Bagru Craft Cluster Documentation

Fig 4.40 Bagru Village Source: Self Illustrated 86

(i) The Workers (ii) The people who work in production Fig 4.41 (i) (ii) Dhulai Source: Google units possess an appropriate skill set, expertise and great physical strength. The division of work is not based on gender or age, instead on the capability of an individual. This craft requires rigorous physical strength to carry out multiple rounds of laundering and washing. Both Men and Women co-exist in the same unit and perform the tasks they are best at doing. The people of other communities, such as Gujjar, Meena, Jat and a few more, are also doing the job of dying and printing. However, Chippa remains the central community. Around 300 families in Bagru are directly engaged in this profession; many other families are indirectly connected to the craft. Most of the workers are between 25-50; the younger generation has the least participation and inclination towards the craft. 87

Fig 4.42 Wood carving on sketched design Source: Pinterest 88

Fig. 5 Bagru Buti Pattern 89

Motif 90

Fig 5.1 Pankhi Buti Fig 5.3 Nargi ki Buti Fig 5.2 Kharboojey ki Buti Fig 5.4 Bankdi ki Buti Source: Self Illustrated 91

Motifs • Coriander/ Dhaniya Buti • Bel Patra ki Bel • Genda Buti • Neem Patti ki Bel • Nargi ki Buti • Angoor ki bel • Chuabandi Buti • Macchi ki bel • Kamal Buti • Kamal Phul ki bel • Kharboojey ki Buti • Kailash ka Kangura • Gulaab Buti • Kali ka Kangura • Mukut Buti • Leheriya & sangeneri buti. • Bankdi ki Buti • Bel (creeper) • Pankhi Buti • Buta & buti (floral motifs) • Paan Buti • Jaal (floral net) • Kata Buti • Fruits (Keri) • Mirchi Buti • Leaves (Paan ka Patta) • Jadhpul Buti • Buds, twisted tendrils • Surajmukhi Buti • Figurative animals( Haathi, • Haathi Buti • Ghoda Buti Ghoda, Mor, Oonth) • Ilaichi Buti • Humans (dancing females) • Bichu Buti • Geometric pattern (Chaupar, • Neem leaves • Dhatura Buti chati, kangura) • Chaubandi • Chakri 92

Fig 5.5 Hanthi Buti Source: Self Illustrated 93

Fig 5.6 Badi Buti/Buta Source: Self Illustrated 94

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Fig. 6 A Craftswomen at work 97

Artisans 98

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Fig 6.1 Caricature of Giriraj Ji Giriraj Prasad Chippa Sustainable fashion is an umbrella Bagru and Dabu hand block print. term that states that clothes The Prasad family has been should be created and consumed practising this tradition of working to foster socio-ethical practices on their craft for generations. and ecological health. In the The children usually learn from twenty-first century, it has become copying the elders. When he was a way of life for some; and with the a teenager, Giriraj started using fashion industry being the second hand block printing, which he largest cause of environmental later established into his career. pollution--rightly so. One of the The materials used for dyeing more critical crusaders in the the fabrics are jaggery, iron, industry resolved to preserve the Kesul flower, madder, and natural art of natural block printing is indigo cakes, making him one Giriraj Prasad. He runs a small- of the few artisans using wholly scale industry in the Bagru village, natural elements in his work and where around ten people work production. and create spectacular pieces of 101

Brands like Rajasthali and Mr Prasad has to rely on FabIndia, have employed Mr mediators to communicate with Prasad to experiment with the the consumers. existing materials and develop Giriraj Prasad projects an new designs and ideas that indomitable spirit and passion would fulfil the needs of modern for natural hand block printing, consumer markets. In one of his motivating aspiring artists and recent experiments with natural designers to incline towards more dyes, he produced 51 shades from traditional craft practices despite just an onion. the hardships that fall on him. The art of natural hand block printing flourished with the monthly melas(fairs) in markets of the village where people from all around Rajasthan would come to barter goods in exchange for Fadats, Ghagrasand and Lugdis - the original Bagru printed products. The Sangaria river is providing a natural source for The raw material which was required for the production; such as Gurjan (wood for block making), Kaali mitti (Black Clay), Geru (Red soil), Horseshoe nail (for making printing paste and pigments); it was a great place to establish production. Unfortunately, the sources for obtaining these raw materials have either been exhausted or dried up. As a result, artisans now have to depend on substitutes provided by mediators. In this digital age of e-markets, intermediaries are also a dying industry. This is a significant cause of concern for artisans who lack the technological knowledge that the world is running on. Having no website or online platform to sell his product, 102

SURAJ NARAIN TITANWALA Fig 6.2 Caricature of Suraj Narain Ji The Titanwala D uo The Titanwala family is one of Mr Suraj has travelled to countries the more established families like China, Japan and Brazil to give practising Indian ancient crafts seminars and workshops about for six generations. They initially natural and vegetable dyes. In 1998, worked from Jaipur but eventually a workshop was organized for Bill settled in Bagru city, where the Clinton inside Amer fort where he production was established. Suraj had to demonstrate hand block Narain, born in 1960, holds a printing. In 2003, the inauguration master’s degree in commerce, of the Anokhi Museum by Prince resigned from his job at a bank Charles was held where he gave at 21 to focus on continuing the a demonstration of Dabu printing family business. His elder brothers to him. He made a fabric piece did not carry this craft forward that he had printed over 7500 because of financial reasons. times from just one block, making The work that the Titanwala family the fabric look like 200 years old is responsible for producing has Chaubundi. made its remarks all over the globe. Mr Suraj Narain has been creating 103

DEEPAK KUMAR CHHIPA natural block printing. His unit has around 20 permanent employees Fig 6.3 Caricature of Deepak Ji - 8 for printing, 4 for washing, four helpers and two dyers. This jaw-dropping pieces for Anokhi unit is also a storehouse for more Museum for the last 40-42 years. than 5000 wooden blocks, each He belongs to one of the oldest of which is unique and intricately classes of artisans who has been detailed. Re-using the wastewater practising the craft. Thus, in 2019, post-harvesting and converting he came up with his museum cow dung into fuel are just a few called ‘Titatanwalla Museum’ examples of how these artisans are inside his private property. Smriti following sustainable production Irani (former Textile Minister) practices. inaugurated the museum in Because of the coronavirus February 2019. pandemic, the business was hit The Titanwala unit is located hard. With the production and on the same land as that of his sale being heavily dependent house and museum. Inside his on person to person interaction, production unit, everything is they experienced personnel and handmade and environmentally financial loss. As an industry friendly. The unit is divided into where labour and investments different departments such as the are enormous and the outcome Dabu printing unit, Bagru printing quite risky, it is not surprising to unit, Dyeing unit, cafeteria and see younger generations wary of a guest house where students being inclined towards them. from India and abroad come to However, Mr Deepak Kumar receive training in Bagru- Dabu Titanwala continues this craft in printing. Mr Deepak Narain (son hopes of prolonging the family of Mr Suraj Narain) is the one business. The clan grows on to who gives in-depth knowledge produce the ancient Indian crafts to these students and tells them and adapt themselves to the about the integrities of the craft of more modern demands of their consumers. In doing so, restyling their selling style during the pandemic by taking orders via WhatsApp. The Titanwala’s show us how hard work towards one’s passion yields in growth not only in the fortune of their family but of the entire nation as well. 104

Fig 6.4 Caricature of Nutan Ji Nutan Kumar Udaywal Nutan Kumar Udaywal is a hand awarded in the year 2007. block printer from Bagru village. Mr Udaywal runs a small printing He is one of the few artisans unit inside his house. His production who still use natural dyes from unit has ten printing tables where vegetables and plants to print the around 10-12 people work to fabric. complete orders. Most of the He is a 5th-generation artisan who items he prints are for the brand or continued his family profession of companies who place their order in block printing, not as an obligation advance. The printing and designs but purely out of his love for are updated time and again to the craft. He did not receive any suit the matching trends and proper training and learned the customs.His current experiments craft by observing the elders in include dying the fabric green with his family. He took up this craft natural Neem extracts.There are sincerely when he was just 12 years specific challenges that artisans of old and later made this a means of tradition face in this century. New living. Mr. Udaywal was nationally generations of already established 105

business families are hesitant to continue, primarily due to financial reasons. In a post covid scenario, people who lack the knowledge to grow their business through online means are suffering. However, some artisans work their way through it. Mr Udaywal has created a Facebook page named; Nutan hand block prints’, through which customers place their orders. 106

Fig 6.5 Caricature of Pankaj Ji Fi eld expert- Pankaj Sonava Mr Pankaj Sonavala was our field mediums and makes contemporary expert who helped us connect with designs for the market. Bagru and Dabu block printing Many students from prestigious artisans. Mr Pankaj is a Sangeneri colleges all over the nation come printer from Jaipur and runs a unit to him and learn about hand block called ‘Sonawala Printer’ He is printing. both a wholesaler and a retailer. He sells about forty Sanganeri Most of the items in his retail products through his units like unit were hand block prints from suit pieces, saree, dupatta,scarves, Sanganer and Bagru.He deals with bed sheets, quilts, Dohar, curtains both natural and synthetic dyes. and carpets. Lifestyle products The production in his unit is purely like coffee mugs,notebooks, face derived from the demands of the masks, and tea coasters that bear current consumer market.He also Bagru or Dabu print signature collaborates with other artisans motifs are also available. from time to time and explores new techniques, 107

The products are available in a wide range of colours and are customisable. When we hear; brand loyalty, it is about big brands and small businesses like his. Most of his sales come from repeated clients from different states of India. His father, Mr Kunj Bihari, was also a national awardee in 2005. He got the national award for being the first artisan to do hand block printing using the brass blocks and printed very intricate designs, which were not possible with wooden blocks. Mr Pankaj Sonavala aspires to take his family business to greater heights. 108

Fig. 7 Bagru fabric covered Journals 109

Analysis of the Craft 110

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Contemporary Changes 1 FABRIC 2 There was a time when Bagru printing was done only on cotton fabrics of different weights, handwoven by the local weavers. Nowadays, alongside cotton, many other Natural fabrics are being used as the base material. Different varieties of silk such as Tussar, Erie and Moga, Muslin, Malmal, Kota Doria, Chanderi silk are a few to name. Apart from the pure fabrics, fabrics that are blends of natural fibres are also being used. Synthetic fabrics are never used in Bagru printing. MOTIFS Contemporisation has also affected the motifs of Bagru Print. In the earlier times, inspiration was taken from the surrounding environment; thus, the primary motifs had elements of flora and fauna. A few examples are Patti, bel, Butta-butti,jaal, leaves, sun, moon, and animal figures. In the present times, motifs have become more geometrical, abstract and also include human figures. 3 RETAIL & MARKETING CHANNELS The new technology and means of communication have revolutionized the marketing channels through which printers can sell their products. Online retailing through websites and e-catalogues is one medium that allows artisans to sell their goods directly to the end consumer making fair profits. In ancient times the end products were bartered in monthly or quarterly haats; bazaars were Mela which limited the scope of artisans to expand their reach. 4 END PRODUCTS Presently Bagru print is used for making a wide range of home furnishing items such as curtains, cushion covers, durries, and table runners, alongside clothing items such as dresses, Kurtis, tops and palazzos. Accessories such as tote bags, headbands, Wallets and even notebook covers are now made with Bagru printed fabrics. 113

DYES & COLOURS The signature colours of the Bagru print were Red and Black, which were made using only natural elements. The present market demands for vibrant and colourful prints have forced the printers to use synthetic pigments in the printing pastes. Thus the technique is no longer 100 percent natural. Traditionally, Bagru was a natural form of hand block printing where madder, geru, Kesula flower, limestone, harda, Jaggery and horseshoe nail were used to make printing pigments. Nowadays, printers use synthetic alizarin, and iron nails replace the original raw materials that have become scarce or Fig 7.1 Use of Synthetic dyes Source: Google exhausted. Natural Indigo cakes used by the dyers PROCESS (Rangrez) to retain the blue colour on the The process of scouring (Hari Sarana) fabric have been replaced by synthetic has also undergone a significant change. Indigo. Dyers now use German Indigo Traditionally printers used to make a cakes, or Indigo leaves powder which is solution of Cow dung, caustic soda and not 100 percent natural. The cultivation sesame oil in which grey fabric was kept of the Indigo plant is a labour-intensive for two days and then washed thoroughly process that ultimately adds up to the to get rid of impurities and dirt. Since this cost. This makes natural Indigo dyed method was labour intensive and time- products expensive as compared to the consuming, printers now use the industrial others. soap solution ‘ Tercoid oil’, which is 114

Fig 7.2 Bagru fabric Source: Google Fig 7.3 Cheaper Dye Source: Google STRENGTHS WEAKNESSES 1. Eco-friendly and sustainable craft practises- 1. Increasing competition posed by involves using natural dyes (plant and vegetable- machine-made screen printed fabrics. based). 2. Stiff competition from synthetic pigment 2. Skilled and experienced craftsmen dyes fabrics that are much more 3. Availability of raw material in the immediate and colourful and vibrant than Bagru printed fabrics. neighbouring surroundings. 4. Easy availability of labourers to carry out manual 3. Lack of information about government schemes and programmes such as operations such as washing, drying, kneading the artisan cards, weavers cards and loan paste. facilities. 5. Adaptation to the changing environment. 6. Well-developed infrastructure to carry out 4. Lack of entrepreneurial skills to washing, printing and dyeing processes. expand the business into domestic and 7. Strong coordination between different international markets. communities which are interdependent upon each other for the success of craft. 5. Limited clientele of exporters. 6. Lack of finances and capital to invest in design exploration, up-gradation and experimentation. 7. Lack of organisational skills, unaware of the benefits of cluster associations. 8. Lack of knowledge about the needs of the modern consumer market and design development. 9. Dependency on obsolete and traditional technology, where interventions are needed. 10. Unable to understand the new developments in technology, difficulty in shifting to online platforms. 115

Fig 7.4 Bagru Products Source: Google Fig 7.5 Screen Printing Source: Google OPPORTUNITIES THREATS 1. The younger generation of artisans can be trained 1. Alternate techniques of printing like screen as entrepreneurs. printing have captured the modern consumer market. Such techniques are preferred because 2. Understanding the developments in technology they are less time consuming and cheaper. like the internet, phones, smartphones, and e-commerce. Making use of the same to expand 2. The younger generation is not interested in taking digital reach and business. this craft practice forward because the profits/ income that a craftsman makes is not worth the 3. Linking with global brands and exports whose time and energy they invest in the craft. primary focus is on sustainability. 3. Contemporisation and continuous experimentation 4. Exposure to high-end markets in metro cities in terms of motifs and designs and the final where there is demand and appreciation for eco- product might disrupt the true essence of craft. friendly craft practises. The craftsmen might become slaves to designer brands and labels, merely fulfilling the demands of the modern consumer market. 4. Government restrictions and bans on certain commodities have forced the artisans to shift to synthetic substitutes. Thus the craft is losing its USP. Critical Analysis 116

117 Fig 7.6 Anookhi Museum Source: Google

Marketing & Retail Today, Bagru textile holds a exhibition/haul sale. These brands household name to itself globally. channel the product into retail With its GeographicalIndication, most of the time, and the artisans Bagru has become a hub for hand act as a wholesaler. block printing. Traditional Block Some artisans set up their channels printing has flourished over the to eliminate middlemen. past three decades with increasing Some of the Brands and labels demand in both that deal with the marketing of the domestic and international traditional Bagru are: market, due to which the economic Anokhi, FabIndia, Aavran, iTokri, status of Chippas is now quite Rajasthali(An initiative of the secure than it was once. Primarily Rajasthan self-employed, each house in Government), Jaypore, Good Earth, the Bagru village practices the Block Shop, and Dastkar(NGO). craft of hand block printing. The These companies help the artisans market, however, faces the threat to expand their product range of cheap screen printing units that and print to get the market. Their can mimic the designs and motifs. goal is to create contemporary Synthetic dyes give better vibrant aesthetics to meet today’s market: colours and are cheap, which silhouettes like Saree, a wrap- eventually drops the around skirt, crop top, Kurti, jacket market for authentic products. All with modernised prints. these factors have impacted the artisans, and thus there are Brands The modern woke consumer and NGOs that have come up to understands global warming, fast sustain the craft. fashion and sustainability, so the brands also bring in that craft Major marketing for the craft to promote eco-friendly Bagru happens through these brands made from natural dyes and its along with the traditional consumption. 118

Anokhi by providing exports for companies like Anokhi was founded in the 1970s by Faith Blue Bear(Japan), Modus-Vivendi(Italy), Singh and her husband, John. The main Artisans of Fashion(Australia). objective for Anokhi was to promote and revive the Rajasthani craft of hand block Fabindia printing and the use of natural dyes. Fabindia, launched in 1960, started as a Anokhi has its Museum in Jaipur, where company exporting home furnishings. It they exhibit the rich hand-printed had established itself as a garment brand According to ‘The New York Times, textile for handwoven and hand-printed fabric is the only Museum in India dedicated to by the 1980s, and early 2000 also entered Hand block printing. The Museum was itself into the non-textile range. Fabindia awarded the UNESCO HeritageAward sources its products from villages, helping for Cultural Conservation in 2000 for its to provide for the craftspeople and restoration work. sustain Indian craft. Fabindia has been Anokhi believes their goal is to create involved with traditional block printing beautiful products by blending clusters since the 1980s, promoting the contemporary sensibilities with traditions craft. Moreover, today, Fabindia operates of excellence while committing ourselves from 327 stores across India and Fourteen to provide sustained and rewarding work international stores, bringing the craft to to our craftspersons. a vast consumer market. Now they have evolved and deal with embroidery and applique work, but the core remains Block printing. Aavaran: Echoes of Rural India Aavaran is a label that was started with reviving and sustaining the traditional craft of Dabu, hand block printing from Rajasthan. Aavaran has its flagship store in Jaipur and Udaipur and also sells through exhibitions throughout the country. As a private label, it sells under the brands like FabIndia, Godrej, RUH, etc. It also retails apparel through designer wear stores like Ogaan; and handcrafted products through brands like Good Earth. Avaran put up exhibits in exhibitions set up by Dastkar, Dastkar Hatt Samiti, Delhi Craft council etc. It also reaches the international market 119

Impact of Pandemic Source: Self Illustrated 120 COVID-19 has affected every walk of life. Artisans say that since their consumers, especially working-class women, are not going out shopping and working from home, the demand for handmade clothes overall low. Production unit workers know that the Karigars working under them need to be fed, and hence they have kept a slow production of the minimal numbers from big companies. One of these companies is Fabindia. It saw the repercussions that the pandemic will bring to the market and affect the craftspeople. So it has worked with its field officers to ensure staggered payments continue to be released for the clusters to facilitate production though very low but trying to make ends meet and sustain livelihood. With the vaccine and markets opening up, Artisans are hopeful that the market will catch up soon, and it will once again see the bloom. Fig 7.7 COVID 19

Govt. Schemes & Non-Profit Organi sati ons The government provides developing clusters of artisans institutional support to Block into self-sufficient community printing clusters in t and enterprises through the Self Help Sanganer under the Handicraft Groups(SHGs). The government Division. The All-India Handicrafts also curates opportunities for Board, functional artisans to sell their products under the Ministry of Textiles, through cottage emporiums and promotes handloom and fairs. handicraft products. The Hand Block printers are OTHER NON-GOVERNMENT provided with sufficient input and ORGANIZATIONS ASSOCIATE infrastructural support, training WITH BAGRU and social security. The Ambedkar PRINTING CLUSTERS. Hastshilpi Vikas Yojana, which has been operational since 2001, United Nations Industrial aims to cure the disorganized Development Organization nature of the industry by (UNIDO) 121

Runs a Cluster Development clientele, the printers developed Program (CDP) to empower and insight into the current consumer strengthen small and medium market and developed linkages Handblock Printing clusters with private labels. It was one of Rajasthan to help them successful event. restructure and modernize, meeting the demands of the The All India Artisans and modern consumer market.UNIDO Craftworkers Welfare Association worked with 23 printers of Bagru (AIACA), based in and the other 15 of Sanganer Jaipur, also researches the block and helped them identify printing industry to assist small their weakness. Poor market and medium-sized linkage, insufficient knowledge enterprises in the block. about existing marketing AIACA in 2014-15 undertook activities, the limited clientele two years-long initiatives to of exporters, lack of working identify underperforming capital, inadequate infrastructural clusters in Rajasthan (including support (pollution-related issues), Bgru printers) and maintained obsolete technology and lack their database. Later on, these of organizational skills were the were mobilized into formal critical problems identified. structures such as cooperatives An attempt was made to and SMEs. Focuses shifted to overcome these obstacles capacity building and providing by organizing a pilot activity financial literacy. The beneficiary called ‘Market Training’.This artisans were also taught about activity aimed to familiarise the artisan cards, weaver cards, bank printers with modern marketing accounts, and handloom marks. tools, exposure to boutiques in Delhi and Jaipur, interact with exporters and establish linkages by registering with various national organizations. Furthermore, a fair was organized at Jawahar Kala Kendra, Jaipur. This fair was organised by Calico and supported by NABARD. These printers were charged a nominal participation fee and gave comprehensive feedback about their designs, colour combinations and products. The target being the high-end 122

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Expert Lecture Debiprasad Chhualsingh Mr Debiprasad Chhualsigh is an alumnus of NIFT, Fig 8.1 Debiprasad New Delhi. Currently, he is a senior designer at Taneira, Titan Group Company. He has worked with various designers like Raghavendra Rathore and Sabyasachi Mukherjee. He showed his collections to us and talked about silhouette and motif development. He also focused on retaining the originality of the craft while trying to create something new from it. He gave us insights into the lives of artisans by sharing his experiences of working with them. Bijan Bihari Paul - Fig 8.2 B B Paul Mr BB Paul is an alumnus of the Indian Institute 125 of Handloom Technology, Varanasi and Project Planning and Infrastructure Management, Rajasthan University. Before joining the Weavers’ service centre as a designer, he taught in the Indian Institute of Handloom Technology for three years. He was the Zonal Director for 40 years and retired in 2015. He then served as a consultant in the office of Development Commissioner of Handlooms, Ministry of Textile, for a span of three years. He is currently associated as a consultant with Taneira, Titan Group Company. In our interaction, he discussed bagru and dabu hand block techniques in detail. He talked about the processes and raw materials in detail, and also focused on making us aware of the local terms used for the materials and processes. He also talked about the hardships and the problems faced by the artisans so that we could have an in-depth knowledge of how they, regardless of everything, make ends meet and keep the craft thriving.

Banhi Jha - Fig 8.3 Banhi Jha Dr Banhi Jha is a senior professor and former Dean-Academics NIFT, New Delhi. She is an educator, design consultant and has published numerous books, chapters, newspaper articles, journals, authored and edited textbooks on fashion for educational institutions. She is a staunch advocate for sustainability. In her session, she gave us an insight into Kala cotton and how it is one of the most sustainable varieties of cotton in today’s time. She talked about the aspect of Kala Cotton being environmentally conscious and how it could be used to promote eco-friendly practices. She also talked about the synergy of Handloom and Fashion in India and further introduced us to the KHAMIR Initiative. She has done extensive research on Kala cotton and has personally visited Kutch to learn more about the fabric. Fig 8.4 Raviveer Raviveer Chowdhry - Mr Raviveer Chowdry is the assistant director of the Handicraft Development Commissioner, Government of India and is posted in Bhuj, Kutch in Gujarat. In his session, he taught us about finding inspiration from the flora and fauna around us. He stated the influence and effect of the west on the handloom sector. He emphasized on understanding the legacy of the craft when finding solutions for the craft sector, raising his concern regarding the limited craft education in the country. He not only focused on the craft but also on the people behind it and how necessary a role they have in the whole design fraternity. He advised us to not restrict ourselves since a restricted person gets saturated and a saturated mind doesn’t produce new designs. 126

Monika Gupta - Prof. Monika Gupta is the head of the Department of Fashion Design of NIFT, New Delhi. In her session, she introduced us to various embroideries of Gujarat. She did an extensive research presentation which was all about the embroideries of Kutch and how one was clearly different from the other. She also discussed their motifs, similarities and differences to help us to differentiate among them. Fig 8.5 Monika Fig 8.6 Somesh Somesh Singh - 127 Mr Somesh Singh is an alumnus of NIFT, New Delhi. He is the former head of Apparel and Textile, NID, Ahmedabad (1999-2006). He was also the director of the Institute of Apparel Management under the aegis of APEC. He is the founder of the Craft Village. Craft Village connects craftsmen from across the world to patrons. In his session, he spoke about how he developed an interest and subsequently a passion for the craft sector. He also talked about how craftsmen are portrayed as being needy and helpless by the mainstream media instead of focusing on the magnificence of their skills.

Anandita Gope- Fig 8.7 Anandita Ms Anandita Gope is an alumna of the National Institute of Fashion Technology, Kolkata. She has also served as a faculty at NIFT, New Delhi from 2006-2010. Ms Anandita Gope was the former design head of Fabindia. She is currently the design head at Taneira. She shared her in-depth knowledge about handloom and her experiences working in this sector. She also talked about how affluent households perceive handloom and its pricing & authenticity. Aparna Patel - Ms Aparna Patel is an engineer by profession but pursued her career as an artist. She is the owner and creator of Arishi Studio. She passionately talked about the various embroideries of Kutch, the Bhujodi weave and Kala cotton. She showed us the handicrafts that she has collected over the years and talked about how her passion made her study and research crafts which sparked our curiosity to learn and understand the craft even more. Fig 8.8 Aparna 128

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Questionnaire Annexure National Institute of Fashion Technology, New Delhi Craft Development Initiative General Information 1. Artisan’s name- 2. Contact number-w 3. Artisans address- 4. Artisan’s age- 5. Artisan’s sex Ѓ Male Ѓ Female 6. Education level of artisan  Ѓ  Illiterate  Ѓ  Primary   Ѓ Secondary  Ѓ  College 7. Languages known A.Comprehend- B.Read- C.Write- 8. Size of the family unit A.Male- B.Female- C.Children(below 13yrs)- 9. What craft are you associated with? 10. For how many years the craft has been practiced in the family?  Ѓ  0-5yrs   Ѓ 5-10yrs   Ѓ 10-25yrs  Ѓ  25-50yrs   Ѓ Beyond 50yrs 11. Family members participating in craft A.Male- B.Female- 131

12. Average number of hours devoted to the craft per week? A.Male- B.Female- 13. Number of months for which artisans are involved in craft per week? Ѓ 3-6 months Ѓ 6-9 months Ѓ Throughout the year 14. Are you engaged in any other activity apart from the handicrafts? Ѓ Yes Ѓ No If yes, specify the occupation- 15. Any month/months in the year that is high in demand for craft? 16. Has there been any change in the location or the area of the craft. If yes, specify original - 17. Are you a member of any of the following organizations? Ѓ SHGs Ѓ Cooperative Ѓ Society Ѓ Any other Ѓ none 18. Are you planning to train your children in your traditional craft practices? Ѓ Yes Ѓ No Give reason for your choice- Income Related Questions 19. Current monthly income of the artisans? Ѓ Rs. 2500-5000 Ѓ Rs. 5000-7500 Ѓ Rs. 7500-10,000 Ѓ More than Rs. 10,000 Ѓ Other source- 20. Do you have any saving account in the - Ѓ Bank Ѓ Postoffice Ѓ Any other Ѓ none Assets 21. Dwelling Own house Ѓ 132

Ѓ Rented house 22. Type of house Ѓ Kachha Ѓ Pakka Ѓ Semi-pakka 23. If own house, did you Ѓ Purchase Ѓ Constructed Ѓ Inherited 24. If you rented a house, what is the monthly rent? 25. In the last two years, have you purchased/changed or added any of the following Ѓ Land Ѓ Cattle Ѓ Two-wheeler Ѓ Four-wheeler Ѓ Electronics(tv, radio, grinder, music system, etc) Ѓ Mobile Ѓ Gas connection Ѓ Computer Ѓ Any other item Ѓ none Medical facility 26. Are there any occupational health hazards/diseases linked with your craft practice? Ѓ Yes Ѓ No If yes, please specify - 27. Do you have a health/life insurance policy? Ѓ Yes Ѓ no Design & Technology 28. Are you working on- Ѓ Traditional design Ѓ Latest design Ѓ Market demand design 29. Who gives the design? Ѓ Own 133

Ѓ Trader/agent Ѓ Old patterns Ѓ Designers 30. Has there any adoption of new techniques in development of craft because of any change in location? If yes, specify - 31. Have you ever developed any new products in the last two years? Ѓ Yes Ѓ No 32. Have you ever explored new raw materials other than traditional? Ѓ Yes Ѓ No If yes, specify reason - Ѓ Better pricing Ѓ Non availability Ѓ Creative persuasion Ѓ Market demand Ѓ Any other 33. If yes, are the new products more profitable than the old products? Ѓ Yes Ѓ No 34. Identify the skill level of the artisans (as per the artisans perception), with respect to the handicraft only? Ѓ Unskilled Ѓ Semi-skilled Ѓ Skilled Ѓ Master craftsmen 35. Are you self-employed? Ѓ Yes Ѓ No If no, specify place - 36. Which one of these would you like to strengthen for your growth Training 37. Have you received any training recently for upgrading your skills? Ѓ Yes Ѓ No If yes, specify the kind - 38. Are these kinds of training good for your work opportunities? Ѓ Yes 134

Ѓ No 39. Do you need further training? Ѓ Yes Ѓ No 40. In which of the following areas would you want to be trained? Ѓ Skill development Ѓ Capacity building Ѓ Design innovation Ѓ Better quality Ѓ Marketing Ѓ Any other - 41. Do you know how to use a computer? Ѓ Yes Ѓ No 42. Do you use the internet? Ѓ Yes Ѓ No If yes, what do you use it for - Ѓ Personal Ѓ Business purpose Ѓ Both 43. Have you ever benefited in any way by the use of the internet? Ѓ Yes Ѓ No If yes, specify - Pricing 44. Who or what decides the pricing of your products? Ѓ Self Ѓ Trader/ agent Ѓ Raw materials Ѓ Local market demand Ѓ Labor cost Ѓ Any other: 45. Are you satisfied with the present system of pricing? Ѓ Yes Ѓ No If no, then give suggestions : 46. Where do you procure raw materials from? Ѓ Local market 135