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Tamta Copperware—Diagnostic Study and Business Development

Plan

Table of Contents

I. Methodology for Diagnostic Study ........................................................................................................3

II. Location of Tamta Clusters in Uttarakhand ...........................................................................................5

III. Introduction: Tamta Copperware ..........................................................................................................6

Copperware: History and Tradition ........................................................................................................... 6

IV. Tamta Copperware: Craft Production Process ......................................................................................7

1. Raw Materials ........................................................................................................................................ 7

2. Tools ...................................................................................................................................................... 9

3. Process ................................................................................................................................................. 10

4. Product Range ..................................................................................................................................... 11

5. Current Scenario .................................................................................................................................. 12

6. Product Pricing .................................................................................................................................... 15

Bibliography ............................................................................................................................................. 15

V. Product Review ................................................................................................................................... 16

VI. Copperware Value Chain .................................................................................................................... 19

1. Description of the Copperware Value Chain ................................................................................... 20

2. Analysis of the Copperware Value Chain ........................................................................................ 21

3. Institutional Players in Copper Craft ............................................................................................... 23

4. Conclusion ....................................................................................................................................... 23

5. Suggested Interventions in Copperware Craft in Uttarakhand ....................................................... 24

VII. Copperware Cluster Business Development Plan .............................................................................. 25

1. Objectives of Intervention ............................................................................................................... 25

2. Intervention Strategies .................................................................................................................... 26

3. Interventions under the AHVY Scheme ........................................................................................... 27

4. Project Output Targets .................................................................................................................... 29

5. Project Budget ................................................................................................................................. 29

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I. Methodology for Diagnostic Study

A detailed methodology was followed to gather information on the cluster, identify the

main actors, and collect trade and business data from them. Various tools including field

visits, one-on-one interviews, focus groups and surveys were used to collect the required

information. The following is a step-by-step description of the methodology used.

1. Desk Research and Setting Up of First Field Visit

This entailed the following steps:

o Gathering of information on cluster actors and contacts through interactions

with a range of institutions including the Crafts Council India, Dastkar, Crafts

Revival Trust, Dastkari Haat Samiti, Fabindia, National Institute of Design

(NID), National Institute of Fashion Technology (NIFT) and Asian Heritage

Foundation.

o Identification of and establishing contact with NGOs, individual artisans,

master craftspersons and entrepreneurs working in the area to explore potential

local project partners and resources. Also scanning for existing government

schemes in the area.

o Identification of design and other professionals with previous work experience

[through the above two steps] relevant to the cluster and of discussions to

explore their use as project consultants and resources.

o Scanning of books, documents and other reading material for sourcing initial

archival material on the crafts process, design repertoire, local dynamics and

existing linkages to markets.

2. Initial Field Scan, Field Visit and Hiring of Local Staff

o An initial field visit of 7-10 days was made to meet the artisans, groups and

organizations working in the area.

o Local staff members were identified and interviewed to carry out a survey of

the artisans in the area.

o A second field visit was then conducted to oversee the survey.

3. Existing Product Profile Review This was undertaken through the following steps:

o Collection of samples from the cluster to review the design, quality and

marketability of the product; the samples were reviewed by a panel of experts

assembled by AIACA.

o Review of the costing process and marketability of the product at that cost.

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o Review of the appropriateness of production methods, raw materials and the

tools used.

4. Documentation of the Craft Production Process

o A detailed documentation of the craft production process was carried out. The

original skill techniques being used were also ascertained and an assessment

made of how the process has changed and the craft has languished over time.

5. Survey of Artisans

o Demographic profiles of the artisans and ancillary workers, including their

geographical locations were mapped. A selection and survey of 300 artisans

was also conducted. The data was then compiled in a computerized format to

obtain aggregate statistics from the survey forms.

6. Value Chain Mapping

o A detailed mapping of the copperware value chain was carried out. The

mapping identified actors in the cluster who were involved in the business of

crafts production and sales including master craftspersons, traders and other

marketing intermediaries.

o A detailed analysis of the existing commerce in the cluster, including current

sources of credit accessed by artisans and traders, was then undertaken.

7. Preparation of a Business Development Plan

o On the basis of the information collected through the above steps, the

analyses arrived at by professional staff members of Access and AIACA, and

their interactions with a range of stakeholders in the crafts sector, a detailed

Business Development Plan (BDP), which clearly lists the objectives,

strategies and targets for the requisite interventions was prepared.

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II. Location of Tamta Clusters in Uttarakhand

The Tamta clusters are spread over three districts of the state of Uttarakhand, viz.

Almora, Bageshwar and Pitthoragarh. Almora is one of the main towns in Uttarakhand

and has a rich cultural heritage and history. It is considered as the cultural heart of the

Kumaon region of Uttarakhand. This hill town was the flourishing capital of the Chand

dynasty. The nearest railway station is Kathgodam (90 kms), which is connected to

Lucknow, Delhi and Kolkata. Almora is also well connected by road to Lucknow (466

kms), Dehradun (412 kms), Nainital (71 kms), and Delhi (382 kms). Bageshwar, which is

situated at a distance of 90 km from Almora, is known for its place of temples and rivers,

and is situated on the bank of two famous rivers, Gomti and Saryu.

Pitthoragarh, the eastern-most district of Kumaon, is bordered by Tibet on the north and

Nepal on the east. Pitthoragarh was once a stronghold of the Chand dynasty and its

temples and ruined fort bear witness to their rule. The town lay on the old trade route to

Tibet and is still en route the sacred trail to Mount Kailash and Lake Mansarovar. The

nearest railway stations to Pitthoragarh are Tanakpur (51 km) and Kathgodam (212 km).

The entire district is well connected by roads. The principal road links to the district are

from the railway terminals at Tanakpur and Kathgodam. The road distances for

Pitthoragarh to some important centers are as follows: Delhi—503 km, Bareilly—268

km, Nainital—188 km, Haldwani—218 km and Lohaghat—62 km.

There are several handicraft industries in this region, which have, however, been

languishing due to neglect, such as carpet weaving, wood carving, ringal weaving,

brassware and copper-based industries.

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III. Introduction: Tamta Copperware

The art of metal craft was introduced in India as far back as 3000 BC. The excavations

found in different places provide evidence of the craft and both its development in Indian

cities as also its long heritage. In India, this craft includes the vast usage of various metals

such as copper, bronze, silver, gold, iron, and bell metal, among others. Metal craft has

diverse manifestations ranging from mythological figurines and sculptures of deities to

ordinary items of daily use such as pots, pans, utensils, photo frames, doorknobs, taps,

key chains, boxes and artillery. Metal craft involves the tradition of enamelling, etching

and damascening for the beautification of metal objects. Even today, Indian metal craft is

admired for its durability, unique designs, and application in a variety of products.

A Tamta worker making a tola

Copperware: History and Tradition

The discovery of copper or tamta, as it is commonly known, goes back to prehistoric

times. The earliest recorded use of copperware in India was around 3000 BC, as indicated

by the findings at the archaeological sites of the Mohenjo-daro and Harappan

civilizations.1

The origins of Tamta copperware craft can be traced back to 16th century AD, when the

Chandravanshi clan of the Rajasthan region migrated to the Champawat region of the hill

state that is today known as Uttarakhand. The traditional coppersmiths of Rajasthan were

brought along with the royal court to mint copper coins for the state treasury. A few of

these Tamta craftspersons shifted to Almora and the Kharai Patti region in Bageshwar.

Eventually, the Chandravanshi rulers were overthrown by the Gorkhas. In the year 1816,

according to the treaty signed between the British and the Gorkhas, a ban was imposed on

1 Ref: Indian Metal Craft, [Online], Available at http://www.indianetzone.com/7/metal_craft.htm

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copper mining in the region.2 Gradually, the Tamta craftspersons started practicing this

art to produce household articles. Due to the ban on copper mining, they started using

copper scrap by melting and then recasting it into household articles. In due course of

time, they migrated to other regions such as Almora and Pitthoragarh in search of better

facilities and better availability of raw material.

Diya stand Unfinished kalash

IV. Tamta Copperware: Craft Production Process

Copperware craft is found in three districts of Uttarakhand, namely, Almora, Bageshwar

and Pitthoragarh. The craftspeople engaged in making copperware in the hills of the

Kumaon region are known as Tamtas. The Tamta Mohalla is a locality in the old city of

Almora, which in earlier times belonged to the coppersmiths. Copperware is one of the

traditional crafts of Almora and some of the best coppersmiths still work from Tamta

Mohalla. In Bageshwar, the Kharai Patti region was once famous for its copper mines

until mining was banned by the British Raj. This region, which falls under the Dewaldhar

block, comprises six 6 villages namely, Uderkhani, Chogaon Chinna, Kharak Tamta,

Binsar, Gairsakida and Boregaon, all of which have many highly skilled Tamta

craftspersons. Many national awardees also belong to this region. In Pitthoragarh, the

Tamtas work in Gangolihat and Berinag.

1. Raw Materials

The basic material used for making copperware products includes sheets of copper or

patches made from melted scrap. The sheets are of varying thickness, which is measured

in gauges—the higher the number of the gauge, the thicker is the sheet, and

correspondingly, the lower the number of the gauge, the thinner is the sheet. The sheets

used in this region are of 20, 22, 24 and 26 gauge thickness, and are available at prices

ranging from Rs. 370 to Rs. 450 per kg, as of June 2009.

2 Ref: Department of Industries and Commerce (DIC)-Almora (1992), Proposal from Tamra Udyog Sahakari

Samiti, Almora: DIC

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Copper sheets

These copper sheets are bought by the artisans from the local trader, M/s. Anokhe Lal in

Almora, who, in turn, procures the sheets from rolling mills in Moradabad in Uttar

Pradesh and Jagdhari in Haryana.

For making joints, a powdery mixture of the following substances (along with water) is

used as a soldering material:

Suhaaga

Jasta

Peetal (brass)

Kansa

Raang.

This mixture is known as ashtadhatu, which is a composition of eight different metals.

Apart from these metals, nausadar (zinc) is used as a joining material and seesa (lead) is

used in casting. Acid and imli (tamarind) are used to clean the copper sheets.

Ashtadhatu Suhaaga

For fuel, the bark of chinar or pine trees is used, as it is a better and cheaper alternative to

expensive coal.

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2. Tools

The common tools used by the Tamtas to make copperwares are:

Chaukhan—Hammer with a square head having rounded edges;

Hathaura—Mallets with wooden heads;

Aini—Anvil;

Patthar—Stone used for shaping;

Sabbal/Sunni—Metal rod used for shaping and imparting designs;

Kainchi/Katan—Metal-cutting scissors;

Prakkar—Compass;

Chaini—Chisel;

Raeti—File;

Bhatti—Kiln;

Pankhi—A device used for blowing air into the kiln;

Sambhal—Crowbar with anvil;

Sansi—Tongs;

Rosi Karthi—Brazing irons; and

Deoxidizing pit.

Tools: Sabbal/Sunni Tools: Prakkar

Hammers, anvil and shaped/beaten copper

These tools are either made by the artisan himself or sourced from Haldwani.

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3. Process

The process basically involves beaten metal-work, in which the metal is beaten into the

required shape. A wooden hammer is used while shaping the metal; a much heavier iron

hammer is also used for processes that involve sizing like increasing the size of a strip.

Copper is generally considered to be a soft metal, implying that it can be worked without

heating. This means that the molecules within the copper are compressed and irregular in

their arrangement. This causes stress in the metal, eventually cracking the metal along

these stress points. In order to enable the copper to be worked to any extensive degree, it

must be annealed. This facilitates easier shaping of the metal.

A lot of the items, especially the smaller ones, are created from a single piece of the

metal. The sheer time and craftsmanship required for making a piece from a single sheet

of copper make the end product very expensive.

Marking the design: The basic outline of the product is marked on the sheet by using a

prakkar (compass). Then it is cut by using a kaati kainchi (scissors used for cutting

metal), after which the negative areas are removed with a hammer and a chisel.

Annealing: The plate is then annealed. This is a metallurgical process in which material is

altered by using heat treatment, which causes changes in properties such as strength and

hardness of the material. Annealing is used to induce ductility, soften the material, relieve

internal stresses, refine the structure by making it homogeneous, and improve cold

working properties.

Hammering: The plate is hammered by using the wooden mallet and aini (anvil) to

achieve a basic shape. Since shaping of the metal entails heavy hammering, wooden

mallets are used to ensure that the hammering does not puncture the copper sheet.

Kalash in making

Shaping: This annealing and hammering of the metal with different kinds of hammers is

continued until the sheet takes the desired form. The article may then be finished with the

help of chisels and files.

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Designing: The design is then made on the article by using chaukhan (a rounded square-

head hammer) and sabbal or sunni (metal rod used for shaping and imparting designs).

Besides specific motifs, a pattern of small squares is impressed all over the piece by

beating it by hand with the help of a hammer.

Joining or soldering: If the article has a few parts that require assembling, they are

soldered together. Both the parts to be joined are temporarily fixed by using slits and cuts.

Then a powdery mixture of suhaaga, jasta, petal, kansa, raang and nausadar wetted with

water is applied on the joint at the inside. When this paste dries on the joint, it is heated in

the kiln. This mixture melts and forms the joint.

Cleaning: The finished product, after joining, in case jointing is involved, is washed with

acid or placed in heated grain heaps; the hot piece is covered with chaff. This is done to

cut off the air supply as the air must touch the article. When the object is removed from

the slowly cooling chaff, the metal can be seen to have acquired a luster. If needed, the

article is then cleaned with imli or tamarind syrup.

Buffing: The article is then subjected to buffing to impart a shine. Wax is applied on the

article before buffing.

4. Product Range

Since copper work is a traditional craft of the area, the products made are suited to the

lifestyle of the people of that region. Copper metal is known to have purifying properties;

hence it is used in the products for utilitarian, decorative and medicinal purposes.

Copper articles

The product range includes gagar, kalash, diya, lota, bhokar, patila, water filter,

decorative plates, glasses, bells, etc.

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5. Current Scenario

The Tamtas started copper work five centuries back as coin-makers for the royal treasury,

from which they shifted to copperware and other decorative items after the abolition of

the royal court. This tradition of Tamta artisans as makers of copperware still continues.

However, Tamta copper craft, which has been flourishing in the hill regions of Kumaon

for the last 500 years, is now slowly disappearing and very few families of Tamtas are

involved in the craft. The craft can now be termed as a languishing craft.

Big tolas only being made on orders

The Tamtas, who practice this craft, are not tribals. Terming the copper craft of

Uttarakhand as a tribal craft would belittle its cultural and geographical significance.

In places where the copperware artisans are located, usually the whole village is inhabited

by Tamta families but there are also a few villages in which only a handful of Tamta

families are found to be living. Out of these few Tamta households, only 10 to 25 per cent

are actively engaged in this activity. The number of persons engaged in the craft from

these families has been declining over the last few years. Most of the Tamta craftsmen

currently engaged in this work are above 50 years of age, as members of the younger

generation are not too keen on carrying the family tradition further and instead take up

more lucrative jobs in schools, banks, and the army.

Currently, traditional vessels such as gagar and phaula for storing water, tola for

cooking, parat and thali used as serving trays as well as products used for rituals—lota,

kundi and kalash—and musical instruments like narsingha and bhokri as well as several

kinds of idols of Gods continue to be sold in local markets but their demand has been

steadily deceasing. Most of the artisans work only on orders. Over the years, increased

competition from industrially produced copper products and the diverse variety of plastic

and metal goods available in the market has diminished the market share of copper

products. Further, the demand for traditional goods has also been falling while. The costs

of raw material have increased manifold. Artisans who are still engaged in the craft

survive either on selected orders or by selling products that are traditionally being used as

gifts in marriages, or as temple utensils and figures. Some of them are surviving by

remodeling and recasting the existing products or have started working with other metals

such as aluminum or iron to make various tools and utensils. The artisans even claim that

the copper available now-a-days is not pure, and the impure copper starts corroding and

develops black stains on the surface. This necessitates frequent cleaning and also reduces

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the life of the copper article. Consumers have also gradually shifted from copper to other

materials with greater durability.

Continuing the tradition

Copper is considered to be auspicious in the hills of Kumaon and it is believed that every

household ought to have copper products. This, along with the belief that copper has

medicinal value and absorbs all impurities from water when put brought into contact with

it, has kept the tradition alive. Articles such as phaulas that have been used to store water

are now being replaced by innovative articles such as water filters. According to the

artisans, earlier even the eating utensils used to be made of copper. At that time, the

artisan used to travel through the villages to sell his wares and take orders. Today, these

round trips of the village, known as pheris, are no longer undertaken as the demand for

these products has reduced considerably.

Copperware work is mostly done by men, while the women assist them in other activities

like casting of designs and etching, and sourcing of the fuel. In Uderkhani, national

award-winner Dulap Ram Tamta has conducted workshops for women and trained them

to undertake transfer designs on copper articles. But now due to the non-availability of

sufficient work and orders, the women are no longer actively involved in their erstwhile

activities.

The various factors that are responsible for the decline in of the Tamta craft are delineated

below.

Rising prices of copper: The copper rates have shot up over the last decade by

almost 3.3 times. Due to this, artisans find it difficult to make the products and

consumers to buy them. The decline in usage and demand for copper articles has

reduced drastically, which renders the artisans unemployed. The current rate of

copper fluctuates from Rs. 370 to Rs. 450 per kg.

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Lack of working capital: Most of the Tamta artisans are economically below the

poverty line (BPL); hence, they cannot generate the required initial investment or

the working capital to start production on their own. This makes them vulnerable

to exploitation by the merchant or trader, on whose mercy and terms these artisans

are surviving.

Procurement of raw material: The raw material, that is, copper sheets or scraps,

are being supplied to all the three districts in Uttarakhand by only one trader, M/S

Anokhe Lal Hari Kishan, Almora. This trader supplies the raw material and also

markets the produce. He also commissions orders to the local artisans and often

pays lower wages to them. The products, which are sourced from these artisans at

lower prices, are then sold at higher rates to the consumers. This monopoly

increases chances of exploitation of the artisans, as they have to accept the terms

set by the trader and work for low wages. Most of the Tamta clusters are located

in remote places and hence have to travel all the way to Almora to source the

copper, which eventually pushes up the overall cost, thereby making copper even

more expensive.

Introduction of machine-made copperware: Factories have been set up in

Ramnagar and Moradabad to manufacture copperware. These wares are cheaper

than the hand-made ones, and hence are widely accepted by the consumers. These

machine-made copper articles are giving stiff competition to the hand-made

copper products made by the Tamtas.

Lack of government initiative: There is total lack of government initiatives and

schemes for the Tamtas engaged in copper craft.

Lack of infrastructure and tool upgradation: The artisans are still using ancient

techniques and equipment for making their products. Finishing equipment such as

buffing machines, and machines to cut and vary the thickness of the metal are not

available to most of the artisans’ groups. In order to avail of these facilities, the

artisan has to go all the way to Almora to get the work done. Innovative tools such

as hand-held stamps and cutting machines have not yet been introduced for the

benefit of the artisans. The introduction of these equipments will reduce the

production time, economize the process and help develop innovative designs for

the products.

A few organizations are making some efforts to tackle this situation and work to mitigate

the problems of the artisans. UPASAC Bageshwar (Uttaranchal Parvatiya Aajeevika

Sanvardhan Company), a Section 25 company promoted by the government of

Uttarakhand, as part of an IFAD-assisted project and Studio Alaaya, Dehradun, a design

enterprise have initiated a project to introduce contemporary designs and skills and to

improve the market access of rural craft producers. In 2008, UPASAC, partnering with

Studio Alaaya, took the initiative to organize 11 Tamta artisans of Boregaon and Kharak

Tamta villages in Bageshwar district. These artisans have now formed a self-help group

(SHG), Jai Vishnu Shiva Cooper Cooperative Society, for which the registration is under

process. The products developed in the workshop were marketed through Studio Alaaya

in markets like Dehradun and Mumbai, and orders were arranged. The products were

contemporary and meant to be marketed in the metros. These included coasters, fruit

bowls, napkin rings, candle-holders and trays. The working capital is generated through

inter-SHG funding through loans so that these artisans own the group rather than

depending on other sources. The artisans are initially imparted training to enhance their

skill, after which the process of design development and production starts. The group was

taken to Dehradun and Haridwar for market exposure trips to make them aware of the

kinds of products being sold in the market other than the usual household articles. In the

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long run, there are plans to initiate group enterprises in other clusters in order to make the

craft work sustainable.

6. Product Pricing

The product pricing varies from cluster to cluster as the rate of the copper varies due to

the various overheads borne by the artisans, such as transportation. The labour rates also

vary, as in a few clusters, labour wages depend on the per unit weight of copper used,

which varies according to the workmanship, that is, for a simple design, the rate is Rs. 50

per kg, while for other designs, it is Rs. 75 per kg, and in the case of pieces with intricate

designs, the rates can even go up to Rs.150 per kg. Others work on daily wages, varying

from Rs. 200 to Rs. 600, depending upon the design specifications.

The rates of various Tamta products are as follows:

Kalash (small): Rs. 300

Kalash (big): Rs. 800

Lota: Rs. 100

Diya: Rs. 30

Glass: Rs. 110

Bhokri (small): Rs. 300

Narsingha: Rs. 3200

Parat (small): Rs. 210

Bibliography

Ranjan and Ranjan (2007), Handmade in India: Crafts of India, New Delhi:

COHANDS.

Prasad, Ritika (2007), Beaten Copper of Uttaranchal, [Online],

Available at http://www.craftrevival.org/CraftArt.asp?CountryCode=INDIA

&CraftCode=003305.

Studio Alaaya (2008), Report on Tamta Copperware Craft Rural Development

Project, Dehradun: UpaSac Bageshwar and Studio Alaya.

DIC, Almora (1992), Proposal from Tamra Udyog Sahakari Samiti, Almora.

Indian Metal Craft, [Online], Available at

http://www.indianetzone.com/7/metal_craft.htm, Accessed on 20 June, 2009.

Field visit to Almora, Bageshwar and Pitthoragarh and interaction with the local

artisans and craft groups.

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V. Product Review

The AIACA team purchased a few samples of copperware products during the field trip

to Uttarakhand. These samples were reviewed by AIACA’s panel of experts. The

products were sent to all the panelists for review, who were asked to provide their

feedback on the following attributes: quality, colour and design, price, usability, product

potential in both the domestic and international markets, and suggestions on product

range and designs.

The products varied from each other in terms of prices (ranging from Rs. 10 to Rs. 300

per product) as well as in design, usage, quality of the skill and the overall aesthetics.

The panelists included:

Sudha Dhingra, Professor, Textile Design, NIFT, New Delhi: Prof. Dhingra has

been teaching ‘Appreciation of Indian Traditional Textiles and World Textiles’

since the inception of the Textiles Design Department at NIFT in 1994.

She brings in her academic as well as hands-on experience in the crafts sector. She

has been involved in sourcing the craft products and marketing of handicrafts and

textiles for a leading retail store in Paris and in the Indian market. She has

compiled a book on ‘Textiles Crafts of India—Assam, Arunachal Pradesh and

Product 1, Rs. 300

Product 3, Rs. 95; Product 4, Rs. 110

Product 6, Rs. 10; Product 7, Rs. 30

Product 5, Rs. 210

Product 2, Rs. 300

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Manipur’ for NIFT and has also assisted in compiling a book on ‘Traditional

Weaves of Tamil Nadu’.

Sangeeta Sen, Designer and Director, Indi Store: Sangeeta has over eighteen

years of experience in the design field. She has worked as a Head of the Design

team at Fabindia and managed designs for the domestic as well as the export

markets at Fabindia. She is currently retailing children’s clothes at her store

Pappu and is working as a freelance designer on a number of projects.

AIACA In-house Design and Marketing Team: AIACA has an in-house design

and marketing team, comprising designers from Indian Institute of Crafts and

Design (IICD), NIFT and the University of Sydney. They have extensive

experience of working with the artisans on design, product development and

marketing.

Given below is the feedback on the products and suggestions for future product design

and development of the copperware:

1. Quality: The quality of the copperware varies from average to good. The products

need to be refined in terms of the overall finishing and refinement. The

uniformity, balance, stability and hand patterns of the products, including the

heavy articles, impart a touch of antiquity to the product range.

2. Colour and Design: The copperware products are made for a specific end-use, that

is, for devotional/ritual functions. The patterns made by machine or hand are the

usual geometric patterns found in brass, copper or silver wares in similar end

product categories. The product range needs to be expanded to ensure a wider

market and consumer base for it. New patterns can be borrowed from the

traditional art of Uttarakhand called ‘Aipan’ to create new designs and new and

better textures that can be beaten or embossed.

3. Price: The products are priced well. New product ranges and designs can easily be

introduced in the higher price brackets. With modification in design and product

finishing, the product can command a good price.

4. Product potential in the domestic and international markets: The products have a

huge potential in both the markets, but one needs to work on the design and

finishing. In the international market, copper is a very ‘in’ metal, that is, it is

considered to be trendy but the existing products are targeted to met the specific

needs of the domestic market. A product like ‘Bhokari’, for instance, has a very

limited rural clientele, wherein its repeated regular purchases cannot be

anticipated. The product category, therefore, needs to be broadened. New lifestyle

products can be designed to cater to wider domestic and international markets.

5. Suggestions on product range: Innovation is possible in form as well as patterns in

both the existing and new product categories. The innovation scan be undertaken

in the designs and shapes of contemporary products, to begin with. New products

like vases, desk accessories, photo/mirror frames and small mirrors can also be

introduced. A better range of ‘puja’ accessories such as bells, incense holders

and tiered diyas can be introduced. Apart from these, lifestyle products such as

tea light holders, napkin holders, and trays for holding towels and other items in

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spas and the hospitality sector, can be introduced. The shapes of glasses and

parats and their functionality can be played around with. The parat, with a raised

diya in the centre, can also be used as an urli for holding flowers.

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VI. Copperware Value Chain

Raw material From Hapur,

Delhi etc @ Rs 320 to 400/

copper sheet

Shopkeeper in Almora (Anokhe Lal

Aggarwal) sells this to crafts person @ Rs.

370 to 450/sheet

On Big products Rs

25-50/kg is given to

Crafts person

On small Products the

price is on the

Designing Part

Crafts person in

villages collected

the old copper

vessels or other

items

Door to

door selling

To local

shopkeeper

Exhibition,

craft melas

etc.

Direct

selling

End Customer

Approximately

Rs.35000 is

investments in tools &

workshop setup

Outside buyers

who give orders to

local Trader

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1. Description of the Copperware Value Chain

Copperware craft is one of the lesser known crafts of Uttarakhand. This art is still

practiced in a few areas of Almora, Bageshwar and Pitthoragarh districts. The craft is

practiced by the Tamta community in the state and is specific to this community only.

Copper products have been traditionally used by the local population for domestic use.

Household utensils for cooking such as pans, pots and tumblers, decorative articles,

musical instruments, statues and other items used in temples are examples of some of the

copper products made by these artisans.

The value chain of copper craft starts with the procurement of raw material. Since the

extraction of copper is now banned in this area, the raw material is procured mainly from

outside these hilly districts. During the study, three different raw material procurement

methods were identified.

Most of the raw materials are procured by the craftspersons from the local trader (M/S

Anokhe Lal Aggarwal) in Almora. The local trader here acts as a middleman, who

purchases copper sheets in bulk quantity, from Delhi, and Hapur and Moradabad in Uttar

Pradesh, and then sells it to the craftspeople. Usually, the local trader keeps a margin of

Rs. 50 per kg of copper sheet. The rate of copper keeps fluctuating. Anokhe Lal has been

in the trade for over two decades and hence now enjoys a monopoly in the market. This

channel is the major source of raw material for the craftspeople living in the Almora,

Bageshwar and Pitthoragarh districts. In fact, a few local traders in Pitthoragarh and

Bageshwar districts also procure the raw material from Anokhe Lal, thereby adding

another step in the value chain.

The second source of raw material is old copper items, which are either sold to the

craftsperson or given to him to make new copper items. The copper procured through this

method is very limited, but in a few villages, it is sufficient for the local craftspersons to

do business with and earn some money. The rates here vary according to the quantity

available for sale and the weight of copper.

The third source of raw material procurement for the artisans is direct purchase from

places like Hapur, Nazimabad and Delhi. This means of procurement is, however, more

expensive than the others and very few craftspeople are able to procure the material

directly. The few craftspersons who are able to purchase the raw material directly are

either economically sounder than the others (currently, both the MLA and MP in this area

belong to the Tamta community), or they have been able to obtain big orders. The rates of

raw materials also fluctuate a lot (currently, it is Rs. 370-400 per copper sheet).

The next level in the value chain is the processing work wherein the craftsperson carves

out the copper art on the sheets of copper. The artisans provide a desirable shape to the

copper to carve out the end-product. The initial investment for purchasing tools and for

putting the workshop set-up in place is around Rs. 35,000.

The common tools used in this process are: hammer, sambhal, sansi—tongs, and rosi

karthi—brazing irons, among others. In this process, the metal is beaten into the required

shape with the help of a hammer.

The copper craft items are slotted into two categories depending on the size of the

product: (i) Bigger items like gagar, narsingha, turi, and dhol; and (ii) smaller items like

cups, plates, bowls, glasses, and finger rings. The smaller items, which are carved out of

single sheets, need greater design inputs, which make the end- product more expensive.

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On the other hand, bigger items are prepared by joining the two different shapes. In

bigger items, the number of joints also determines the end-price of the product. The

greater the number of joints in a product, the higher is the price of the final product.

The price of the end-product depends on many factors, among which the major ones are

the weight of the product, quality and quantity of the raw material, transportation, design

and labour. The labour charges vary from Rs. 25 to Rs. 150. The artisans, on an average,

charge Rs. 50/kg as labour cost for making the big items. For the smaller items, they

charge Rs. 50 to Rs. 150 per piece, depending on the intricacy of the design. The labour

involved in making bigger items is comparatively lesser than that entailed in making

smaller items.

Total cost of 1 kg copper item= 1 kg Copper + Manual Labour + other materials used

(simple Designing, suhaaga, etc.)

=380+50+60 (approximately)

=490 approximately (these are on a kg basis).

Bigger products, it is the number of joints and the weight of the copper that is used to

determine the final price, whereas in the case of smaller products, it is the design intricacy

that is used to determine the price.

The next level in this value chain is the marketing of finished goods. For marketing their

products, the artisans are mostly dependent on local traders. Artisans work on an order

basis and these orders can be procured from the local trader, nearby villages, NGOs, or

from outside buyers. The initial investments to procure raw material are mostly done by

the craftspersons themselves. On the marketing front, the price is not fixed. Bigger items

are sold at the rate of approximately Rs. 500 per kg, while the smaller products are sold at

an approximate rate of Rs. 800 per kg. The craftsperson goes door to door to sell the

product in the villages. The end-price of the product also goes up as it is taken to distant

markets like Haridwar, Chandigarh, Delhi and Punjab. The machine-made copper items

are cheaper than the hand-made ones.

The local trader also adds his profit when it is sold, and in this way he earns the profit

twice, first, when he sells the raw material to the craftsperson, he adds his profit to the

price, and again when he buys it from these craftspersons and sells it to the end-customer,

at that point he again adds his profit margin to it.

2. Analysis of the Copperware Value Chain

The main issue that came up during the study concerned the decreasing number of

artisans in the copperware craft. Today people are not taking up this craft and it is slowly

disappearing from the area. Copper craft is practiced by members of a specific

community—the Tamtas in Uttrakhand and not many members of the young generation

among them want to pursue it any more. These issues can be understood at two levels,

that is, at the level of the primary artisans and at the level of the entire copperware

industry.

i) Issues at the Level of the Primary Artisans

Competition from machine-made fabrics Today, machine-made products are giving tough competition to traditional

man-made products in every field and similar is the case in copperware.

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Machine- made copperware items are cheaper than hand-made items. The

copper craft factories in Ramnagar are more cost-effective, and more

productive in terms of producing more goods of a wider design range in less

time. The better finish of the final product, seen in its shine, and the visibility

of a reduced number of joints adds to the overall look of the product.

According to a local shopkeeper, he sells two hand-made products against the

sale of ten machine-made items.

Lack of adequate finance

Another major problem that the copper craftspersons face is that of

inadequate finance to continue their activity. The initial investment cost of

around Rs. 35,000 is quite high for the artisans to bear. Even if they inherit

the workshop and tools, the problem of being able to afford the raw material

cost remains, as they do not have enough money to buy the raw material. If

they receive an order, they often do not have the capital to buy the raw

material. Lack of finance is thus certainly acting as hurdle in the growth of

this craft.

Low wages

Most of the artisans, who do not have the wherewithal to market their items,

work on an order basis and do some work for the local trader, who pays just

Rs. 25 to Rs. 35 per kg to these artisans. Since this is a very small amount, the

artisans are compelled to look for other work to eke out a living. Many are

working as casual labourers in the area.

ii) Issues at the Level of the Copperware Industry

The following three gaps were identified in this value chain:

Raw material supply

The raw material for copperware is not easily available in the region. The local

trader (M/s Anokhe Lal Aggarwal) in Almora supplies the raw materials in all

the adjoining markets of Almora, Bageshwar and Pitthoragarh districts. Here

too the trader adds his margin and makes a profit while selling the raw

material to the artisans. The artisans in Bageshwar and Pitthoragarh districts

have to cover a huge distance just to buy the raw material from Almora. If the

raw material could be supplied by any supporting agency or by government

bodies, it would benefit both the artisans and the final customer.

Limited marketing avenues

Due to a decline in demand and shrinking markets for their products, copper

craftspersons are losing interest in pursuing their craft. The demand for the

copper items comes either from the local people, from the local trader or some

customers who receive a few orders every year. The local demand is also

seasonal, and peaks during festivals like Diwali and Dushehra. The absence of

a regular market restricts the sales achieved by the craftspersons sales and they

usually prefer to work when there are actual orders in hand for which an

advance has already been paid.

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Lack of new products and designs

Copper craft is a traditional craft and the conventional items made from this

metal are no longer in demand. For instance, in the past, there was a huge

demand for gagars or vessels that were used to bring water from the water

source, but now the demand for these vessels has declined considerably as

these gagars have been replaced by copper filters. Thus, there is a need to

develop new products with attractive designs in keeping with the market

demand for contemporary products and designs.

3. Institutional Players in Copper Craft

To an extent, different institutional players have helped the craftspersons at various levels

of the value chain. The intervention made by institutional players is mainly on two fronts:

input supply and marketing. Input supply is not restricted to only raw material supply as

technical, financial and design inputs are also provided by the different players. On the

designing front, UPASAC has collaborated with Studio Malaya, which has imparted

training to craftspersons on designing. Apart from this collaboration, the District

Industries Centre (DIC) has provided financial help to SHGs through various schemes. It

has also been found that a few craftspersons from Salla village did not pay back the loan

that was given to them through the SHG. The other institutional buyers who give orders

also provide initial financial help by paying some advance to the SHG or other similar

groups. The marketing of the finished items is undertaken by various institutional players,

mostly by showcasing the products at handicraft melas and craft exhibitions organized at

the state and national levels.

4. Conclusion

The craftspersons of Almora, Bageshwar and Pitthoragarh districts, who are famous for

their copper craft, are now struggling to pursue this craft. Almost every craftsperson in

these districts has taken up an alternate livelihood option as he believes that this craft

alone cannot provide financial security. Unfortunately, today many artisans have left this

work while the remaining ones too are pursuing it only on a part-time basis. In addition,

the hand-made items produced by the copper craftsmen are facing stiff competition from

machine-made items. Thus, proper interventions are needed at different levels to protect

this craft. On the input side, providing proper technical training along with some

financial support to groups of artisans would help, while bringing in innovations in design

could prove to be the key to success in combating competition from machine-made

UPASAC Bageshwar has intervened in Dewaldhar Block to provide the necessary

platform for capacity building and marketing to a group of copperware artisans.

UPASAC is helping the artisans in institution and infrastructure building, while also

providing financial inputs and linking them to agencies offering product design,

marketing and business development services. PASAC has also teamed up with

Studio Alaya, a design led social enterprise promoted by H&H Associates based in

Uttarakhand. Studio Alaya helps these Artisans in improving the design and provides

capacity building training to them. UPASAC also provides market linkages to the

artisans.

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products as machines can give shape to the copper sheets but they cannot create new

designs.

5. Suggested Interventions in Copperware Craft in Uttrakhand

(i) Create local suppliers for the raw material

As of now, the supply of raw material is monopolized by one supplier, who thus

dominates the supply chain. This provides an opportunity for creating a few enterprises

whereby craftspersons can themselves become suppliers of raw material to the industry,

which would reduce the cost of raw materials for the craftspersons while also providing

local employment opportunities to the poor. These enterprises could be run by a group of

artisans, wherein the craftspersons are organized into groups and provided

entrepreneurship development training. An enterprise could also be run by an individual

entrepreneur selected on the basis of his entrepreneurship skills. These enterprises can be

initially supported through start-up capital, and then gradually established as sustainable

ventures.

(ii) Restructuring the value chain

As of now, most of the craftspersons have their independent enterprises in which other

artisans are also employed on a job-work basis. However, owing to segregated production

centers, they compete among themselves as well as with the industrial products. In order

to make them competitive in the market, a formal institutional framework in the form of a

producer company should be developed which would ensure the aggregated supply of raw

material to the enterprise (and individual artisans) as well as undertake aggregated

marketing of the products.

(iii) Design and product development inputs

Most of the copper products are low on design inputs with mostly the traditional designs

being produced and replicated. The products, therefore, need to be adapted for

contemporary markets. Design and product innovation is also required to enable the

products to appeal to a wider consumer base. The metal offers immense opportunities for

experimentation and consequently the development of a new and wider product range.

(iv) Improve markets

Most of the produce is sold in the local markets and only a fraction of it goes outside the

local market. Efforts thus need to be made to explore better as well as premium markets

in the metros and thereby establish market linkages. These linkages need to be facilitated

and promoted by a professional team of experts (who would also streamline and execute

other interventions). In order to introduce and access the premium markets, specific

efforts need to be made (initially involving select groups and enterprises) to establish

wider marketing channels.

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VII. Copperware Cluster Business Development Plan

Summary

Even though a significant number of artisans are involved in the copperware craft in

Uttrakhand, it continues to remain one of the lesser known crafts of the region. Currently,

approximately 600 artisans, of which 400-450 are working part-time and 100-150 are

working full-time, are involved in the craft. The historic significance of the craft,

involvement of a considerable number of artisans and the market potential of the products

would thus dictate the strategy for intervention in the cluster.

AIACA and ACCESS will undertake a series of interventions under the AHVY scheme

that are based on the following five key objectives: increasing the number of working

artisans in the cluster; increasing the availability of raw material for the artisans in the

cluster; providing better and improved tool kits and equipment for the artisans,

developing new product lines better suited to contemporary and high-end markets; and

creating new market linkages to a range of market segments.

1. Objectives of Intervention

The objectives of ACCESS and AIACA in intervening in the copperware cluster will be

guided by the principles of scaling up to reach the maximum number of artisans, raising

the incomes of the artisans through an increase in productivity, increasing artisan welfare

and promoting commercially sustainable production and marketing structures in the

cluster. Based on these principles, the following will be the main objectives of

intervention in the cluster:

Objective 1: Increase the number of working artisans in the cluster

As highlighted in the value chain analysis, currently, approximately 100-150 artisans

are linked full-time to the value chains in copperware through the existing network of

entrepreneurs and traders. The primary objective of intervention will be to increase the

number of copperware artisans who are trained and working on a regular basis or part-

time basis as part of a value chain that connects them to markets. ACCESS and

AIACA will target all the 300 artisans to be made part of the value chain by the third

year of the intervention.

Objective 2: Increase the availability of raw material to the artisans

In addition to increasing the number of artisans, ACCESS and AIACA will seek to

make raw material availability easier for the artisans. As experienced during the field

visit, and highlighted in the value chain, the difficulty in procuring raw materials is

one of the main hindrances to the expansion of production by the artisans and their

ability to command a high price for their products. Bringing about an increase in the

total income of each artisan by ensuring the easy availability of raw materials at more

competitive prices would thus be one of the primary objectives of the intervention.

Objective 3: Provide better and improved tool kits and equipment

The largely obsolete tools and equipments that are currently being used by the artisans

limit the scope of experimentation with new designs and shapes. The existing tools

cannot be used to refine the finish of the products and to enhance their overall aesthetic

appearance, which is essential for marketing high-end products and imparting them a

26

contemporary look. Thus, there is a need to provide new, improvised tools to ensure

production of optimal quantity, and enhancement of the quality and finish of the

products. This would also ensure that the tradition of hand-made products, which is

such an important aspect of the craft, is not compromised.

Objective 4: Develop new product lines more suited to urban markets

Diversifying the product mix and improving product quality would be the key to

raising the sales of products based on the traditional skill of copperware. ACCESS and

AIACA will seek to develop an entire new product profile for the cluster by

undertaking a market trend analysis and providing design and product development

inputs. In doing so, care will be taken to ensure that the essential characteristics of the

genre of copperware craft are not obliterated.

Objective 5: Create market linkages to multiple market segments,

especially higher-end domestic and export markets

Bringing about an increase in the sales and wages of artisans will depend not only on

the development of new products, but also on ensuring that such products can be sold

at higher price points. ACCESS and AIACA will work towards linking the cluster

actors to high-end markets within India and in export markets, especially in the Unites

States and Europe.

These objectives will be the main criteria used for tracking the progress of the project and

evaluating the success of the intervention.

2. Intervention Strategies

In order to achieve the above objectives, ACCESS and AIACA will primarily use the

following strategies while intervening in the cluster:

Strategy 1: Scale up existing individual artisans, entrepreneurs and NGOs

The skilled artisans in the cluster, who have been supplying their products regularly to

the traders in the local market, are the ones who have kept the hand-made copperware

craft alive. Along with these artisans, others who have either left the craft or are

pursuing it on an irregular basis, as also those who have been identified by local

organizations like UPASAC and Chirag would be given further support to develop

contemporary higher end product lines within the cluster. Any intervention that seeks

to increase the number of artisans and improve their incomes will thus have to engage

with the local NGO, Chirag, HGVS or UPASAC.

In addition to working with the existing NGOs and entrepreneurs, ACCESS and

AIACA will work towards developing a federated organization of artisans in the

cluster in the form of a producers’ company or a society so as to create a commercially

sustainable, artisan-owned production and marketing structure in the cluster.

Strategy 2: Create raw material depots and upgrade the tools and

machinery

The value chain analysis shows that currently there is only one supplier for the raw

material, who monopolizes the entire trade in three districts. AIACA and ACCESS

will assist some of the artisan collectives to stock the raw material that can be made

available to the artisans at competitive prices throughout the year. The introduction of

27

new improved tools and implements, and better technology would also help increase

productivity and facilitate diversification in the product range.

Strategy 3: Developing new copperware products and creating new

market linkages

ACCESS and AIACA will work toward developing new copperware products that

would be the foundation for enhancing linkages with commercial buyers and

increasing total sales from the cluster. Brand-building initiatives will include

developing new product ranges, developing a set of marketing materials including a

website and product catalogue, holding a series of exhibitions in key markets to

publicize the new product profile of copperware, and ensuring the representation of

products at trade fairs in India and abroad.

Strategy 4: Provide business development services and infrastructural

support to facilitate commercial sustainability and scaling up

Handholding and BDS support will be provided to both the NGOs and artisans’

collective in order to help them scale up and become commercially sustainable. The

main support services provided at the cluster level will be in the form of skill-building

workshops for enhancing the skills of new artisans; design and product development

workshops to develop new products; financial linkages for working capital credit and

the provision of raw material at more competitive rates. The artisans’ collective will

also be provided with infrastructural and additional working capital support through

the Baba Sahab Ambedkar Hastshilp Vikas Yojana (AHVY) scheme.

3. Interventions under the AHVY Scheme

On the basis of the above objectives and strategies, the following interventions will be

needed under the AHVY scheme:

i) Training of Artisans

Given that currently approximately 100-150 skilled and 400-450 semi-skilled artisans

have been working as part of the existing value chains, skill-building training will be

essential to scale up the number of artisans capable of producing quality products. All

the 600 existing artisans will require training and skill-building inputs during the

project period. ACCESS and AIACA will undertake skill-building in a phased

manner. Five training workshops will be held annually for a three-year period to

cover 600 artisans, who will be integrated into the artisans’ collective.

ii) Integrated Design and Technical Development Project

A significant design investment will be needed to diversify the product profile of the

cluster in addition to the existing devotional and traditional products. An integrated

design and technical development project will be initiated during year 1 of the project.

ACCESS and AIACA will identify appropriate designers and hold a series of

workshops in the cluster to develop a number of new product ranges covering

different product and market segments. Efforts will be made to diversify the product

range within puja accessories such as bells and incense-holders as well as to develop

other lifestyle products such as tea light holders, napkin holders, and trays for holding

towels in spas and the hospitality sector.

28

iii) Design and Technical Development Workshops

The Integrated Design and Technical Development Workshops will be augmented by

annual Design and Technical Development workshops over a five-year period to

continue the process of design development and usage of certain machinery to

enhance the product quality, and to oversee and fine-tune the production of new

designs developed.

iv) Organizing Exhibitions

ACCESS and AIACA will organize a series of exhibitions in major Indian metros to

enhance consumer awareness of copperware, market-test new product ranges and

increase the sales of artisans in the cluster. In addition, AIACA will also work on the

representation of products from the cluster in existing exhibitions across the country

such as the Dastkar Nature Bazaar. Selected artisans will be taken to the exhibitions

so that they can directly interact with customers, obtain product feedback and also

gain exposure to retail outlets in the major metros.

v) Publicity Materials—Catalogues and Website

ACCESS and AIACA will develop marketing and publicity materials to help build the

copperware brand and to enhance awareness about the product profile, characteristics

and craft production process among both commercial buyers and end-consumers of

the products. A website for the cluster will be created, which will be handed over for

operation to the artisans’ collective. The new products that are developed will also be

featured in commercial product catalogues, which will be distributed to AIACA’s

network of domestic buyers as well as importers across the world. During years 1 and

2, the new products developed will be featured in a section in the Craftmark product

catalogue. During year 3, a dedicated product catalogue for the copperware cluster

will be developed.

vi) Entrepreneurship Development Programme

Selected artisans will be taken for the India Market Readiness Programme (IMRP)

organized by Aid to Artisans and AIACA in Delhi in conjunction with the India

Handicrafts and Gift Fair (IHGF). Two artisans per year from the artisans’ collective

will be put through the training programme every year for three years to create a cadre

of trained professionals to run the collective.

vii) Trade Fair Participation

The new products developed in the cluster will be represented at three trade fairs—

IHGF, the New York Gift Fair (NYGF) and Ambiente, Frankfurt—so as to create

linkages with commercial buyers and generate bulk orders. Two artisan

representatives from the collective will also be taken to the IHGF to train them about

participation in trade fairs.

viii) Computer, Printer and Internet Connection for Artisan Society

A computer, printer and Internet connection will be provided to the artisans’

collective through the project so as to enable them to interact with commercial buyers

and generate the required paperwork for managing customer orders and sales.

ix) Warehousing and Common Workshed for the Artisan Society

Storage and office space, as well as a common workshed will be provided to the

artisans’ collective through the AHVY scheme to enable the Artisans’ Society to start

functioning and to scale up to cover a larger number of artisans.

29

x) Margin Money and Credit Guarantee Support for the Artisans’ Society

Margin money support and credit guarantees will be provided to the artisans’

collective to enable them to raise working capital, service customer orders and scale

up production over the course of the project.

xi) Salary for Cluster Manager

A cluster manager will be hired to manage all initiatives at the cluster level, provide

logistical support to Access and AIACA, and provide handholding support for the

artisans’ collective.

4. Project Output Targets

The following will be the primary project targets over a five-year period:

Increase the number of functioning artisans in the cluster to 600.

Increase the total sales revenue from a cluster to 2.5 crores a year by the end

of the project period.

Develop 15 new product ranges; extend the product profile from puja

accessories to other lifestyle products.

Link 20 new commercial bulk buyers to the project cluster by the end of the

project period.

Bring about a 30 per cent increase in the number of working days and incomes

of functioning artisans in the cluster.

5. Project Budget

The total budget for the proposed interventions over a five-year period is Rs. 1,49,30,360.

Appendix 1 with a detailed budget break-up attached. In addition, Rs. 12,00,000 is the

estimated budget for offering direct support to the artisans’ federation formed in the

cluster and the total working capital credit borrowings of Rs. 32,00,000 can be covered

under the credit guarantee facility in the AHVY scheme.