Report on need assessment study & design clinic workshop ... · Report on need assessment study &...

Report on need assessment study & design clinic workshop, 2013

Paper mache craft cluster, Salempur, Madhubani, Bihar

Design Consultant: Surabhi Khanna

Supported by : Design Clinic Scheme for MSMEs, Ministry of MSMEs Organized by : National Institute of Design, Ahmedabad In association with : Upendra Maharathi Shilpa Anusandhan Kendra, Patna

A word of thanks to the following institutions and individuals for making this project possible and worthwhile. DCS for MSMEs team: Shashank Mehta, Project Head, DCS for MSMEs Ashok Mondal , DCS co-ordinator, east zone Sudev Mandal Upendra Maharathi Shilpa Anusandhan Kendra, Patna team: Ashok Kumar Sinha – Dy. Development Officer (DDO) Nila Sinha Jitendra Kumar Ganga Sagar Pandit Devi Prasad Sharmarjit Singh Salempur cluster:Lalita Devi and her family for being a kind host Sudama, Lalita Devi’s son Shankar Mishra Pushpa Devi Subhadra Devi Savita Devi And all the women of the cluster

Funding & support: This project is funded by DCS for MSMEs, an initiative of the Ministry of Micro, Small & Medium Enterprises (MSMEs), Government of India (GOI) and National Institute of Design (NID). Upendra Maharathi Shilpa Anusandhan Kendra, Patna provided due support. Disclaimer : The analysis and views expressed in this report are those of the author.

4 Need Assessment Survey| Paper Mache cluster, Salempur| 2013 | Surabhi Khanna

This project is carried out with the support of

Design Clinic Scheme for MSMEs, an initiative of the Ministry of Micro, Small & Medium Enterprises (MSMEs), Government of India (GOI), Upendra Maharathi Shilpa Anusandhan Kendra, Patna & National Institute of Design (NID). The paper mache craft in Salempur village, Madhubani district, Bihar is unique in terms of being handcrafted and decorated with madhubani painting. The paper mache craft was evolved from the local mud creations done for marriage ceremonies. About twenty years ago, government of Bihar organized training for local women to carry forward this area of craft. The uniqueness of paper mache craft of Madhubani region is: • The organic forms with handcrafted texture • ornamentation through the popular madhubani painting.• Minimum tools and equipment for work • Eco- friendly material and process • Livelihood support for women from their own homes.

Today, with growing market, the craft has a hope for revival. It needs development in terms of new product range, effective promotion, but also for the unique, eco-friendly craft to survive and flourish .


In this report, one can have an overview of the craft in this region and steps to revitalize it. There are few things needed :

a) New range of fresh product designs b) Regular design interventions and training c) Large production by local craft people c) Effective branding, promotion and marketing The new generation will be interested in continuing the craft only if there is assured return both in terms of money and recognition. The Design Awareness Program with need assessment study and design workshop is an initiative for such an intervention. This program also provides the possibility for collaborative efforts and has a vast scope for development.

Acknowledgement………..……………………………………………………………04

Executive Summary………………….…………………………………………………06


About Design Clinic Scheme…….…………………………...…………12 About NID ..………..…….…………………….………………………………14 About Upendra Maharathi Shilpa Anusandhan Kendra, Patna……………………………………………….…..………………….………15 About the Design consultant…………………..……………….………17 About Bihar state…………..…………………………………………..……18 About Madhubani district………….....………….…………………….21 About Salempur, paper mache cluster…………………………....23 History of paper mache……………………………………………………24 Paper mache products in different parts of The world…………………………………………………………………….….26 Variety of paper mache in different Parts of India……………………………………………………………………27

02 Paper mache craft, Salempur

History & tradition…….…………………………..................…………32 Products…...………..…….…………………….………………………………35 Specialty & features of paper mache Salempur, Madhubani……………………………………………….…..…………………42 Raw materials, tool…………………..………………………….….………43 Process………………..………..…………………………………………..……45 Molds for paper mache…………………………………….……….…….51Units…….…………………………........................................…………57

b) Study for research and development directions for future initiatives ………....………………….………………………..………80 c) Visual identity and branding from communication design point of view……....…………….……………………………...........…82 d) Market and competition study for design advantage and distinction …………….………………………..…………...…84 e) Study of display ……………………….………………………..…………....…85 f) Study of Technology, modernization & collaboration scope...90 g) Identify scope for innovation in process and related areas for design intervention. ……………………………....……91 i) Study of scope in workstation and tooling design …..……………92 j) Study of training and skill up gradation opportunities .…..……93 k) Study of ergonomic and environment factors in MSME premise……………………………………………………….……..……94 l) Identify packaging & logistics related design opportunities....95 m) Study of infrastructure and capability enhancement from design perspective ………………………………………..……………………….96 n) Study of design opportunity for Inter cluster communication……………………………………………………..……..……..…97

01 Introduction

03 Design Audit Report

a) Study of existing Product design, redesign, new product development and product diversification…………..79

04 Recommendations & Conclusion

SWOT analysis…….…………………………...………………………..……..……99 Issues & scope of work……..…….………………………………….…...……100 Recommendations & opportunities…….…………………………..……101 Conclusions…….…………………………...…………..……………..……………102 Webliography…….…………………………...……………………………..…….103

Report on Design Clinic Workshop ....….… 104 - 140

01 Introduction

Design Clinic Scheme for Design Expertise to MSMEs, a unique and ambitious design intervention scheme for the country’s large micro, small and medium scale enterprises, is an initiative of Ministry of MSME, Government of India has been launched under National Manufacturing Competitiveness programme. The scheme is being designed keeping in mind the objective of design awareness, design interventions and competitiveness improvement for largest group of industrial sectors, Micro, small and medium enterprises of the country which contributes to approximately 45% of total industrial production and 40% exports. They are major contributors to the GDP growth, accounting to about 8%. They are also the largest employers after agriculture, employing an estimated 41 million people. The main objective of the Design Clinic Scheme is to bring MS&ME sector and design expertise into a common platform and to provide expert advice and solutions on real time design problems,resulting in continuous improvement and value addition for existing products. This model brings design exposure to the door step of industry clusters for design awareness, improvement, evaluation, analysis and design related intervention. Design clinic scheme will assist industrial clusters to open a channel for design information inflow for creative, innovative and futuristic approach towards the product, process, operations, manufacturing and business design. The scheme will help generate insight for opportunity identification and design intervention for competitive and breakthrough solutions for MSMEs.


Screen shot of the website : www.designclinicsmsme.org

National Institute of Design (NID), Ahmedabad is assisting the Ministry of MSME with the implementation of the scheme. Regional centers are being set up all of the country for maximum outreach. The Design Clinic Scheme is divided into three parts. 1. Design Sensitization Seminars – These seminars will create awareness about design methods with respect to MSME’s 2. Design Awareness programs – These programs include design research to gain a better understanding of the MSME’s by the designers. Followed by participatory workshop activities involving designers and MSME’s to gain deeper insights by creating an interactive problem solving environment. The insights will provide an initial segway into the first level of design solutions/projects. Design awareness program is divided into two parts as mentioned below: A.Need Assessment Survey B. Design Clinic Workshop


3. Design Projects – On gaining an overview of impact of design on their business, the MSME’s submit project proposals to the Design Clinic Zonal office for final approval. They may apply with a design consultant, or design firms and independent consultants will be made available as service providers for design inputs at various levels.

The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The institute functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. Department of Scientific & Industrial Research (DSIR) under Ministry of Science & Technology, Government of India recognizes NID as a scientific and industrial design research organization. NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make Designed in India, made for the World a

reality. NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership. National Institute of Design (NID), Ahmedabad is assisting the Ministry of MSME, Government of India, as a nodal agency for implementing the scheme. As part of the scheme a Design Clinic Centre and its regional centres are being set up to reach out to all parts of the country.


Upendra Maharathi Shilpa Anusandhan Kendra, is a well established institute for training in arts and skills in Patna, Bihar. The institute was set up by Shri Upendra Maharathi with an objective to provide training in different arts and crafts of Bihar. Now it falls under Bihar government, which helps the institute hold classes for Madhubani painting, bamboo work, paper mache, tikuli work and pottery. Students enroll for the 6 month long course in either of the disciplines to learn and get better job opportunities. Other than the training program, the institute also has a museum, which houses artifacts from different parts of Bihar. Currently Upendra Maharathi Shilpa Anusandhan Kendra invites many artisans specialized in different arts, to display their work in stalls in national and state exhibitions. The Design Awareness Program in Bihar is jointly organized byDesign Clinic Scheme, Government of India (GOI), Upendra Maharathi Shilpa Anusandhan Kendra, Patna & National Institute of Design (NID). 10 design consultants met the DDO of the institute for need assessment survey in different craft clusters of Bihar


Traditional activities in village depicted through paper mache craft, Madhubani Museum at Upendra Maharathi Shilpa Anusandhan Kendra


Surabhi Khanna Designer (NID), New Delhi Tel. +91 9718871998 / +91 11 46065692 Email [email protected] Blog www.khannasurabhi.wordpress.com

Surabhi Khanna is an Architect, with masters in Toy & Game Design from National Institute of Design (NID). Surabhi is designer for Gammat enterprise and involved in design & development of innovative play products as stress busters and corporate gift items. She works at her design studio, for consultancy projects and innovative design development of education and culture based products. Many of these are being produced and marketed under the brand Gammat. Some of the ideas developed in Surabhi’s Design Studio are utilized for the workshops conducted for teachers and children. Surabhi Khanna has conducted workshops for teachers and students. This includes workshop for teachers’ trainers of Care India, and students of Mirambika school and Pallavanjali. She conducted workshops titled Toy, Design & Education (Khel, Design aur Shiksha) with a group of teachers’ trainers at Katha organization, where some of her creations and developments were learnt by the teachers to help them teach with innovative methods. She was an exchange designer in Germany in 2010 and was an invited international participant for the 2 week UNESCO creativity workshop in Germany on Inclusive education and development in March 2013. Surabhi was invited to exhibit her work for inclusive education at NCERT Foundation Day. Surabhi Khanna is currently developing a range of ideas and designs at her studio. She is also offering consultancy to organizations and institutions


mailto:[email protected]

http://www.khannasurabhi.wordpress.com/

Bihar is a state in northern India.It is the 12th largest state in terms of geographical size at 38,202 sq mi (98,940 km2) and 3rd largest by population. It is bounded by Uttar Pradesh to its west, Nepal to the north, Northern part of West Bengal to the east and by Jharkhand to the south. The Bihar plain is divided into two parts by the river Ganges which flows through the middle from west to east.In 2000, Bihar was subdivided, the southern part becoming the state of Jharkhand. Ancient Bihar was a centre of power, learning and culture in ancient and classical India. From Magadha arose India's first and greatest empire, the Maurya empire as well as one of the world's most widely adhered-to religions, Buddhism.Its capital Pataliputra, now the modern Patna, was an important centre of Indian civilisation. LANGUAGES Hindi and Urdu are the official languages of the state, while the

majority of the people speak Angika, Bhojpuri, Maithili and Bajika. GEOGRAPHY & CLIMATE Though the Himalayas begin at the foothills, a short distance inside Nepal and to the north of Bihar, the mountains influence Bihar's landforms, climate, hydrology and culture. Bihar is very cold in the winter, with the lowest temperatures being in the range from 0–10 °C (32–50 °F). Winter months are December and January. It is hot in the summer, with average highs around

35–40 °C (95–104 °F). Bihar is a vast stretch of fertile plain. It is drained by the Ganges River. DEMOGRAPHICS At the 2001 Census, Bihar was the third most populated state of India with total population of 82,998,509 (43,243,795 male and 39,754,714 female). Nearly 85% of Bihar's population lived in rural areas. Almost 58% of Biharis were below 25 years age, which is the highest in India. The density was 881. The sex ratio was 919 females per 1000 males. Buddhism is very closely integrated with Bihar Gautam Buddha attained Enlightenment at Bodh Gaya, a town located in the modern day district of Gaya. BIO-DIVERSITY Bihar has notified forest area which is 7.2% of its geographical area. The sub Himalayan foothill of Someshwar and the Dun


ranges in the Champaran district are another belt of moist deciduous forests. AGRICULTURE Bihar lies in the riverine plain of the Ganga basin area and is endowed with fertile Gangetic alluvial soil with abundant water resources, particularly ground water resources. This makes Bihar's agriculture rich and diverse, although it has never reached its full potential. FESTIVALS Chatt Puja is celebrated twice a year; once in Chaitra and the next

in the month of Kartik. People worship sun during the sunset time. This is a festival for cleanliness. Even tough it is festival celebrated for 4 days people maintain purity for even a month. Women do fasting during this pooja time for family wellbeing. FOOD The most favourite dish among biharis is [LITTI- CHOKHA]. Litti is made up of SATTU and CHOKHA is of smashed potato, tomato, and brinjal.


Craft Map of Bihar. Madhubani is rightfully called the ‘Kala ki khaan (art mine)’.


EDUCATION Nalanda University was established in modern Bihar during early 5th century and flourished for 600 years till 12th century. It was the world’s first university to have residential quarters for both students and teachers. In 2010, the parliament of India passed a bill approving the plans to restore the ancient Nalanda University

as a modern Nalanda International University dedicated for post-graduate research. ART & CRAFT For all art and craft lovers, Bihar is a must visit destination. Wood craft, stone work, lac bangle making, madhubani painting, paper mache, sikki craft, textile craft like khatwa,sujani, terracotta are famous in different regions of Bihar.

Madhubani district Mithila (Land of Sita) Mithila was a large and powerful kingdom in what are now northeastern India and southern Nepal. Today, Mithila refers to the area and the people who live there. Madhubani, which in literal translation means Forest of Honey, has been the cultural center of Mithila region and today is an important district in the northern part of Bihar, India. The women folk of this region have been practicing their folk art for centuries primarily to consecrate space around their habitation, during rituals (of family life, of the goddesses). They used to compose elaborate wall paintings or Bhitti-Chitra, and floor paintings or Aripan on their mud homes. Mothers in this region have been teaching their daughters patterns and dyes sometimes unknown to the men, for a long time little known to the outside world TRANSPORTDanapur-Jaynagar InterCity Express (13226) is a convenient train which can be boarded from Patna to Madhubani. Other option is to travel by volvo buses like Gaurav travels, Prithvi travels between Madhubani and Patna. Bus is a better option than train. STAYING Tilak Chowk, near the railway station, Madhubani, has a lot of hotels to stay.


ECONOMY The economy of this district basically depends on agriculture. Major crops are wheat, rice, pulses. Rearing cattle is also important subsidiary occupation. Younger people now migrate to cities in search of jobs and businesses. As regards trade and commerce, this district exports fish, handloom cloth, makhana (Water berries), mangoes, sugar-cane , litchi, paddy, and brass metal articles to various cities insides and outside the state. It imports medicine, machine, fine clothes , shoes, and cosmetic materials from other places. A number of rice mills and timber saw mills have been set up in the district . Madhubani has been an important centre for trade with Nepal since the latter part of the 19th Century. The principal items of export from Madhubani to Nepal are cotton, sugar, silk, betel nut and tobacco. POPULATION In 2011, Madhubani had population of 4,487,379 of which male and female were 2,329,313 and 2,158,066 respectively. In 2001 census, Madhubani had a population of 3,575,281 of which males were 1,840,997 and remaining 1,734,284 were females. ART Madhubani paintings or Mithila Paintings is a style of Indian painting, practiced in the Mithila region of Bihar state, India.The name is itself named on the village Madhubani.

Sikki Craft :Using this craft exquisite objects like delightful baskets and mats are hand-woven by women which are popularly given to brides during marriage. one stops to admire and exult at the manner in which the wild Sikki Grass, a virtual riverside weed, has become a source of creativity for the Sikki womenfolk. Paper Mache : Madhubani papier mache is found only in the Madhubani district of Bihar. Objects are made out of paper pulp and only painted from outside with motifs inspired from Madhubani paintings. Papier Mache dolls Characteristics of Madhubani Papier Mache.


Salempur village Salempur is located in Madhubani district. Kitola chowk is a landmark for tuning inside the village from the main road. The beautiful village full of trees and creepers has people residing from many communities. The major occupation has been agriculture; either people own land or work as labourers. Migration to Patna, Delhi and other cities is also a common feature. Women are involved in agriculture and paper mache craft, which has been documented in detail further in this report.

Salempur

Madhubani

30.8 km, 37 mins by autorickshaw from Madhubani to Salempur

District Block Village Population

Madhubani Pandaul Salempur 1102


Papier Mache is a French term which means "Chewed Paper". The technique involves using paper pulp with a glue or adhesive to make a variety of products. The objects could be snuff boxes, decorative mouldings, masks, boats, lamps, cups, furniture or other objects of utility and home decor. It is also widely used in traditional Indian folk art. • Helmets : Paper was discovered in China in the Han Dynasty (202 B.C.- 220 A.D), which

makes the Chinese the inventors of Papier Mache. They used it for making helmets, toughened with many layers of Lacquer. This art form was later known to exist in Japan and Persia, where they used it for Papier Mache mask making and festive decoration. It then travelled to Spain, France, Germany and finally, India.

• Decorative things : Papier Mache has its own history in America. Unlike Europe, it was used more as a decorative item than a manufacturing product here. During the Victorian times it was popular for papier-mâché objects to be coated with lamp black, and varnished to imitate lacquer. Then they would be decorated with paint, bronze powders and little bits of iridescent shell in forms of flower sprays and landscapes.

• Furniture : During 17th century, English artisans experimented with paper mache to produce various types of furniture as well as dimensional embellishments for application to architecture.

• Firearms : Papier-mâché was used in a number of firearms as a material to form sabots Despite the extremely high pressures and temperatures in the bore of a firearm, papier-mâché proved strong enough to contain the pressure, and push a sub-caliber projectile out of the barrel with a high degree of accuracy. Papier-mâché sabots were used in everything from small arms, such as the Dreyse needle gun, up to artillery, such as the Schenkl projectile.

Full face male masquerade masks of paper mache from China

Schenkl projectile with paper mache patch


• Details in architecture : Starting around 1725 in Europe, gilded papier-mâché began to appear as a low-cost alternative to similarly treated plaster or carved wood in architecture.

• Boats : One common item made in the 19th century in America was the paper canoe, most famously made by Waters & Sons of Troy, New York. The invention of the continuous sheet paper machine allows paper sheets to be made of any length, and this made an ideal material for building a seamless boat hull.

• Paper observatory domes : Papier-mâché panels were used in the late 19th century and early 20th century to produce lightweight domes, used primarily for observatories. The domes were constructed over a wooden or iron framework.The domes used in observatories had to be light in weight so that they could easily be rotated to position the telescope opening in any direction, and large enough so that it could cover the large refractor telescopes in use at the time.

• Combat decoy : The British employed papier-mâché figures resembling soldiers to draw sniper fire. Some were equipped with an apparatus that produced smoke from a cigarette model. Bullet holes in the decoys were used to determine the position of enemy snipers.

• Theatrical use : Papier-mâché is an economic building material for both sets and costume elements.

• Puppetry : Papier-mâché is employed in puppet building, including marionettes, hand-puppets, rod-puppets etc.

Detail of gilt papier-mâché as applied to an English picture frame

Paper mache soldier figure used in WWI as combat decoy


Japanese Hannya Mask Paper Mache Horn Demon Devil Oni Noh Kabuki Tattoo Art

Mardi Gras Masquerade Zanni Carnival

1. An extensive world market already predisposed to quality paper mache products of all types existed at the beginning of the 20thcentury, ensuring a successful revival of the art.

2. In the Philippines, the multiple production of paper mache objects (takas) first required the hand carving of hardwood sculptures. These became the positive wooden molds (takaans) that were coated with wax release agents. Then pieces of paper soaked in natural rice starch were laid upon the forms and dried. Once dry, the tough paper shells, which mirrored each woodcarving were cut away with sharp blades. The front and rear halves were peeled off and re- joined. Seams were papered over and the hollow, light-weight paper mache castings were then embellished and protected with paint and gilding. The process was repeated again and again. When paper mache artisans completed their orders, the carvings were retired.

3. Venetian paper mache masks were derived from carvings as well as paper mache costumes and ceremonial items used in diverse festivals and holidays around the world. The decorated mask were hand painted then varnished and waxed.

• Carnivals – masks, costumes • Halloween - pumpkins, ghosts, witches, masks • Christmas - different styles of Santa Clauses, ornaments,

reindeer, elves, angels • Easter - Whimsical eggs and appealing bunnies

Eater eggs

the positive wooden molds (takaans)


• In Bihar and Jharkhand, Papier Mache as an art form goes a long way. The cities of Patna, Hazaribagh , Murhu, Saraikela and Madhubani are well known for their traditional styles of Papier Mache work.

• A range of decorative as well as lifestyle articles such as pen stands, envelope holders, paperweights, jewel boxes, etc. are made in Delhi by combining waste paper with clay.

• Gujarat is known for its products made of Papier Mache and Plaster of Paris. Colourfully painted and embellished figurines of Hindu deities, flora and fauna, toys and other products and made here.

• Gwalior in Madhya Pradesh has its own style of Papier Mache work and the figures of gods and goddesses, toys and cartoon images from Ujjain are well known all over India too.

• A range of handmade papers in many colours and textures are available in Maharashtra.

• Shantiniketan in Bolpur near Kolkata, West Bengal is considered a pioneer of PapierMache as an art form in India. A huge range of articles are produced by the artisans here.

• Assam is known for its colourful Papier Mache bags, files and folders, pen stands, etc.

• Odisha is famous for its Papier Mache craft. The artisans collect dry waste paper and cloth of different kinds and create a range of products with them.

Papier Mache work from Jaipur, Rajasthan

Papier Mache work from Kashmir


• In Persia and Kashmir, Papier Mache has been used to manufacture small painted boxes, trays, étagères and cases. There is a very established market of these products due to their neat and beautiful finishing.

• Rajasthan produces an array of Papier Mache products using waste paper along with clay. Well established manufacturers and exporters in Jaipur market their range to hotels, restaurants and houses to enhance interiors. Pen stand, Animals, Tea light, Birds tea light, Fruits, Masks, Faces, Photo frames, Coasters, Boxes, Lamp stands, Christmas tree hangings, are available.

Paper Mache products, Jaipur, Rajasthan

Paper Mache products, Kashmir


• In Orissa, papier-mache masks and figurines are inspired by the patachitra tradition. Mukha, masks, are made by using a mould of clay and newspaper. Paper and cloth rags are soaked and applied in layers with locally made gum on the mould. Saw dust mixed with gum is applied smoothly, dried and burnished with sandpaper.

As in patachitra painting, the colours are made from seashells and rocks. The detailing such as the outlines of the figure`s eyes in red and black follows the patachitra styles. Masks of deities, demons and animals are made for use in the local folk and classical dance performances. The figures and other products like dolls, pen stands and lampshades are made in many sizes.

• Chhau is a folk dance from Saraikella, Bihar as well as parts of

West Bengal and Orissa. Chhau is a masked dance, the motif of which has been drawn from the mythological picturesque. The dancers wear masks and typically depict Indian mythological characters. This mask depicts the popular Hindu Goddess Durga.

Paper Mache products, Orissa

Mask for Chhau dance


02 Paper Mache craft, Salempur

Need Assessment Survey| Paper Mache cluster, Salempur| 2013 | Surabhi Khanna 3

Location & geography Present status

Master Hema Devi Gram – Post Office, Salempur Village, Pandaul block, Madhubani district – 847223, Bihar

Long before, paper mache entered the village of Samlempur, little girls used to watch their grandmothers and make decorative items necessary for weddings. These included the traditional diya,haathi, kohbar and many more things. Subhadra Devi, a resident craftsperson from Salempur was discovered as a very skilled craftswoman and was encouraged by Development Commissioner (Handicraft) to learn and pursue paper mache technique. She carved out interesting traditional forms out of relatively modern paper mache technique and beautifully decorated them with the famous Mithila painting technique. She was honoured with State award, Bihar in 1980 and with national award in 1992. A training program was held under her, 20 years ago, for the women of Salempur.

Till a few years back, artisan Subhadra Devi was active in depicting traditional stories and products for wedding ceremonies through paper mache craft and made it well known as Paper Mache craft of Madhubani.

Before paper mache, unbaked clay wedding decorations were made


A little girl making out things for playing out of clay from her courtyard. Will she learn paper mache?

Subhadra Devi displays her paper mache wealth to designer Surabhi Khanna


Images from onsite visit and online selling portals


When King Janak himself ploughed the dry field in his kingdom with bulls, earth gave water thereby ending the draught. As a blessing, the earth also took out Sita, who became his daughter and later was married to Lord Ram.

Hathi Jannak Dala – When Haathi (elephant) gets his leg chewed by magarmachh (alligator), Lord Vishnu comes to rescue. The elephant model has its leg either broken or painted red to indicated blood, so as to show that it has been hurt.


Goddess Parvati walks along with her husband Shiv, who rides his pet ‘Nandi Bail”

Young boy Shravan Kumar, taking his blind parents on his shoulders out for a tour. Unfortunately, King Dashrath killed him by mistake and was cursed by the blind parents.


Gauri Puja – In Kayastha community, after the wedding the bridewith her groom standing behind her, puts sindur on the elephant figure. In ancient time, a real elephant would be present. But later the community made symbolic clay elephant. This recently got modified to paper mache elephant in the village. In Brahmin community, the puja takes place before the wedding. An elephant is a very strong symbol in weddings of both communities.

‘Kohbar’ - It’s a hut shaped form, symbolic for Sacred NuptialChamber. Presence of this motif is very important at the time ofmarriages in Bihar. After the wedding rituals, the bridegroom puts ‘sindur’ on this house form for an auspicious entry in the home as newly weds.


Women storing rice Mother with child in her arms

Images courtesy museum at Upendra Maharathi Shilpa Anusandhan Kendra


Images courtesy online selling portals

Utility items are marketed as gifting options.


Games like Snakes & ladders, Chinese Checkers and playful aggarbatti stand, diya stand are attempts at products incorporating traditional craft and modern interests. Images courtesy CCIC and Bihar emporium


• organic forms with handcrafted texture

• Decoration with mithila painting style

• Livelihood support for women from their own homes.

• ‘Kachni’ - black ink lines, filling in between

• Use of bold colors & large eyes

• creation of object is more important than surface ornamentation

• Rarely find similarity between two objects

• Individual artists make one entire product – creation and painting

• Minimum tools and equipment for work

• Eco- friendly material and process

‘Kachni’ style - black ink lines, filling in between


Multani mitti : Fuller’s earth Rs. 25/kg

Sand paper no.100

sponge

Zero number brush

Acrylic/ Pidilte paint

Newspaper soaked in water Newspaper – Rs15./kg

Methi (Fenugreek) powder or powdered bark of Dard Maida, a local plant

Fevicol or other local water based glues


Soaked paper being mashed well

1 Soaking

2 Mashing

3 Mixing

4 Creating 5 Drying

6 Leveling

Drying

7 Layering Drying

8 Painting

Packaging

Selling


4 Kg of newspaper is soaked in a bucket of water for a minimum of 24 hours to 1 week

The next day, the soaked pulp is torn into pieces with hands, beaten and mashed well for at least 5 minutes.

1

2

Soaking

Mashing


This is kept on a plastic sheet and I Kg of multani mitti (Fuller’s earth) and 50g fevicol are mixed. In addition either 50g of powder of ground bark of Dard maida or 250g of methi (Fenugreek) seed powder is mixed in the pulp. The powder is added to avoid attack of insects and Fuller’s earth is added as a binding agent for the pulp.

The pulp is now ready to work with. The artisan starts by taking a piece from the pulp and starts creating the decided form. No extra water is needed while moulding forms.

3

4

Mixing

Creating


Paper mache pulp = 4kg newspaper + 1kg multani mitti + 50g Fevicol + 250g of methi (fenugreek) powder or 50g dard maida

After the form is made, place it in the sun for 2-4 days to dry. In summer, the form dries in even 2 hours, but in colder season, a few days are needed. One needs to check in between so that the form does not become bent on one side. If it does, one needs to press and correct it.

Once it has dried, put a layer of pulp (proportions : 1kg soaked paper + I Kg multani mitti). This is done to create a uniform surface. Let it dry for 1-2 days. Use no.100 sand paper over the form to create a smoother surface.

5

6

Creating, Drying

Leveling, Drying


Now put Lep (layer) of thick multani mitti using a sponge

With a zero number brush, kachni style (lines with black paint) is done, then with filling is done with different colors. Naturally made colors are not used, since paper mache soaks too much color, hence lightens effect or brightness of the color.

7

8

Layering, Drying

Painting, drying, packing


Craftspersons like Lalita Devi store dried paper pulp, lighter in weight & easy to carry to their training workshops

• In Salempur and most of Madhubani, paper mache is hand moulded. This simple technique is very effective to create interesting forms.

• Few people use stainless steel utensils as home moulds to create utility products

• In Upendra Maharahti craft institute, plaster of paris moulds are prepared. This gives one kind of form and the quality of each piece being different is lost. But this technique is useful to create a particular form in more numbers.

Hand molded

Home moulds of stainless steel utensils

Prepared mould – plaster of paris


Hand molded 1)

Home molded 2)

Prepared molded 3)

Handcrafting paper mache give one more freedom to explore interesting forms and concepts, which becomes restricting and rigid with either home based or prepared moulds.


1) Hand molded


2) Home molded

Moulds available at home in form of stainless steel utensils. After the paper mache is dried in sun, it easily come off from the mould without any effort. With combination of hand molding, many interesting decorations and forms can be created. There is a possibility of exploring many more product with this simple and effective technique.


• This technique in used in Upendra Maharathi institute. Mould of Plaster of Paris is prepared from a clay mould. This Pop mould has removable pieces, so as to remove paper mache form easily. Final outcome in this case is not too light due to the plywood support at the back to hang it.

• The advantage of such a mold is that many intricate details can be created once and then products can easily be produced in mass numbers.

3) Prepared molds

• Soaked paper + Babol gond + Chalk powder as binding as well as whitening agent are all mixed

• On the finished product is applied a layer of varnish. Then copper powder sprinkled by blowing or with brush to give golden effect.


Issue Requires original creative visualization Scope of work Organic forms possible Creative explorations of craftsperson


Hand molded 1) Home molded 2) Prepared molded 3)

Issue If used as it is, restricted forms are created Scope of work Simple and effective method Combined with organic hand molded form, many interesting forms can be created Variety of utility products can be made easily

Issue The master mold in clay needs to be created with details. This is time consuming and required fine expertise. Scope of work Many intricate details can be created Mass production is possible, once the master mold in plaster of paris is created.

Sr.no. Name Age Village Contact

Case study 01 Lalita Devi 60 Salempur 09006161247

Case study 02 Subhrada Devi 80+ Salempur -

03 Nageshwari Devi 54 Raanthi 09576957620

04 Ved Prakash 25 Raanthi 07870120102

05 Malti Devi 48 Jitwarpur 09199948394

06 Rani Devi 35 Rajgram 08521904772, 08051905277

07 Pushpa Devi 50 Salempur 09162143417, 09771927304

08 Kiran Devi 37 Salempur 07250184235

09 Nirmala Devi 45 Salempur 07250184235

10 Vinita Kumari 22 Salempur 07761917039

11 Ranju Devi 35 Salempur 07764886117

12 Vibha Devi 35 Salempur 07782909572

13 Lalita Devi 50 Salempur 08581907388


15 Manju Devi 35 Salempur 08986243917

16 Mantoriya Devi 38 Salempur 08294720190

17 Rekha Devi 35 Salempur 09334445937

18 Rinku Devi 28 Salempur 09955673467



21 Parmila Devi 33 Salempur 07783897474

22 Geeta Devi 40 Salempur -

23 Lalita Devi 40 Salempur -

24 Savita Devi 25 Salempur 0918002667076, 08797484717


Artisan : Lalita Devi Age : 60 Mobile no.: 09006161247 Active artisan, working since past 35 years Award: Felicitated with State award, Bihar in April 2013 Training: Made mud articles since childhood, later learnt paper mache from Subhadra Devi Village: Salempur Products: articulated forms for display, utility products. Technique: only handcrafted. Uses home molds like tray, bowl etc. Her expertise is creating interesting articulate forms. This special quality results is a few of being art pieces. But the selling price is not very different from other products which are commonly made by other artisans too. She has great ability to take inspirations and technique from


tradition but yet having the potential to create modern forms. Family: lives with younger son. Lost older son in accident last year, mother-in law, sister-in law and her family..Sister-in law, Meena Devi, 45 years, and nephew’s wife, Gudiya, 22, years, sometimes help her to paint products. Gudiya lives in New Delhi with her husband and daughter and will not continue the craft. Unfortunately her son Sudama does not intend to learn and continue with the craft.

Few examples of Lalita Devi’s work, which show traditional techniques with potential to develop modern products

Earning: She sustains from workshop and training programs and sometimes through selling her products in fairs. She also gives her products to middlemen in Madhubani. Sometimes she Is able to get Rs. 3 - 4,000 per month. Few products are also sold to a private collector, who sells them through onlne selling portal. Sometimes when invited to display in national and state exhibitions and fairs like Pragati Maidan, New Delhi, Patna,Jamshedpur,Nainital, she is able to sell few products. Price of products : from Rs 150 to Rs. 1500 Issues: Despite working in dedicated way and being felicitated with State Award, she is not able to earn well. Directly selling in Delhi Haat, Dastkar is a huge investment and if products are not sold, then she goes in a loss. Due to working long hours with water, her hands are slowly getting spoilt. This is an occupational hazard. It is a pity that such a skilled craftsperson with a huge potential is struggling since last 35 years. Other activities: She also is sometimes involved in training students of art colleges. Recently she was in Indore for giving training on paper mache.


Lalita Devi displaying her work at Pragati Maidan

Skill of hand molded forms

Artisan : Subhadra Devi Age : 80+ Mobile no.: - Worked since the age of 15, was associated with Upendra Maharathi institute. Retired Award: Honoured with State award in 1980 & National award in 1992 Training: Encouraged by director Sengupta to jump from clay to paper mache products at Patna Village: Salempur Products: traditional motifs like kohbar, elephant for marriage ceremonies, mythological stories, utility items like flower pot, tray etc. As a teenager, made products with clay, but later on was encouraged to learn paper mache. She learnt the modern technique, but gave it a unique identity with her skillful mithila painting and forms carved out of traditional stories.


Few examples of Subhadra Devi’s work creating figurines from traditional and mythological stories


Technique: only handcrafted. No mold used. Family: lives with her sons in New Delhi. None of her family carried forward the craft. Visits her house in Salempur once in two to three months but goes back to Delhi. Earning: She worked as an employee in Patna as an artist. Now she receives Rs.1000 as pension every month, which is meager. But her sons are able to support her. Issues: Though 20 years ago, she trained 20 women of Salempur for the craft, only two women continued it. Craftswomen want monetary assurance before committing to such work. Individually it is difficult to sustain. But if a person gets order and is able to give others, then it is possible. She considers herself lucky as an artist to get recognition, but for the craft to survive, she feels, women need to work as a group.

Figurines of Madhubani paper mache craft from as old as 15 years are stored by craftsperson in a box in her house. These still are in a good condition


Figurines depicting mythological stories and wedding ceremonies

Artisan : Nageshwari Devi Age : 54 Mobile no.: 09576957620 Active artisan Award: Honoured with State award Training: Learnt from artisan Lakshmi Devi Village: Raanthi Products: small decorative gift and display items like parrot, small dolls, birds, utility items like bowls. Currently she is working on a 2 feet tall procures material from Tilak chowk, Madhubani. Woman figure. Technique: handcrafts products as well as uses home molds like stainless bowls, glass etc. Family: Nageshwari Devi is a widow and lives with her brother and his family. Her sister-in-law Raju Devi, 45 years and nephew’s wife

now also learn from her and help her make products to sell in fairs and exhibitions. Earning: She is invited to display her products in stalls at several fairs at Allahabad, Ranchi, Patna etc. Since Raanthi is well known village for Mithila paintings too, many visitors also prove to be potent buyers for her products. Cost of 1 doll – Rs.300 Cost of 1 parrot – Rs. 150 Issues: Struggle to earn and sustain solely through the craft has been quite a challenge.

03


Artisan : Ved Prakash Age : 25 Mobile no.: 07870120102 Active artisan Award: His sister Hema Devi, 34 years, who received State award in paper mache inspired him to learn the craft. She sometimes comes home to work and store her products Training: Learnt from artisan Lakshmi Devi Village: Raanthi Products: decorative items like hanging forms, dolls, utility products like piggy bank. Technique: handcrafts products Family: Sister Hema Devi is married and visits Ved in the village to work together and store products. Their mother is Mithila painting artist.

Earning: Ved has finished B.com and is supported by his family. Issues: He is pursuing the craft more as a hobby than profession. The products made by him are not finished well.

04


Artisan : Malti Devi Age : 48 Mobile no.: 09199948394 Active artisan Training: on her own. Has recently started working on paper mache Village: Jitwarpur Products: decorative bowls Technique: uses only home molds like stainless bowls, glass etc. For painting, they use natural color but on paper mache they use acrylic color Family: Malti Devi’s whole family is well known for Mithila painting. Her husband Gauri Shankar Lal Das and youngest son Pankaj Das have been living in Kolkata for the past year to work with a chain of hotel on mithila painting.. Her older sons Neeraj

and Dheeraj and daughter Kalpana live in New Delhi and continue painting professionally along with permanent jobs. One can see how the condition of painting artists is way better than that of paper mache artists. Earning: The family is able to survive well with mithila painting on paper, cloth, sarees and for hotels. They also train people in cities and are able to charge fee for the same Issues: Malti Devi wants to expand her horizon from painting to paper mache products. Since her family is quite skilled in painting, she has an advantage to create beautifully painted products. But she has not freely handcrafted paper mache and has always used molds.

05


Artisan : Rani Devi Age : 35 Mobile no.: 08521904772, 08051905277 Active artisan Training: From her mother, legend Subhadra Devi Village: Rajgram Products: traditional forms like doli, kohbar,idols of gods & goddesses Technique: handmade only Family: Rani Devi lives in a large family with husband, three sons, husband’s brothers and their families. Her husband Akhilesh kumar is quite keen on her continuing the craft on a larger scale Earning: She is dependent financially on her husband, who coaches school children and is an LIC agent.

Issues: It is an irony that though she is the daughter of Subhadra Devi, she has not been connected to marketing channels for her products. Rajgram village is not famous for any craft and hence seldom there are visitors. Therefore a major connection with the outside world of customers is lost. Rani Devi has not stocked even a few products, due to which she is not able to apply to local organization as an artist to display in fairs and exhibitions. She was a teenager when her mother trained women of Salempur and Rani Devi also helped her. Even if she arranges to teach few women of her own village Rajgram, the craft will not survive unless there is a self help group with a good market and demand channel.

06


Artisan : Pushpa Devi Age : 50 Mobile no.: 09162143417, 09771927304 Not active artisan after a bad experience Training: Subhadra Devi Village: Salempur Products: decorative and display items , hanging forms of gods like Ganesh, Buddha, gave away most of products made till 5 years ago to her daughter on her wedding Technique: used only handcrafted technique. Her products are intact even after five years. Pushpa Devi has a very delicated manner to treating details on the product with paper mache eg: jewellery on Buddha, decoration on Ganesha, small fish with elephant form. Such interesting expressions of form do not seem to be marketed well and hence the artisan has not got her due.

Family: Her youngest daughter Prabhati has completed her graduation. Pushpa Devi lives with her husband, who works in Indian Red Cross society and mother-in-law. Earning: Earlier made a lot of paper mache products, but when once was cheated by not getting paid, she left the craft and now stiches clothes for village women as per order for her survival. Issues: Like Lalita Devi, Pushpa Devi was vigorously involved in working as a professional artisan for paper mache craft on order basis. But 5 years ago, when a middleman did not clear her payment for the products he bought, she left the craft forever. She does not regret the decision since the payment for products was anyways too less.

07


Artisan : Kiran Devi Age : 37 Mobile no.: 07250184235 Potential artisan Training: wants to get training for paper mache craft Village: Salempur Skills: has basic knowledge of paper mache. Under Subhadra Devi, got trained 20 years ago, but did not practice professionally. Family: Her daughter Ritu Kumari, 18, is very keen on learning the craft. She has tried making some things on her own but wants to polish her skills Earning: Kiran Devi’s husband Shri Sudhir Jha, works as a chemist and sends her Rs. 3000 per month. They also have farm where they grow wheat, rice Issues: wants to know if the craft if profitable.

Artisan : Nirmala Devi Age : 45 Mobile no.: 07250184235 Potential artisan Training: wants to get training for paper mache craft Village: Salempur Skills: not skilled but interested to learn Family: Her daughter Arti, 15, wants to learn the craft.. Nirmala Devi has four daughters, of which two are married. Her husband Dinesh Jha works on their farm Earning: The family tries to sustain through their farm, but it is not enough. They feel an additional source of income will be great help. Issues: An initial investment in raw material is required. Hence Nirmala Devi wants to be assured of the outcome

08 09


Artisan : Vinita Kumari Age : 22 Mobile no.: 07761917039 Potential artisan Training: wants to get training for paper mache craft Village: Salempur Skills: kachni (traditional painting with use of lines) on paper with calligraphy nibs Family: lives with her parents. Her elder sister, who is married now, used to paint and was her inspiration. Education & Earning: Vinita is graduate in history honours from Madhubani college. Her father Vinod lal Karn, is a medical representative in Ranchi and supports the family. Issues: Se wants to undergo training from artist Lalita Devi, who she feels has a great amount of practical experience

Artisan : Ranju Devi Age : 35 Mobile no.: 07764886117 Potential artisan Training: she was newly wed when women of Salempur were trained, so was not able to learn, But now, wants to get training Village: Salempur Skills: knits sweaters for her family Family: Ranju Devi’s husband,Pawan lal Karn, works in electronics in Raanchi. They have 2 sons and 2 daughter, eldest is Sneha, 18, studying B.com and wants to help her mother in this craft. Earning: Ranju Devi sometimes knits sweaters on order basis for people of the village. She charges approx. Rs.100 for half sweater and Rs.200-250 for full sleeve sweater. Issues: wants to learn the craft to work on order basis.

10 11


Artisan : Vibha Devi Age : 35 Mobile no.: 07782909572 Potential artisan Training: a young bride at the time, she could not get trained under Subhadra Devi Village: Salempur Skills: has knitting skills and knits woolen sweaters for her family. Family: Her daughter Khushbu, 15, is pursuing 10th standard. Her sister-in-law, Rita Devi, is also keen on learning the craft. Earning: Sudhir lal Karn, Vibha Devi’s husband runs a medical store in Madhubani and provides for finances in the family. Issues: wants to contribute her earnings for her family

Artisan : Lalita Devi Age : 50 Mobile no.: 08581907388 Potential artisan Training: wants to get training for paper mache craft. Had come to know late about Subhadra Devi’s training Village: Salempur Skills: not skilled but interested to learn Family: She has 2 sons and 2 daughter, all are married. Her daughter-in-laws and grandchildren live with her. Earning: Her husband, Ramvilas Mandal works as a munshi for construction in Mumbai and sends the family some money each month. Issues: Wants to learn the craft for additional income

12 13


Artisan : Nirmala Devi Age : 35 Mobile no.: 09661866194 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: Stitching on sewing machine Family: lives with 2 sons and a daughter studying in school Earning: She earns through stitching. Charges Rs. 40-60 for a blouse, Rs. 20-35 for petticoat. Her husband Deven Saah sells vegetables in Delhi and is not able to send enough money at home. Issues: There are times when she does not get order for stitching and is not able to earn. She feels an alternative skill will help her earn for her family.

Artisan : Manju Devi Age : 35 Mobile no.: 08986243917 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: not skilled but interested to learn Family: Has 3 sons, working in different cities, daughter is in 10th standard. Earning: Her husband Bhawan Kamath, has a government job in sichaai vibhaag, mitti jaanch. They have farm where wheat, rice, masoor daal is grown. Issues: wants to work on order basis like Lalita Devi.

14 15


Artisan : Mantoriya Devi Age : 38 Mobile no.: 08294720190 Potential artisan Training: very keen to get training for paper mache craft. Village: Salempur Skills: farming skills Family: Has 2 sons & 2 daughters; all studying. Her mother-in-law also lives with them. Earning: Her husband Shiv Kant is a laborer in Mumbai. But since he is unwell, he is at home. They do not have farm, hence it is difficult to sustain. She works as a laborer in other people’s farms during sowing and harvesting season. Issues: needs to know the craft as an alternative for earning in non-farming season

Artisan : Rekha Devi Age : 35 Mobile no.: 09334445937 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: does not know any hand work Family: Has 3 sons & 1 daughter; all studying. Earning: Her husband Jagdish Kamath is a labourer as per need during sowing & harvesting season. The family is dependent on him financially Issues: needs to know the craft to earn on her own

16 17


Artisan : Rinku Devi Age : 28 Mobile no.: 09955673467 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: crochet work to make shawls, door hangings Family: Has 3 sons & 1 daughter; all studying. Earning: Her husband Ramesh Kamath is a laborer in mumbai and sends them some money every month. Issues: needs to know the craft to earn on her own.

Artisan : Vinita Kumari Age : 22 Mobile no.: 09931479444 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: stitching on sewing machine Family: Lives with parents, brothers, sister-in-laws Education, Earning: Has completed her B.A. Her brothers help her financially. Sometimes stitches clothes on order basis and is able to earn. Issues: needs to know the craft to earn on her own.

18 19


Artisan : Lalita Devi Age : 30 Mobile no.: 08084473316 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: not skilled but interested to learn and wants to take it as livelihood Family: Lives with two sons and in-laws Earning: Her husband Dhaneshwar Kamath has a private job as a cook in Kolkata. He sends overaround Rs.3000 per month, which is difficult. They do not own farms. Issues: needs to know the craft to earn on her own.

Artisan : Parmila Devi Age : 33 Mobile no.: 07783897474 Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: not skilled but interested to learn and wants to support her family Family: Lives with 2 sons and 3 daughters; all studying in school Earning: Her husband Shankar Kamath works in Mumbai in a restaurant and sends her some money. Issues: Does not know much about paper mache craft, since the village system does not allow women to freely go to other women’s house and know about their work.

20 21


Artisan : Geeta Devi Age : 40 Mobile no.: Potential artisan Training: Had taken training from Subhadra Devi but did not continue the craft. wants to get trained now Village: Salempur Skills: not skilled but interested to learn Family: Lives with her husband Gulab Kamath and two sons and daughter-in-laws. Her daughters are married and settle in different places. Earning: Her sons support her financially. Do not own farms Issues: wants to relearn the craft and involve her daughter-in-laws too

Artisan : Lalita Devi Age : 40 Mobile no.: Potential artisan Training: wants to get training for paper mache craft. Village: Salempur Skills: not skilled but interested to learn Family: Lives with two sons. Two older sons are in working outside village. Earning: Her husband Brahmadev Kamath is a labourer for farming and supports them financially. They do not own farms Issues: needs to know the craft to earn on her own.

22 23


Artisan : Savita Kashyap Age : 25 Mobile no.: 0918002667076, 08797484717 Potential artisan Training: very inclined to learn paper mache craft. Village: Salempur Skills: not skilled but interested to learn but has skilled people in her family to support Family: Lives husband and mother-in-law. Her mother-in-law has been an expert in making cloth dolls. Earning: Her husband supports them financially. They also have farms. Issues: deeply wants to learn the craft and keep it intact following Subhadra Devi’s example.

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03 Design Audit Report

Issues, concerns & opportunities

Study of existing Product design, redesign, new product development and product diversification

ISSUES & CONCERNS Product Range : Traditional motifs like kohbar, doli have relevance only in wedding rituals of mithila region. Hence cities and other parts of the country are not able to relate to them Characters from mythology end up being display and in the modern day need to be rethought of. Utility items common, restricted to tray, pen stand outdated, need new designs Though there is motivation to create new things, the artisans need some guidance in terms of orientation towards to upcoming urban markets The beauty of the hand crafted products is their organic visual character. This feeling is lost looking at structured products like tray, pen-stand OPPORTUNITIES New areas to be explored : education, children products, lightweight furniture, safe and eco-friendly building blocks, toys, do-it-yourself kits etc, Lightweight Jewellery Bold forms need to be incorporated well in innovative design products

Wedding custom only in Madhubani region. Limited market opportunity in urban scenario

Tray, pen stand etc. are very common and not too interesting products


Study for research and development directions for future initiatives

ISSUES & CONCERNS • They do not have enough funds, time and expertise to carry

out research and development on a regular basis.

• Few artisans like Lalita Devi, Nageshwari Devi who are exposed to a wider market opportunities due to being invited to display at fairs and exhibitions are able to grasp market culture. But without guidance in design and marketing, even they are not able to produce new things.

• Objects involving critical ergonomics require some guidance from designers in terms of proportions.

This product combines the traditional diya (oil lamp) stand with the modern toothpick stand for weddings. But this Toothpick cum diya stand is too long.

Sometimes products involving critical ergonomics are not well thought off. In this case, the bangle is too big for a normal human hand


OPPORTUNITIES • Amalgamation of materials with paper mache will bring out a

variety of new ideas

• With good market response, the artisans are very well able to articulate for urban market.

• A few selected concepts can give way to many ranges of products for a long time.

• Each artisan will be able to depict concepts according to their own perspective and bring out newer things. With good market opportunity, support can be provided.

Broomsticks and jute used as interesting portions in paper mache product. Such amalgamation can be used more often. Khar (left) is are burnt for traditional puja.

Copper wire used to hang fish form. Gives interesting concept.


Diya embeded in lady form.

Visual identity and branding from communication design point of view

ISSUES & CONCERNS • There is absolutely no visual identity for the clusters as they

rarely sell the products directly to the final consumers.

• There is no proper documentation/ catalogue of traditional and non-traditional products made in Salempur

• Artisans do not have any photographs to show earlier or sold work

OPPORTUNITIES

• Branding : Branding under a common group of artisans

created in Salempur will be essential. Otherwise, private collectors will exploit the artisans and sell the products under their own brands, without giving due credit to the craftsperson.The idea of having a common visual identity and branding for the cluster was well accepted. The concept of common brand building like “Mithila’s Paper Mache”will help them to create an identity for themselves.

• The Branding should be done by Ambapali Bihar Emporium in New Delhi and they should provide services for boosting marketing in Delhi and state capitals.

• Captions or Stories: Some interesting forms or combinations

Products without any tag of common local brand of people of Madhubani. Shop owner are able to convey only some verbal information to tourists from India or abroad


The artisans of Salempur, Madhubani district, Bihar present to you interesting handcrafted products with their skills of paper mache and mithila painting.

This product called ‘Kohbar’ is alkejreojfdx,mf;lskf;xl;sl;d/.,e kjdsocxjmk.,x sodkncxkmsd x sijdzcxlkm, osijdznxc ooiksjcxmoidjzkclmx spdkjmc epdjkscmx speodkm eojdsx esdojc wefdscojpo wefsdpkn wfdsncpk wsfpodjc wefodcjp sefdscjnkl wefosdjpnkl fesodcnp wefsojpdn grojp grwoj-rp

Sample tag (front): Name tag of local Brand and skilled artisans of Salempur, Madhubani

Sample tag (back) : Explanation or story of the product

which the artisans make themselves, need to be accompanied by an interesting caption or story. Even existing traditional products, when accompanied by stories will help relate the customer to the object and therefore sell better.

• Catalogue: A product catalogue is a must and also presence of products online as a part of the brand will be of great help and reach larger audience.

• Stores : List of stores and online selling portals can be indicated for the products on the site of the local brand

• Documentation online: A comprehensive documentation of Madhubani’s Paper Mache craft will be a great source of information for the people and to understand the craft.

• Handcrafted promoted: Promote the concept of handcrafting original and interesting forms.

• Short promotional Films: Short promotional films should

be commissioned to practicing designers and design students on paper mache development process and highlight the master craftspeople and their work. This could be available on public domains like YouTube etc.


Market and competition study for design advantage and distinction

ISSUES & CONCERNS • The craftsperson is not given due credit, since name is not

revealed on social networking sites for online selling. Therefore local branding as a group of Salempur is necessary. This should be done by Ambapali Bihar Emporium, New Delhi

• Many a times, payment of the craftsperson is cleared only if the products are sold. Thus investment gets stuck for the craftsperson, who waits to start more work. This is a very negative feature for any creative field.

• Directly selling in Delhi Haat, Dastkar is a huge investment and if products are not sold, then craftsperson goes in a loss.

• Central Cottage Industries Corporation (CCIC), Delhi and Bihar emporiums need to put the display of products more prominently and creatively.

OPPORTUNITIES • Forming an association of paper mache artists in Salempur is

important. They should bills and all payment should be cleared on purchase of the products.

• Two or more local resident like school or college going children of the village must have basic knowledge of the internet to help artisans in their families display new product range online.

Online selling portals like i-tokri and Lokatma are involved in selling the products through social networking sites

Emporiums place an order every 15 -30 days for products.


Study of display

ISSUES & CONCERNS

• In emporiums and shops in Delhi, paper mache masks and wall hangings were kept in closed glass boxes instead of displaying on walls.

• The products were at a height where they were not visible to adult eye level.

• Other products Madhubani region displayed vaguely in between products from other states.

• There was no written information about the specialty of the region and the craft. No information about the product too.

OPPORTUNITIES Promotional posters with information about the unique papermache craft of Madhubani and product range, to be given to all concerned emporiums, shops and hotels in Delhi, Patna Every product should have a small tag indicating some information about the a) product b) craft c) Region d) Website of the brand and link to promotional video

Products of paper mache, Madhubani in a closed display at a non visible height.

Doli from Madhubani region displayed vaguely in between products from other states.


ISSUES & CONCERNS

• Kashmir’s paper mache products are very well known and popular. They have been given a whole room for display at CCIC. Madhubani’s products neither have the variety nor the amount of products in comparison.

• Products are displayed in the basement of emporium, so often customers only buy from the ground floor

OPPORTUNITIES • If mass production as well as variety is present, there is a good

possibility of display and selling of Madhubani’s paper mache products in CCIC and Bihar emporiums in Delhi and other main cities..

• CCIC and Bihar emporiums are also a hub for many tourists. So if the products are promoted with proper information about the craft, region, style and craftspeople, the market can prove to be very profitable to the craftspeople directly.

Full separate room for Kashmir’s paper mache products

Products are displayed in the basement of emporium, so often customers only buy from the ground floor


Madhubani game - papier mache snakes & ladder Rs. 285

Madhubani aggarbatti stand - papier mache frog Rs. 325

Madhubani diya stand - papier mache animals Rs. 100 per piece

Madhubani Doli- papier mache Rs. 323

Madhubani wall hanging- papier mache sun Rs. 285 – large, Rs. 152 - small

Madhubani bin - papier mache Rs. 750 – large, Rs. 550 – medium, Rs. 475 - small

Madhubani lampshade- papier mache Rs. 350

Madhubani diya bowl - papier mache Rs. 325

Pricing as seen in Central Cottage Industries Corporation (CCIC) & Bihar emporium, New Delhi


Madhubani tray - papier mache elephant Size-11" X 11" Rs. 345

Madhubani wall plaque or tray - papier mache bird on tree-12" X 12" (mbtpm1212pf) Rs. 345

Brand: Indiacraft

Madhubani pen holder - papier mache flower motif Size-Ht 4" Dia-3" (mpps43fbt) Rs. 138

Pricing at online sites, emporiums = buying price from artisans + 30-40% store cost It is important that local association of paper mache artisans, Salempur is mentioned as a brand on the product tags

Pricing on online selling portals



Craftsperson

Private collectors

Emporiums International fairs, exhibitions

Store

National Fairs & Exhibitions

Agents

Online selling portals, social networking sites

Customer

Marketing networks

Study of Technology, modernization and collaboration scope

ISSUES & CONCERNS • Many artisans used home molds like utensils to make products.

It is important to incorporate hand crafted forms, since it is the specialty of the region. Hand molding is unique and artisans can create many interesting forms.

OPPORTUNITIES • Moulds of clay or plaster of Paris can be introduced so that one

can have mass scale production in less time. This will help artisans create popular forms more often. This process is practiced at Upendra Maharathi crafts institute, Patna. Molds like steel bowls, trays etc. can be used to as a base with addition of hand molded forms to created interesting products.

• Intricate details can be achieved in the products through the mold, without creating in each piece separately.

Paper mache products using mold at Upendra Maharathi crafts institute, Patna


Identify scope for innovation in process and related areas for design intervention.

ISSUES & CONCERNS • Drying is problem in monsoon and winter season. Most of the

work is done from March to June. In September and October, work is slowed down, but from November to March, it is not done.

• Natural color from plants, flowers is not used since it gives a faded effect

OPPORTUNITIES • Traditional method of heating sand on chulha and drying paper

mache (like clay) can be tried in winter.

• Instead of painting with details with natural colors, give the product a base of natural colors like Geru (for earthy color) and Henna (green color). Use of natural colors will retain the color making art of the region and also give a special quality to the product.

Geru and mehendi colors used to color paper mache products from Rajasthan. Decoration done with viscous ceramic mixture in cone.


Study of scope in workstation and tooling design

ISSUES & CONCERNS • Measuring tools and Molds specially for products with critical

ergonomics is required.

• Tool for drying products in winter is required.

• Due to working with wet paper pulp, skin of the hands of craftspersons is affected

OPPORTUNITIES • Simple tools made out of clay can be used for uniformly

spreading paper mache mix.

• Advantage of this craft is that it is can be done anytime at home. This is very effective for women’s livelihood support because they can do this at home as per their convenience.

• In between household chores and taking care of children, they can take out time to create products

• Plastic gloves can be introduced specially in the process of preparing paper pulp

Simple tools used in Upendra Maharathi craft institute


Study of training and skill up gradation opportunities

ISSUES & CONCERNS • No new innovative products

• Production of repetitive products

• Need to learn techniques for mass production OPPORTUNITIES • Craft and Design workshop

• Awareness of marketing skills

• New product development needed

• Packaging skill for selling and transportation

• Special schemes for motivating craftspeople to teach their

children and continue the tradition of this craft


Study of ergonomic and environment factors in MSME premise.

ISSUES & CONCERNS • Soaked paper can give a foul smell if kept for a long time.

• Since paper is soaked in water, there is a chance of mosquitoes

breeding. This can give rise to diseases.

• Due to working with wet paper pulp, skin of the hands of craftspersons is affected

OPPORTUNITIES • Containers for soaking can be kept covered.

• The houses have verandahs and open spaces, where the

artisans are able to work. Hence the work space is safe and comfortable.

• Craftswomen can meet and work together at a common facility center.

• Plastic gloves can be introduced specially in the process of preparing paper pulp


Identify packaging and logistics related design opportunities

ISSUES & CONCERNS • Regarding packaging, the artisans use paper to wrap the produc

ts. Sometimes they also use plastic, but tit is not eco-friendly.

• If not well packed, there is a chance of the products breaking during transport.

OPPORTUNITIES • Using paper bags, since it is the basic raw material of the

product and hence matches the ideology.

• Painting skills can be utilized to create beautiful packaging

• Since many women know stitching, cloth bags can also be an alternative, specially for expensive products to give justice to the packaging.

To transport, the articles are packed in a box and sent through courier. An artisan once had all her products returned back, since they were broken during courier.

Plastic gives a very unnatural feeling to the 100% bio-degradable product.


Study of infrastructure and capability enhancement from design perspective

ISSUES & CONCERNS • Storage and display space not available.

• This is needed for mass scale production.

• Proper space for protection from rain. • Display space for tourists to visit and buy on spot OPPORTUNITIES • Common space for storage and display of products in the

village.

• Such common facility centre can also provide an alternative work space for artisans.

• Exhibit products for selling on spot

• Storage for raw materials and finished products.

• Space for keeping soaked paper.


Dried paper mache products before painting, stored in one corner of cooking space, along with utensils, oil bottle etc.

Study of design opportunity for Inter cluster communication

ISSUES & CONCERNS • Paper mache craft , Madhubani is Overshadowed by the mithila

paintings. The painting was promoted so well by Bihar government, that other crafts, specially paper mache has suffered a great decline.

• From procuring raw material, to creating forms and painting them, everything is done by an individual craftsperson. Hence dependency on other craft cluster does not exist. Even today, the women do not visit each other’s homes without specific purpose.

OPPORTUNITIES • Selling through a common brand, set up by the craftswomen of

Salempur will improve communication as well as provide ease for marketing by dividing responsibilities.


04 Recommendations & Conclusion

1. The products are lightweight and hence easy to be carried by tourists in airlines.

2. No health hazards. Chemicals are not used in the process of making or finishing. Since the craft does not have dust or chemicals, it has no side effects. Pregnant women, young mothers with children nearby, can easily practice the craft.

3. Unlike terracotta, paper mache products do not need to be fired. They only need to be properly dried in the sun.

4. The raw material like newspapers, discarded notebooks is easily available in plenty and recyclable. So this is an eco-friendly craft.

5. Very low investment for tools and equipment is required.

6. Heavily skill based. Therefore human creativity is used.

1. Product concepts developed are old. New innovative products are not being made.


2. Market links need to be established more.

1. CCIC, Bihar Emporiums provide a useful platform for the products to be sold well, since many tourists from all over the world visit them.

2. Branding and selling through a group of local crafts persons, will help establish a unique identity of the craft and the place.

3. A vast opportunity to develop a range of new products for urban markets is present. This can provide large business opportunities.

1. The next generation does not want to continue the craft as livelihood. There has to be special institutional plan to tackle this concern.


Limited Product Range Need for variety of products Design intervention at regular intervals

Currently hand molded products Combining techniques of of simple home mold and hand molds can be explored

Difficulty in selling products Branding and promotion of specialty of Madhubani’s paper mache craft required. Every product should have a small tag indicating some information about the product, craft, region, website of the brand and link to promotional video

Products are packaged in crumpled paper Neat paper or cloth packaging to be designed for products

Display of products in emporium not prominent Promotional posters with information about the unique paper mache craft of Madhubani and product range, to be given to all concerned emporiums, shops and hotels in Delhi, Patna

New generation not interested in continuing the craft as livelihood

There has to be special institutional plan to tackle this concern.

Hands of crafts persons spoil slowly due to working long hours with water

Introducing use of plastic gloves, at least for the preparation of paper pulp


Sustainable Market

The need assessment of this project provided an

overview of the issues, problems and possibilities for development of this craft and crafts persons. The first and the foremost need is designing range of new, interesting products, which are contemporary and also have utility value or gifting possibility. Till now, traditional mythology, wedding products, common utility items were made. But what is required is a deeper understanding of the upcoming urban market and therefore an urgent design intervention. Due to the Design Awareness program, along with Upendra Maharathi Shilpa Anusandhan Kendra, Patna, the first step will be taken through a Design workshop for the cluster. Designers and design students should be involved in the process of idea development every 6 months in collaboration with the emporiums and craft communities. Once design intervention takes place at regular intervals, market opportunities are many and need to be expanded through promotion. Ambapali Bihar emporium, New Delhi must create and evolve local brand for marketing and promotion of paper mache, Madhubani. Recognized craftspersons like Lalita Devi, Subhadra Devi,Salempur and Nageshwari Devi ,Raanthi have created a deep interest in the


community to get training for the craft. But it is only through effective marketing, variety of innovative products and mass production that the craft can survive and give interesting way to the society. Ultimately, once the crafts persons are happy and satisfied with marketing, they will responsibly keep burning the light of the special region. a) There needs to be a huge variety of products to display and

choose from. b) There has to be large production of products by local crafts

persons. c) promoting the specialty of paper mache craft of Madhubani

region. d) Developing a website, specially for the paper mache

community and link it with various other websites of Bihar state craft, emporiums.

e) Short promotional films should be commissioned to practicing designers and design students on paper mache development process and highlight the master craftspeople and their work. This could be available on public domains like YouTube etc.

f) Emporiums in every state, should prominently display the variety of designed products of paper mache, Madhubani.

g) System for receiving feedback from customer to designer and craftpeople should be provided.

There is need for active promotion and branding the products of Madhubani under an association of Salempur. It is necessary that the local common brand has an online selling portal too.

http://www.craffts.com/home-and-furnishing/decor/lampshades-and-lamps/kruppke-p419.html http://www.qartoos.com/madhubani-paper-bin-colourful-bird http://www.shakiraaz.com.au/madhubani-handpainted-pen-holder-2.html http://www.dollsofindia.com https://www.facebook.com/itokri https://www.facebook.com/Lokatma.Art.India http://www.biharjagran.com/culture.php http://en.wikipedia.org/wiki/Bihar#Agriculture http://mospi.nic.in/mospi_new/upload/census_2012/handicraft/Bihar.pdf http://artisangilt.com/papier-mache http://www.dsource.in/resource/papier-mache-mask/index.html http://www.cohands.in/handmadepages/book207.asp?t1=207&lang=English http://creeksideartgallery.com/articles/art_of_takaan.html


http://www.craffts.com/home-and-furnishing/decor/lampshades-and-lamps/kruppke-p419.html





















http://www.qartoos.com/madhubani-paper-bin-colourful-bird
















http://www.shakiraaz.com.au/madhubani-handpainted-pen-holder-2.html




















http://www.dollsofindia.com/








https://www.facebook.com/itokri







https://www.facebook.com/Lokatma.Art.India












http://www.biharjagran.com/culture.php










http://en.wikipedia.org/wiki/Bihar








http://mospi.nic.in/mospi_new/upload/census_2012/handicraft/Bihar.pdf












http://artisangilt.com/papier-mache







http://www.dsource.in/resource/papier-mache-mask/index.html













http://www.cohands.in/handmadepages/book207.asp?t1=207&lang=English














http://creeksideartgallery.com/articles/art_of_takaan.html







REPORT ON DESIGN CLINIC WORKSHOP Paper mache cluster, Salempur,

Madhubani, Bihar

2 – 6 December 2013

Conduted by : Surabhi Khanna Design expert

Organized by : Upendra Maharathi Shilpa Anusandhan Kendra, Patna

In association with : National Institute of Design, Ahmedabad

Supported by : Design Clinic Scheme for MSMEs, Ministry of MSMEs

105 Design intervention workshop| Paper Mache cluster, Salempur| 2-6 December 2013 | Surabhi Khanna

Design intervention workshop for paper mache cluster, Salempur, Madhubani, Bihar was conducted from 2-6 December 2013 under Five-Band Design Clinic Scheme. This workshop was felt strongly required after the submission of the Need Assessment Survey Report. The workshop was planned based on issues and opportunities identified during the Need Assessment Survey. It was found that the paper mache craft was depleting from the region. Many women from the cluster participated in the workshop as first time learners. This was the first successful step.

As part of the project, need assessment survey was done in Salempur. The following were observations which led to the need for a design intervention workshop.

1. Madhubani style of paper mache craft is a great heritage,

which is unfortunately a declining craft.

2. Only a few crafts person are actively working in this craft. During the survey, detailed interaction was done with the only two practicing master crafts persons in the village namely Smt. Lalita Devi and Smt. Subharada Devi.

3. The new generation is not motivated due to limited income from the existing products.

4. The existing product ideas are outdated as they based on mythology or local ceremonies only, which is not appealing to the urban market.

5. To bring this great heritage out of distress, design intervention in form of new, fresh ideas for contemporary market was required.


Existing themes of products Mythology

Wedding ceremonies Miscellaneous containers


Figurines depicting old and local themes by crafts person Smt. Lalita Devi

Figurines depicting mythological stories and wedding ceremonies crafts person Smt. Subhadra Devi

1. New product range and variety : The existing products made by master crafts persons are conventional and based on local themes, hence outdated for the urban market. The need assessment survey brought out the urgent requirement of product diversification through the design intervention workshop.

2. Supporting the craft & crafts persons : The background need assessment survey brought out that although the craft is well known, actually only very few master crafts persons are active. It was important to generate awareness and interest among new learners and the young generation, for the craft to survive. Also it is important to develop new designs and product range to create confidence amongst practicing artisans to continue the craft.

3. Considering First Timers : Majority of the participants in the workshop were first time leaners. Therefore the workshop was designed in a manner that first the participants could work on basic molds to make a utility product and later create handmolded forms to enhance the product. This was very well received by the participants


4. Simple techniques :Since not all the participants in the workshop were as skilled as the master crafts persons like Lalita Devi, Subhadra Devi, it was important to introduce simple methods to develop many products.

5. Mass production using utensil – mold & hand craft skills: Available molds from home like steel bowls, plates etc

were utilized along with hand craft skills and creative expressions. This helped bring out variety of concepts with due efficiency and speed.

6. Promoting gift products :The survey brought out a need for a range of gift and low cost products for quick production and large scale selling.


Coverage of design clinic workshops in Madhubani district in Dainik Jagran, 3rd dec 2013. The picture on the left shows the inauguration of the design intervention workshop in paper mache cluster, Salempur, Madhubani



02 Rani Devi 35 Rajgram 08521904772, 08051905277

03 Pushpa Devi 50 Salempur 09162143417, 09771927304

04 Prabhati kumari 21 Salempur 09162143417, 09771927304

05 Kiran Devi 37 Salempur 07250184235

06 Ritu Kumari 18 Salempur 07250184235


08 Arti Kumari 15 Salempur 07250184235


10 Ranju Devi 35 Salempur 07764886117

11 Sneha kumari 18 Salempur 07764886117

12 Vibha Devi 35 Salempur 07782909572

13 Khushbu kumari 18 Salempur 07782909572

14 Rita Devi 36 Salempur 07761917039



17 Manju Devi 35 Salempur 08986243917

18 Mantoriya Devi 38 Salempur 08294720190

19 Rekha Devi 35 Salempur 09334445937

20 Rinku Devi 28 Salempur 09955673467



22 Vibha Devi 27 Salmepur 09931479444


24 Parmila Devi 33 Salempur 07783897474


26 Lalita Devi 40 Salempur -

27 Savita Devi 25 Salempur 8002667076

28 Shitli Devi 65 Salempur -

29 Pooja Kumari 19 Salempur -

30 Subhita Devi 30 Salempur -

31 Rinku Devi 28 Salempur -

32 Julie Devi 27 Salempur -

33 Rita Kumari 18 Salempur -

34 Chandni Kumari 19 Salempur -



Day 3 Creating hand molded forms on dried basic molds of day 1 Design input session layering and finishing dried small products of day 2 Keeping all products to dry Day 4 Selecting dried large products Layering and finishing large products of day 1 Painting dried small products Day 5 Painting the products Displaying products for on-site exhibition Photography of exhibition Concluding session with plan of action

There was an overwhelming response of 35 participants, registered for the workshop. Majority of the participants were fresh learners in the workshop. The schedule was planned, considering drying time in winter sun, making time by first time learners and time for painting.

Day 1 Morning session Introduction of workshop Preparation of paper pulp mixture Deciding products from sketches suggested by Designer & making molds under guidance of craftsperson Smt. Lalita Devi’s Placing paper pulp molds to dry Afternoon session Inauguration session Material preparation – soaking paper Day 2 Making sketches for small products Selecting type of products and assembling them with design inputs from Designer and under guidance of practicing crafts persons Keeping all products for drying


Participants at work on first day. Women mixing paper pulp and multani mitti, many for the first time


1. Special trays with bird and animal form integration with basic mold

2. Bowls with variety of forms for different uses

3. Range of jewelry ideas

4. Souvenirs :Fridge magnets

5. Diya and candle stand


Participants guided to choose product and using steel utensils to create basic molds with paper mache pulp

First day : participants deciding kind of product and taking a utensil to create a basic mold.

Participants making products using basic molds

Participants placing products of day 1 for drying

New ideas made on first day, being dried in open

Creating various forms on dried basic molds of steel bowls


Creating various forms on basic dried paper mache molds to develop various final products


Design consultation for participants during the workshop


Examples of sketches made by participants for ideas for small products


Working on details of small products using magnets, ear ring hooks, candle, diya etc. with paper mache pulp


Participants painting the products


Idea development : Souvenir Fridge magnet

The main objective of the ideas was to introduce the range of concepts suitable for urban and metropolitan markets, which is largely missing in the existing situation

Idea & display development : Ear rings displayed on leaves

Idea development : Special tray - bird form integration with basic mold

Idea development : Special tray - bird form integration with basic mold

Idea development : diya stand with animal forms

Idea development : Special tray – twin bird form

Idea development : Bowls with varied forms

Idea development : Special tray - figurine form integration with basic mold

Note : The prototypes shown in the these photographs are concept development. They will be made individually by artisans with intricate finishing after the workshop to be sold in the market.




Souvenirs in various forms as fridge magnets, created excitement in amongst the participants. The practicing artisans immediately saw a great scope for selling such small, lightweight products in large numbers in urban fairs.



The idea of displaying the ear rings on a sturdy kathal or jackfruit leaf suggested to the cluster, was found to be fascinating. Practicing artisans had unsuccessfully tried to sell ear ring using crude copper wire. In the workshop, available ear ring loops from the market were used. The final product looked neat and the artisans showed interest in developing the product for market opportunities.

Freshly painted ear rings, displayed on fresh green leaves.




Special tray - bird form is an integration with basic mold, which proved to be a very effective method for fresh participants in terms of simplicity and variety.



Special tray – figure- form integration with basic mold, proved to be a very effective method for fresh participants in terms of simplicity and variety.



Special tray - bird form is an integration with basic mold, which proved to be a very effective method for fresh participants in terms of simplicity and variety.



Special bowl depicting the region – by using various forms with basic bowl molds, there becomes possibility of creating interesting concepts and a large variety in the product range.


An overview of range of themes of products developed in the workshop. The community can continue some of the old ones and gradually introduce the new ones, which will be more welcomed in the urban and metropolitan markets.

New Themes of products

1. Special trays

with bird and animal form

integration with basic

mold

2. Bowls with variety of forms for

different uses

3. Range of jewelry ideas

4. Souvenirs

:Fridge magnets

5. Diya and candle stand

An overview of range of themes of products developed in the An overview of range of themes of products developed in the An overview of range of themes of products developed in the An overview of range of themes of products developed in the An overview of range of themes of products developed in the An overview of range of themes of products developed in the An overview of range of themes of products developed in the

1. The background need assessment survey brought out that although the craft is well known, actually only very few master crafts persons are active in the craft.

2. Majority of the participants in the design intervention workshop were first time learners, inclined to practice the craft.

3. The existing products made by master crafts persons are conventional and based on local themes, hence outdated for the urban market. The need assessment survey brought out the urgent requirement of product diversification through the design intervention workshop.

4. The need of the hour is fresh, new product range for urban, contemporary market with local techniques and facilities.

5. In spite of difficulties in drying in winter sun, the participantswere able to tackle the handicap and were surprisingly able to bring out a number of range of new ideas.

6. It was very heartening to see that 35 participants came to the workshop and worked very hard, despite no monetary compensation. The overall response of the participants was very positive and none of them dropped out of the workshop.


7. The quantity and quality output from the workshop exceeded the expectation. All the concepts are new, yet related with the style and identity of this craft.

8. Upendra Maharathi Shilpa Anusandhan Kendra, Patna provided satisfactory support. They deputed their officers, both for the survey and the workshop. It is also appreciated that they took the prototypes with a purpose to exhibit. They also arranged photo documentation.

9. It will be a good idea to place an order based on the concepts and make a trial marketing in emporiums.

10. The response of the crafts persons was overwhelming. The master crafts persons seemed very keen to make and sell these in the next fair.

11. The workshop did not use any expensive or special equipmentand explored the existing skills and techniques available with the community.

Participants with Designer displaying outcome of workshop

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