKutir, Swabhumi, Manjusha,Basundhara, Alcha.NGO’s: Sasha, amarkutir, Kolkata socio cultural society,aid to artisans.Word of mouth publicity.Distribution : The distribution channel is unstructured.Channel Product reaches the final consumers through intermediaries.The local markets and retail outlets help increase the product visibility and product accessibility.

KANTHAPackaging: Artisans not concerned about packaging.Packaging is handled by retailer and NGO’s who stock and sell it.Segmentation: People who value the art and craftsmanship involved.Of the market Tourists and foreignersDemand: Period of durgapuja is the highest selling period.The month of October to march are the months experiencing the highest sale. Supply: Plain sarees and dress materials are procured from adjacent districts at a price range of about Rs.500- 700.Raw materials like thread are about from local markets.Consumer buying pattern and expectations: All the products have different demand patterns.Sareesand dupattas have highest demand.

PROBLEMS

o It is pursued as a hobby, rather than a profession, no motivation

o Most of the work is done on contract basis

o Lack of awareness about market, selling price, backward linkage etc.

o Hesitant to go out of the district because of language problem

o Hesitant to take risks on their own

o Lack of finance to start their own work

o Loans if taken are utilized for household works

o Lack of regular orders

o No united decision among the artisans regarding the prices

Suggestions

o Regular source of orders should be found ,so that artisans have a regular source of income.

o Wages of artisans should be increased, so that they are not attracted to other jobs.

BATIK

o Word batik actually means 'wax writing'

o Process of waxing and dyeing

o No artistic skill is needed

o Batik fabric is popular for its durability

o The colors in Batik are much more resistant to wear than those of painted or printed fabrics

o craft of Batik is easier to learn and perform

o Lack of trained people

o Training of 15 days is not enough

LEATHERPackaging: Artisans not concerned about packaging.Packaging is handled by retailer and NGO’s who stock and sell it.Segmentation Two major segments:of the market: First is the foreign clients who import these productsSecond is the domestic buyer belonging to Kolkata & other parts of west Bengal,guwahati, Chennai & Mumbai etc.Focuses on the niche segment & hence the impetus is on qualityDemand: The domestic demand for leather craft increases during the festive season i.e October to febDemand throughout the year Supply: The raw material has to be purchased & processing is done at shantiniketan& then sold outside.Many a times he does not have the adequate capital to invest in raw material

PROBLEMS

o Lack of skilled workers

o Lack of professional attitude among the artisans

o Artisans are not concerned about maintaining proper quality levels

o Hesitant to go out due to language problems

o Family – owned units, unwilling to take initiatives for changes

o No proper pre set up channel for the raw materials to reach the artisans. Institutions have an upper hand

Suggestions

o Provide on the job training to workers to develop professional attitude among workers

o Quality standards can be maintained by the firm

o More NGO’s should be encouraged and open factories

o Should focus on domestic markets due to better prices.

o The information about availability of loans, as well as directions to avail financial benefits should be given to them.

MACRAME

o Very less growth & income opportunity

o Lack of skilled workers

o Lack of professional attitude among the artisans

o Artisans are not concerned about maintaining proper quality levels

o Hesitant to go out due to language problems

o No proper pre set up channel for the raw materials to reach the artisans. Institutions have an upper hand

PROBLEMS

o Stagnation and complacency with regard to general living conditions.

o The working culture is totally unorganised.

o Lack of education and pragmatic unawareness among the artisans.

o Language problems and general personality traits such as being overtly humble and shy is another hindrance to progress.

o Lack of sufficient information regarding marketing and organisational structure.

o Artisans harassed by middle men.

o Lack of interactions with NGOs.

Suggestions

o The information about availability of loans, as well as directions to avail financial benefits should be given.

o Training should be given in priority to those artisans who have been associated with the art form.

o Training should be given in the condition that the artisans use what has been taught.

o More NGO’s should be encouraged and open factories.

o There can be product extension: diversifying into products which require lesser time - dupattas, scarves etc.

RETAIL OUTLETS

o ALCHA

o AMAR KUTIR

o BASUNDHRA

o VANALAXMI UNIUN SAMITI

o SHILPA SADAN

ALCHA

o Alcha Store in Santiniketan stocks things designed and made primarily in Santiniketan under the “Abakash” label.

o It was started in 2003 by Ms.KiaSarkar, Ms. Lipi Bose, Ms. BiruSarkar.

Location Non-commercial area of the town surrounded by greenery. Alchaalso runs a cafe (next door) also has a tiny bookstore.Target Segment Tourists and foreigners.Store Environment - Creative presentation of merchandise designed very aesthetically. The walls are made up of the mud highlighting the rural look.  

Merchandise Assortment Less SKUs to avoid the cluttered look. More styles and designs rather than on the product depth. Bags, kurtas, sarees, leather accessories, light Jewelry, organic food, organic cosmetics, upholstery etc. Weaving, dyeing, batik, iron and bronze work, leather, wood and bamboo work and terracotta. To make: Clothes, Accessories, Linen, Home embellishmentsPrice High priced .The psychological pricing strategy has been followed here which implies higher the price better the quality.Service Five sales persons are always there. Extended in to a library and a small restaurant for their refreshment. Promotion Word of mouth promotion and few hoardings.

AMARKUTIR

o A retail store opened at bolpur by the Amarkutir society.

o It is an NGO firm that started in 1922.

o It is aimed at the rural development and promoting village arts and crafts.

Location At a commercial street of the town. Other small shops having similar merchandise are also there. Target SegmentMainly tourists from kolkata and foreigners. Store Environment Bigger in comparison to Alcha(area approximately 700sq.ft) is smaller than that of Vasundhra.No props are used to display merchandise. The merchandise is displayed mainly on the walls and in the small display windows. 

Merchandise Assortment Manufactures all the products and retails them through their own outlets. Have their own set of artisans who make the products & sell at their outlets. Sarees, kurtas, leather accessories etc. Large variety of merchandise is the USP of store.Price Medium priced. 20% of the MRP is paid as the making charge to the artisans.Service Artisans Co-operative Society” is the controlling unit. 4-5 people to assist customers on the floorAbout 65 expert leather craftsmen are engaged at their wares in AamarKutirPromotion Same as it is in Alcha and Vasundhra. * The peak seasons are during ‘Posh Mela’, ‘DurgaPuja’ and ‘VasantUtsav’ (i.e. Holi). During this period, sale is Rs 70,000 to Rs 1 lakh daily. 

VASUNDHRA

o Products are procured on a consignment basis and the artisans gain after the sales are made.

o Various handicrafts are sold here too.

Location Like Alcha, the store is located at a non-commercial area of the town. A beautiful garden and a nursery surrounding the store. Target Segment Mainly tourists and foreigners. Store EnvironmentBigger area. Keep similar merchandise together, no extra creativity can be seen. Typical conventional shop with a wooden counter Use of big iron and wooden racks for the display of the merchandise. 

Merchandise Assortment Sources the products from Bolpur and from the nearby villages Number of SKUs at the store is very high both in product depth and width. Product categories like sarees, fabric, kurtas, leather bags, leather footwear, accessories, leather wallets, wooden dolls, dhokra items etc. USP- Large number of SKUsPrice low priced in comparison to Alcha. Moderately priced.Service Seven to ten sales persons are there on the floor.These people make sure that the customer (foreigner or a tourist) understands the craft and its intricacies. Promotion Like Alcha, Vasundhra is also dependent on word of mouth promotion and on hoardings, which help in attracting foreigners and tourists 

VANALAKSHMI UNMESH SAMITI

o Aims at create an ideal model of sustainable development using Nature in a symbiotic relationship with growth.

o To reach out to the rural population around them and help improve the village economy by working with Nature.

Location:Located where the Forest ends.A Banyan tree, seven centuries old, stands guard at the entrance. Target segment: They are mainly tourists and foreigners   Store environment: The space for retail is less. This space has been used for displaying garments, bags, farm products.Very less space has been given to sell variety of products. 

Merchandise assortmentFarm produce: For selling farm produce such as rice, mustard, ghee, jams, jellies, squashes, pickles, murabbas, toffees, aampapads, and traditional Bengali sweets such as coconut roundels (naroos), pithas and patishaptas. Local village handloom products & handicrafts:Lungi, Handloom Towels, Kurta, Blouse material, Saris, Salwar materials, Embroidered,Tops, Bags, Terracotta show pieces, Cane stools (Mora), Cane mats (Chatai & Madur),Cloth, paper and cane files, Fabric – kantha embroidered as well as without embroidery. PriceMedium priced.ServiceThree sales persons are always there on the floor.A library and a small restaurant as a part of extended serrvices. Promotion:e-marketing, satellite linkages. Direct marketing through word of mouth is done. 

SHILPA SADAN

o Reputed Institute of VisvaBharati engaged in promoting Crafts and Design education which was setup by GurudevRabindranath Tagore in 1922.

o To uplift craft and Craftsmen and thereby improving the rural economy.

LocationIn the campus of visvabharti university.Target marketTourists and students along with foreigners.Store environmentNot very well organized. Staff has not taken enough care for the outlet. Products can be displayed in a better way.

Merchandise assortmentVery less variety of products were displayed. All products were manufactured by the students involved in the program. Products include file covers, wallets, bags, files, clutch, printed bedcovers, printed diaries, trey, tea pots. Crockery, fabric, etc PriceI Not very highly priced. Prices are low. Price of various items range from Rs.25- Rs. 600ServiceTwo sales staff was present to entertain customers. 2 accountants were there for accounting and billing. Service was slow.PromotionNo measures for promotion is taken except for word of mouth. 

Artisans ProfileArtisans 1: : RabiaBibi ( Success)Business : Kantha embroideryShe has established herself as a successful entrepreneur, with 6 to 7 number of artisans working under her. Costing of a Saree : 

Artisans Profile

o Products :Sarees, Dupattas, Bags, Stoles -Rs.600,Kurtas, blouse pieces : Rs 150-200 Design & color combinations are chosen by artisans only. Traditional designs with little variations . No Finishing .

o Other professions : Animal rearing & farming.

o Location: Her home only or sells it to a shop in Ilaam Bazaar

o Other details:

o Participate in various Melas like Saturday mela, Poushmela, they sell the basic saree for Rs.3000

o They got the training from NIFT bolpur training centre 1-2 years back for which they were paid Rs.1500 for a 13 day workshop.

o No bank Loan , No bank account, only a ration card holder.

o Interested in opening a business & grow, move to kolkata but due to financial constraints cant explore the market opportunities.

o Need help from co-operative societies.

Artisans ProfileArtisans 2: PARTHO NANDI (success)Business : Kantha embroideryHe is an entrepreneur in Bolpur who himself procures the raw material like Silk from Bishnupur, Bangalore Silk, &

owns a thread bank. He sells around 2000-3000 sarees in a year.Costing of a Saree : * Whole sale rate : Rs. 3400 per piece ( approx)

Artisans Profile

o Products :Sarees, Dupattas, Stoles , blouse pieces , suit pieces.

MeetaDidi ( NIFT trainer) & he himself do the designing which is very different from the rest of the market & can’t be copied easily. The changes in design according to the market was seen.

o Location: His home only or sells it to retailers and exporters in Mumbai and Delhi.

o Other details:

o He sells per piece not bulk orders because it’s hand embroidery so same perfection will not be there in every piece.

o Minimum lead time (kanthasaree)- 5-6 months. Varies according to design details.

o His network grows by getting in touch with traders in exhibitions & melas.

o He went to bank 4 years back for a loan of Rs. 1 lakh but for that Rs.40,000 was to be deposited as security which was very high.

Artisans ProfileArtisans 3: Shaniyasi (Succes)Business : Leather exporter He owns Shantiniketan leather exports. He is only in exports.

o His annual turnover is 80 lakhs and he hasn’t disclosed his profit margin.

Products : Leather batik goods - bags etc.They do block printing as buyers don’t like hand batik.They do not repeat the design.Location :ShurulOther details:

o Its involved in exhibitions through contacts.

o Lead time required is 60 days

o Under him 10-12 people work.

o Contracts are from exporters.

o Quality check of the products is done by the owner himself.

Artisans ProfileArtisans 4: Debabratasengupta (success)Business : Art wing – decorative itemsRetail outlet as: the craftsHas worked with many designers such as Subhyasachi, etc Products Items basically comprises of like bags, boxes, wallets purses, keychains, mobile holders, folders, decorative items, coin bag, etc.Location :ShurulOther details:

o The person has been a guest lecturer at NIFT.

o There are more than 500 such varieties available at the art wing.

o Raw materials: leather sourced from Chennai and are reprocessed from sriniketanto provide the tanned leather some longevity.

Artisans ProfileArtisans 5: MaushinaBibiBusiness : MacrameartisanShe participates in many fairs in India- Delhi trade fair, dillihaat, Kolkata SarasMela in 2006 & Abroad like Beijing, South Africa, Dubai through NIFT.Products Products like macramé jewelry: 10 years back sold at Rs.10, now sold at Rs. 50 to 100, Necklace Rs 60, Anklets, mobile covers, Earrings Rs 30.The raw material is sourced from Burrabazar, Kolkata & the designing part is done by herself or people gets the design in mobile phones & she makes it.Location : Her homeOther details:

o She was trained by NIFT but have not received any kind of recognition for the training.

o She took a loan of 2,20,000 from Gramin Bank, 7 years back

o She needs to change the designs every time as the old designs don’t work.

QUESTIONNAIRE ANALYSIS

Question 1): Artisan’s ageMost of the artisans (33%) were found to be in the age group of 31 to 40 years old and least number of artisans (17%) was found to be in the age group of 51 years old and above.

Question 2): Artisan’s sexThe gender of artisans was found to be mainly females i.e. 70% of the total artisans surveyed were females and the rest 30% were males.

Question 3):

o Among the artisans surveyed most of them said that all of their family members are dependent on them,

comprising of 40% of the artisans responded.o Least number of artisans (20%) said that half of their family members are dependent on them.

Question 4):Among the artisans responded, most of them were illiterate i.e. 50% and very few of them i.e. 10% have attended education till college level.

Question 5) a:Most of the artisans responded (64%) said that the Katha craft is being pursued on piece rate system and 10 % of them said that it is pursued on daily wage basis.

Question 5) b:Most of the artisans responded (70%) said that the Batik craft is being pursued on daily wage basis and 10 % of them said that it is pursued on piece rate system.

Question 6) :Most of the artisans responded (70%) were found to be not engaged in other activity apart from handicrafts, and 30% of them were found to be engaged in other activities like animal rearing, construction.

Question 7) :Most of the artisans surveyed (40%) were having current monthly income within the bracket of Rs. 5,000 to 7,500 and least no. of them (10%) were found to be below Rs. 2,500

Question 8) :Most of the artisans i.e. 70% are not maintaining any savings account. 20% of them are maintaining it in Bank and 10% in post office.

Question 9) :80 % of the artisans responded have saved any amount of money and 20 % of them have not saved any amount of money.

Question 10) :76% of the artisans surveyed were found to be above poverty line (APL) and 24% of them were below poverty line (BPL)

Question 11) :93% of the artisans were found to have their own dwelling house and the remaining 7% have rented dwelling house

Question 12) :Most of the artisans i.e.40% are using their own resources and only 7 % of them have taken home loan

Question 13) :

o In the last two years the items like gas connection was found to be owned by all of the artisans.

o Cattle, mobile phone and livestock were found to be owned by most of them. But four- wheeler and electronics were not owned by most of them.

Question 14) :77% of the artisans are planning to put any of their children in their traditional artisan work , while the rest 23% have not planned such.

Question 15) :83% of the artisans have extended their product line over last two years in terms of color and design while 17% of them have not extended their product line.

Question 16) :63 % of the artisans found new products more profitable than the old products while the rest 37% have not found so.

Question 17) :40% of the artisans work on market demand design while 27% work on the traditional design.

Question 18) :57 % of the artisans work on design created on their own while only 13% follows the old patterns of design.

Question 19) :

o 40% of the artisans said that marketing is limiting their growth, while 5% said that design and 5% said that packaging is the reason for it.

o While 20% of them believe that any other factor like lack of finances or own resources is reason for limiting growth.

Question 20) :17 % of the artisans surveyed said that they have received training from NIFT in their craft.

Question 21) :The artisans surveyed said that they have received training from NIFT in skill development, product description, money and design.

Question 22) :

o 93% of the artisans believe that such training is good for their work opportunities.

o While rest 7% don’t think so because they feel that such training does not build contact and no certificate is received on completion of such training.

Question 23) :

o 90% of the artisans believe that they need further training,

o while rest 10 percent who don’t think so are not designing on their own but procuring from other agents.

Question 24) :32% of the artisans think that the main area where further training is required is marketing.

Question 25) :

o The main factor which determine price of the products is said to be the raw materials by 35% of the artisans,

o while the other main factor considered is trader/agents.

Question 26) :60% of the artisans surveyed do their raw material procurement from nearby markets and nobody of them does from faraway places.

Question 27) :80% of the artisans surveyed owned or wanted to start a unit

Question 28) :Minimum finance required for starting such a unit is Rs. 1.5 to 2 lacks.

Question 29) :20 % of the artisans use bank loan as source for financial assistance, 20% of the artisans use own funds while most of the artisans i.e. 60% of them use other sources like friends, family, mahajans, agents.

Question 30) :30% of the artisans surveyed sell their products directly to customers and 30% of them sell their products in fairs and festivals.

Question 31) :94% of the artisans surveyed face difficulty in marketing their products.

Question 32) :other problems 

o The other problems while selling their products are enlisted amongst them lack of presence of domestic/local market has highest percentage.

o Next is the presence of middlemen/agent which exploits the artisans. Apart from this they also face problem in transport and distance of the market.

o Any other factors is competition

Question 33) :50% of the artisans said that they have ever participated in private fairs while 20% said that they have participated in both of them.

Question 34) :

o All of the artisans responded said that their products get better sales in fairs.

o Fairs like Sarasmela and fairs in pragatimaidan were considered as the major sales boosters by the artisans for their products.

Question 35) :All of the artisans responded said that fairs help them in expanding their market potential.

Question 36) :80% of the artisans are satisfied with their current artisan work but the rest 20% are not satisfied , mainly due to low income they get there.

Question 38) :NIFT intervention in cluster project have contributed to all these five parameters equally i.e. 20%

Question 39) :NIFT intervention in cluster project has highly satisfied 80% of the artisans, 15% are just satisfied and the remaining 5% are dissatisfied.

SUGESSIONS & RECOMENDATIONSMarketing:•Organize frequent meeting between buyers and sellers and develop awareness about new concepts such as eco-friendly methods, product diversification by dint of new fibers.• A few craft clusters may be identified to be given sustained attention in terms of a common facility centre for each such cluster. Such a centre will facilitate provision and supply of requisite developmental tools, implements, raw materials, dyes/herbal finishes, testing facilities, eco-friendly concepts, design support for product and market development and communication.• The field offices of Development Commissioner (Handicrafts) in the state, need to be duly restructured and staffed with individuals who are focused on the sector and target-driven, to help inculcate the necessary awareness, enabling due promotion and monitoring of activities in the area.• There is a need to strengthen the National Centre for Design and Product Development (NCDPD) at the state. It is also essential that entrepreneurs in close cooperation with an established NGO carry out the management and operation of the centre.

SUGESSIONS & RECOMENDATIONSMarketing:

o Develop awareness about international standards.

o The role of intermediaries and the agents should be curtailed.

o The marketing schemes shall be aimed at achieving twin objective of creating awareness among people through fairs of handicraft products and providing them with market outlets for direct sale.

o This marketing programme should also attempt new destinations other than those mentioned above to explore new and additional market opportunities.

 o Regular source of orders should be found, so that artisans have a regular source of income.

 o Wages of artisans should be increased, so that they are not attracted to other jobs.

SUGESSIONS & RECOMENDATIONSPricing:

o Presently the pricing system is totally controlled by the dealer, agents so we suggest that the artisans should get not only the labor charges on per piece system but also get some percentage of the profit earned.

o The artisans should be trained in such away so that can have a fair idea of the expected selling price of the handicrafts

o Artisan should be informed on regular basis about the sales volume and value of the products.

Finance:o Banks could generate awareness about the scheme by participating in various melas and fairs where the artisans

promote and sell their products.

 o Bank representatives could talk about the scheme during the Panchayat meetings held from time to time.

SUGESSIONS & RECOMENDATIONSDesigning:

o Artisans knew that the designs they are working on are already flooded in the market, still they were working on it. This accounts for little design differentiation within the products of two different producers, which harms both of them.

o Artisans paid little emphasis on ‘packaging’; they didn’t understand that if an handicraft is coming in a tasteful packaging then it will add to the value of product and also to the consumer delight.

 Technology:

o Development of raw materials.

o Improvements in layout.

o Upgradation of tools.

o R&D on natural dyeing/herbal finishing.

o Systematic and effective schemes to educate artisans about tools and techniques.

SUGESSIONS & RECOMENDATIONSDesigning:

o Artisans knew that the designs they are working on are already flooded in the market, still they were working on it. This accounts for little design differentiation within the products of two different producers, which harms both of them.

o Artisans paid little emphasis on ‘packaging’; they didn’t understand that if an handicraft is coming in a tasteful packaging then it will add to the value of product and also to the consumer delight.

 Technology:

o Development of raw materials.

o Improvements in layout.

o Upgradation of tools.

o R&D on natural dyeing/herbal finishing.

o Systematic and effective schemes to educate artisans about tools and techniques.

Proposed Marketing planREGULATING AUTHORITY FOR HANDICRAFTS

Proposed Marketing planREGULATING AUTHORITY FOR HANDICRAFTS

Proposed Marketing plan

Proposed Marketing plan

AREAS OF DEVELOPMENT

o The primary objective is to create an environment that helps the industry to compete on the global basis. To build the environment that will focus on: Wealth Creation, Infrastructure Development, Training, Technological Development, and Poverty Alleviation etc. to enhance the sector performance.

o Awareness should be increased among craftsmen and customers through Trade Events, Seminars, Craft Forums and advertisements.

o More training centers should be opened to provide proper training to craft persons.

o Transportationinfrastructure should be improved to access the untapped market that would be beneficial to reduce the transportation cost.

o Promotion of cultural tradition and heritage.

o Promotion of Indian Tourism to attract the foreign customers.

BIBLIOGRAPHYWeb Links :

o http://www.kolkatadreams.com/2010/01/santiniketan-world-home-nest.html

o www.com/Amar_Kutir –

o www.indiawaterportal.org/post/6783

o kristenstephens.wordpress.com/

o www.epch.com/ 

o www.hhecworld.com/

o www.arionclubindia.com/Export_prospects-handicraft.pd

o www.indiavideo.org/malay/.../travel/rain-at-shilpa-sadan-3297.php

o http://www.alchastore.com/

o http://www.texmin.nic.in/

o http://texmin.nic.in/annualrep/AR07-08-11.pdf

o http://www.craftsinindia.com

Development of tribal communities (Rural communities)‘Development of Intensive Tourism cum Handicrafts Cluster in Phuldanga and Bonerpukurdanga villages in Bolpur/Sriniketan Block of Birbhum district, West Bengal under Cluster Development Programme of NABARD.'

The Project is based on the premise that tourism growth potential can be harnessed as a strategy for Rural Development. Tourism is one of the major earner of foreign exchange for the country and Rural tourism is expected to add more to what we earn in foreign exchange. Moreover, Rural tourism will hasten the process of development and give a chance to the village communities to interact with the outside world. It will also boost employment opportunities in rural areas and the products of rural artisan will find a ready market.

The goal was to build sustainable tourism opportunities through community participation, capacity building, infrastructure development, promotion of tribal art and culture, development of linkages with government & non-government agencies for the economic & social development of disadvantaged tribal communities.

The beneficiaries were the tribal communities of the villages of Bonerpukurdanga and Phuldanga in the Birbhum District of West Bengal.

The activities under the Project in the first four years of the Project included the following :

Awareness generation and confidence building measures among the tribal artisans for taking up the training in order to create self employment opportunities

Identification of a group of 150-170 artisans/beneficiaries Skill development training on a variety of skills including Folk Art-wall mural, Seed and benagrass jewellery, Wood & Bamboo

craft (First level and Advanced), Terracotta showpiece (First level and Advanced), Leathercraft, Tribalcraft (Patochitra) and Sal leaf, Kantha, Folk culture (dance & music), Local cuisine

Human Resource Development within community for rural tourism through training of local youth in tour guide and hospitality management

Formation and strengthening of SHGs Credit Linkage with Banks Establishment of Marketing linkages Promotion of tourism Installation of 12 Solar Street lights in the village

Achievements under the Project have included:

Total Number of Artisans trained : 150 Total no. of Groups formed : 8 (All are savings linked) No. of Groups taken loan from Bank : 3 No. of Artisans who got loan from DIC : 3 No. of artisans who got microloan from other sources : 17 No. of artisans who got DIC Registration : 2 No. of artisans applied for Scheduled Tribe (ST) certification : 110 No. of artisans applied for Artisan ID : 100 No. of artisans who got Health Card : 11 No. of Artisans applying for PF like benefit with Panchayat : 53 Artisans actively participating in Melas, Exhibitions etc held in Bolpur, Kolkata and other places in the country. Linkage with foreign markets with design upgradation also established through Made By Survivors of USA.Orders placed for

Kantha scarves, leather purses, wallets. Increase in number of Tourists & visitors to the village including foreign tourists. Important visitors to the villages have included

British MP & former Minister Sir Ian McCartney and his wife Lady Ann McCartney, German travelogue writers Mr. Stefan Loose & Mrs. Renate Loose, former US Consul General Ms. Beth Payne, NABARD MD Dr. K.G. Karmakar, MANJUSHA CMD Mr.C. Chakraborty, etc.

Exposure visits by school and college students held Dance Group members are being invited to perform at melas, exhibitions and other events besides performing for viistors &

tourists. Income from Dance performances has increased significantly. The arrival of tourists also led to large number of opportunities for the cookery group to sell snacks and food cooked by them

leading to increase in income generation. Microenterprise in Salpata platemaking running successfully. The Khoai Haat or Shanibarer Haat has also become a major weekly event for the artisans which is frequented by a large number

of tourists and visitors.

Activities during the year concentrated on strengthening the credit and marketing linkages for the artisans and also promotion of tourism. Artisans participated in Exhibitions held in Bhubaneshwar, Kamarpara, Baidyabati, Mumbai, Poush Mela and events like Outreach Puja & Chaitra held in CTS, PwC, Unitech etc.

There has been an increase in the number of tourists and visitors to the villages which has led to an increasing number of opportunities for artisans to sell their products. Besides, the arrival of tourists also led to number of opportunities for the cookery group and the Dance Group to earn additional income.

After installation of 12 solar street lights in the village of Bonerpukurdanga , a Village Committee was formed for maintenance of the solar lights. A bank account in the name of the Committee “Bonerpukurdanga Gram Unnayan Committee” was opened. Village community members are contributing a nominal monthly subscription every month.

Two Skill Development Initiatives (SDI) were carried out in Wood & Bamboo craft (advanced) and Terracotta (advanced) in the two villages. There were 10 trainees under each SDI. Under the Wood & Bamboocraft, the trainees were taught to make attractive trays, folding chairs & tables, picture frames with tribal designs painted on it, trays made from wood and sitalpati, etc. Terracotta trainees learnt to make attractive show pieces, decoratives, penstand, tiles, etc. The trainees also learnt to make the “clay” for terracotta products which itself has good demand and market locally.

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