The Report - arghyaghosh.comarghyaghosh.com/report/FinalMajorProjectreportArgh... · The following report aims to understand the actual change these projects bring to the livelihood

The Report

Final Major Project

Module Tutor: Wendy Mayfield

MA Creative Enterprise2010-2011

Leeds Metropolitan University

Arghya GhoshThe members of Shilp Sangh (Artisan cluster at Madhubani) on their way home after a day’s work

Livelihood Projects in the Artisan sectors in Indian subcontinent as a contribution to the development of self sustaining village enterprise

Contents

The Introduction...1

The aims and Overview...2

Can India meet Millennium Developmental Goal...3

Existing service institutions...4

Traditional notion of grant or charity in India...5

Poverty in the International Scenario...6

The notion of sustainable livelihood in the hand skill sectors...7

Jiyo!...8

Cluster Development and Institution building...9

Institution building at Madhubani...12

Capacity building and Skill Enhancement Training...13

Marketing trade facilitation and support service...17

Ownership and the protection of skill specific intellectual property rights (IPR)...21

Addressing the Fair Trade and allied practices in the village enterprise...25

Insurance...30

Craft cluster based responsible tourism, Residencies and Volunteer ship...31

Conclusion...33

A wall of a painters hut at Madhubani

Introduction

India’s social structures are representative of contrasts. Based on the purchasing power of her ever increasing middle class, new industrial towns and continued expansion of her investment opportunities India currently stands as the world’s fourth largest economy in the world. India’s Gross Domestic Product (GDP) was predicted to increase by 8.5 % in 2010–11 and it is still rising to an impressive point (The Future of DFID’s programme in India, 2011). As per the survey of One World Action India’s economic growth has been remarkable and in the past 25 years it has seen one of the greatest spurts of GDP per capita in modern history. The growth rate of its economy has gone up from 7.3 percent between 2001 and 2010 to the predicted increase of 8.5 % in 2010–11(Project

Appraisal Document, National Rural Livelihood Project, June 2011).This economic growth has left its effect on poverty as well and the per capita income which is currently rated as $1,170 and as per the World Banks categorisation India secures a place just inside the Middle Income Country category. Impressively, the percentage of people who live below the International poverty line of $1.25 per day has declined from 60% in 1981 to 42% in 2005. Health conditions have improved for instance, under-five mortality rates have fallen from 74 per 1000 in 2005–06 to 62.6 in 2010. Maternal mortality rates which were estimated at 230 per 100,000 births in 2008 have come down from 570 in 1990(The

Future of DFID’s programme in India, 2011). India’s vast hand skill based creative industries sector is no exception to this economic growth as the revenue from export of handicrafts has increased multi fold and the buying power of the domestic middle class is at a record high. The Government of India has created a number of ‘centrally sponsored schemes’ to finance development of an infrastructure to support the craft industry including marketing, networking linkages, training programmes, design developments, credit flow and institution building. In addition to Government schemes, India is a fertile ground for many international and national development agencies that are supporting enormous livelihood projects across the country to help empower the artisan communities who are skilled but economically marginalised. These projects have been implemented with Government support, assistance from the civil societies and have helped to bring many innovations that are bench marks in the sector of rural livelihood.

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A mud hut at the Village Ranti. Most of the members of Shilp Sangh come from this village.

The following report aims to understand the actual change these projects bring to the livelihood and the level of acceptance of various benefits that are principally designed to empower the artisan communities. As part of the final project, this report attempts to open a dialogue that addresses some key issues that requires attention in a livelihood project that are designed for the artisan sector. It explores the experiences of involvement with the grass root level communities and develops a primary data based debate on the issues of project planning and tries to achieve a reflective account of experiences based on research. It narrates the real life experiences to gain feedback from the beneficiaries to evaluate and suggest a set of possibilities that might be of consideration in the future during project planning.

The Aims and Overview

In spite of a high GDP growth rate over the past decade over 250 million rural people (45 million households) remain locked in poverty, living on less than US$1 per day. While the number of rural people living on less than $2 a day decreased by 29 million between 1981 and 2005, the number of rural people in India living on less than US$1.25 a day grew by 35 million in the same period. The key challenge India is facing today is to ensure that its economic growth is inclusive and leads to significant rural poverty reduction (Project Appraisal Document, National Rural Livelihood Project, June 2011).

Poverty in India

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Artisan member of Shilp Sangh are having a chit chat during their lunch break.

It is an ongoing debate and economists are worried whether there are possibilities that India will meet the Millennium Development Goals by 2015 (in 2000, 189 nations made a promise to free people from extreme poverty and multiple deprivations. This pledge became the eight Millennium Development Goals to

be achieved by 2015) as many Indians remain poor. India has one third of all the people in the world living below the international poverty line which is more than all of sub-Saharan Africa. The Oxford University and United Nations Development Programme (UNDP) new Multidimensional Poverty Index—which uses ten indicators reveals that 55% of the population, approximately 643 million people, suffer multiple deprivations. According to a National Campaign on Human Rights, in spite of a high economic growth rate the poverty rate in India has increased, coupled with the insecurity of livelihoods (DFID 2011). Various government reports admit the increasing inequality and vulnerability of about 30%of the population in India amongst which artisan communities represent a large proportion. Amongst the artisan communities more disadvantaged and poorer than others are the Scheduled Tribes (Adivasis), Scheduled Castes (Dalits), some religious minorities such as Muslims women, and people with disabilities. The rate of poverty decline is also slower in the tribal areas than that in the rest of India’s population.

Can India Meet Millennium Developmental Goal?

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Existing service Institutions

Hand Painted wall paper tile from Shilp Sangh, theme: The World of Other People

One of the important aspects of poverty is that the communities face a lack of access to the institutions that are supposed to deliver services for livelihoods and development. A range of Government and non-government institutions formally and informally play vital roles in rural service delivery. Formal institutions provide basic services such as health, education and the Public Distribution System while informal ones include traditional, social, recreational and political associations that perform various economic and non-economic functions. Some of the key constraints the poor face in India are accessing these services as a result of poor physical access, lack of affordability, lack of education, limited awareness and social distance including discriminatory attitudes among service providers. Many institutions that are intended to serve the poor often exclude them and low quality of services, corruption, make the ‘idea’ of using these services disempowering and humiliating for the rural poor(Project information document, NRLM, 2011). The lack of proper services gives birth to alternative institutions such as self-help groups, producer organizations and federations which flourish as the direct outcome of various grant/aid based development efforts. Many such Development efforts have been partially successful in terms of benefiting the poor; however the gains from these programs have been modest. This might possibly be due to the greater ‘voice’ failure of targeting systems, lack of support mechanisms among the poorer people, lack of risk taking ability, and so on(State of India’s Livelihood, 2008).

It is evident that the livelihood projects are an important factor for the development of rural poor in India. These report discuses various components of one of such projects along with its practical implementation in the field and its scope of future development on the basis of its artisan member’s acceptance level of its inputs and their suggestions.

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“Yajna-dana-tapah-karma natyajyamkaryameva tat yajnodanam tapas caivapavananimanisinam”

Traditional notion of Charity in India

Oil Lamp from a local shrine at Madhubani

While discussing the grant based projects, it is important to understand the history of charity in the Indian Society. “The Indian notion of charity has its roots in religious beliefs as in the case of European and American system of charity, but the practice of charity or “Dana” has developed along in slightly different lines. While the European notion of charity is based on love of fellow men, and the change from an undesirable state to a better state of being, the Indian notion allows an inward exploration”(Sic) (Fund Rising for NGOs in India, Intervention India, 2003). According to the sacred text from Gita, it is said...

The translation of the above verse is described as “the Acts of offering, charity and penance are not to be given up: they must be performed. Indeed, sacrifice, charity and penance purify even the great souls”. - Bhagavad Gita [XVIII-5]. Since the act of charity or grant existed in India, it is crucial to understand the reason for such act and how the concept of charity has evolved in the contemporary society. The sources of many livelihood projects are generated from various International Charity organisations and it has helped to reintroduce the concept of result oriented grants.

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Poverty in the international scenario

A nomadic Godhna painter from a neighbouring nomad camp

Poverty has most commonly been assessed against the income or consumption criteria and in this interpretation, an individual is poverty ridden if his/her income level is below the defined poverty line, or if the consumption level falls below a stipulated minimum. However, when the poor themselves are asked about what poverty means to them, income becomes only one of a range of aspects which they believe is equally important. These other aspects are a sense of insecurity, vulnerability, lack of a sense of voice, literacy, education, and access to assets, many of which are influenced by the scope and quality of service delivery. More recently, poverty has been defined in terms of the absence of basic capabilities to meet these physical needs, but also to achieve goals of participating in the life of the community and influencing decision-taking (DFID 2011). The poverty along with the failure to access the services that are meant to be available for public makes people vulnerable, migrants and unorganised as they leave their communities behind to survive. In the crafts sector, these practices are performed quite often and the livelihood projects are sanctioned and implemented as the direct response to prevent them from such acts.

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The notion of sustainable livelihood in the hand skill sectors

A hand woven jute cluster at the state of Karnataka

While there can be many definitions for the term livelihood, the central definition in relation to this report might be considering Livelihoods as “a set of activities a household engages in on a regular basis in order to generate adequate cash and non-cash income to maintain a minimum desired standard of living, both on a day-to-day basis and over a longer period of time.” Usually, most livelihood activities are carried out repetitively, such as pottery, black smithy, weaving, embroidery, masonry, or being a street performer. By doing this they create a distinctive pattern of work and an identity for those households who engage in these activities. A livelihood is “adequate” when the income and quality of life it supports meet widely accepted standards – such as the $2-a-day international poverty line. In contrast, an offered option of livelihood might sometimes generate adequate income, however may not be desirable or dignified in comparison to the individuals ancestral profession, such as being a sex worker or a beggar. Similarly, a livelihood possibility might generate income and even be reasonably dignified, but may not offer adequate opportunities to participate in the wider social, cultural or political aspects of the community one lives in. In other scenarios, it may be adequate, dignified and offer opportunities to participate in social, cultural or political life, but might not be sustainable (Dutta, Sharma, 2008). This leads us to understand the aspects of a livelihood that are sustainable, dignified, generates minimum standardised income that are acceptable internationally and offers ample opportunities to participate in the social, cultural and political aspects over a longer period of time.

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Jiyo! India’s First Cultural Industries brand owned by Skilled Communities

These concept were integral to the aims of the sustainable livelihood project, Jiyo, which was a pilot implemented by the Asian Heritage Foundation in the Indian states of Bihar and Andhra Pradesh. This project was monitored by the World Bank and was funded by Japan Social Development Fund.

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Cluster Development and Institution Building

Painted wall and a crocheted door hanging at a painters house in Madhubani

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An introductory meeting on cluster development with the artisans of Madhubani

In India, the aspect of cluster development and the institution building is one of the key components of livelihood projects that are based on the artisan sectors. These industries are largely unorganised and the historical concept of artisan communities, guilds or villages are not recognised in today’s industrialised societies. There are numerous newly developed towns where no institution recognises these communities and in a scenario of such kind whose economy is based on surrounding factories, unfortunately there are no spaces for these artisans as well. This situation delivers an exodus of migrant artisans in these towns and bigger cities for alternative work which can be termed as de skilling of the skilled. While addressing this issue as part of any livelihood project, it becomes important to bring these skilled members under one umbrella where they find commonality of interests. The spirit of team enables them to take over responsibilities that are supposedly being beneficial for the group. When a new project is introduced, and as part of it , the idea of bringing these people together to form a group can be a challenging task as these people might already be part of some existing group or do not mind working individually. In many cases the field coordinator visits a particular village or a cluster to identify a skill and the skilled and informs them about the benefits if they become part of a particular project. While doing so the coordinator or the field representative also offers several other compensations that are supposed to be attractive to the villagers. It is important that the identification of the members, who are interested in participating, is performed by somebody who is well acquainted with the area and the people. After this basic identification, the main task becomes to explain the project’s various offerings such as training programmes. In many cases, the artisan members of a new group come to attend such training programmes mainly because of the component of daily wage compensation. It becomes quite evident that many amongst these members does not earn the minimum wage every day from their professional practice and thus the idea of attending a workshop or a training that is running in the villages which promises a wage for a certain period of time is certainly an attractive idea. In this circumstance, the debate arises, whether the idea of offering financial compensation is justifiable or can there be a series of alternatives to it that would make these programmes equally attractive.

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Artisans of Shilp Sangh are painting a centre table that coordinates with a set of wall paper


The field experience from Jiyo’s implementation portraits that in many cases the number of drop outs from these programmes becomes as issue and by the end of such training programmes, sometime the actual inputs remains as a secondary gain and the wage earned from it becomes the main benefit. The question is what are those alternatives that attract the artisans to take part in such training programmes? It is seen that the villagers in the rural areas visit few places quite frequently such as health care centres, cooperative office, weekly haat or market, educational institutions, maternity homes, religious shrines, coach and railway stations, post offices and rural banks. Would it be a feasible idea to approach these institutions to preach on behalf of the project team about a new project that is going to be introduced in a particular area? This promotion can be done in various ways such as keeping a basket in frequently visited counters which might contain innovative promotional materials. These promotional materials can be of some kind that will attract the attention and might not necessarily be a reading material. It can also be an innovative form of an invitation to the villagers to visit a village square or a performance that are carefully designed to convey a message about the upcoming project in their village and its benefits. The promotional medium might provide a detailed visual account of the opportunities that can be generated from the traditional skills by forming a group or a collective. Along with the convenient wage compensation, other promotional kit to preach the gains of coming together to take charge of their own skill can be of a kind that does not portray only the immediate monitory gain but showcase the benefits and the respect in livelihood in the longer run.

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An informal group photograph at Shilp Sangh’s Workshop

Institution Building at Madhubani

Evidence can be collected from the experience of a livelihood project in the village of Madhubani (State of Bihar,

India) where a significant amount of people showed interest to be part of the training group. The primary reason for the interest was to receive an assured sum for being part of the programme for a certain period. The usual practice is to offer a set amount of money that is a standard rate decided by the government. The moment they were informed, that the programme pays wage compensations which is not pre decided but varies depending on the performance, a couple of artisan member protested. The number of drop outs after the first training programme were quite high too as the participants were clearly not interested in the outcome of the programme. This shows the prime reason for participation in a group is necessarily for a quick monitory gain and the sense of competition or the idea of better performance is non-existent. This attitude in a livelihood project can be avoided if some alteration in the ground work to put together a group is taken up before any training programmes.

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Capacity Building and Skill Enhancement Training

A painted inner facade at a painter’s house , Madhubani

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Sudha, An artisan member at Shilp Sangh is working on a piece of painted furniture

Immediately after the informal group of interested artisans have been put together, the time comes to provide them with various inputs with training programmes. In a livelihood oriented trainings there can be several types of programmes that are common in India. One of the main practices that are widely common is to provide inputs related to the physical appearance of a product that a particular hand skill produces and the training is given with various interaction sessions with a design consultant. This person, who has been trained in design, conducts one to several workshops which are participated by the group of selected artisans to enables them to understand the innovative use of their traditional skills. These workshops results in a set of merchandise or services that are to be positioned in the contemporary market. There are various case studies that records experiences of such kind of interventions. Along with many such successful workshops that have resulted in a range of marketable prototypes, a major proportion of such activities remains in the villages and never reach the market. Toehold’s intervention with the footwear makers of Athani were an example of a successful collaboration of contemporary design and preservation of ethnic essence. However there could be several reasons behind the unsuccessful interventions. A design intervention where a traditional skill and its practitioners are involved, the decisions to conceive a product that uses the former can be challenging. Experts like Rajeev Sethi’s critique for such kind of interventions have been “the artisan teaches much more than he benefits himself from these workshops”. In many cases the designer who usually comes from an urban background, relates little to the rural work atmosphere and commands his decisions on the artisans. In a hand skill based artisan sector, each artisan is believed to have their own imagination and that reflects in his work, however semi-skilled the artisan might be. It is also that, this unique signature of a personal style always makes a hand crafted object unique and each piece different from the other. The appropriate synthesis of traditional skills and the modern consumer market is a unique collaboration and provides ample scope of innovations. In the villages at times a tiny artisan workshop can be a platform of such collaborations where the skilled celebrates his contribution to a new product. Bringing a sense of belonging in such process becomes an important task for the design consultant before he suggests any new developments.

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A paper lamp painted in Mithila style at Madhubani

Decorative Paper Mache hangings

The concept of ownership in a new group of artisans who has received inputs in product development is an important task and needs attention in livelihood projects in the artisan sector. In the absence of this any inputs to improve skills necessarily becomes a routine exercise that only contributes to the completion of the project and not to work towards making a self-sustaining community. In a routine workshop like this where the artisans work on concepts that are alien to them, the participants only find it worth attending because of the wage compensation they receive for their time. Here the question is how these training programmes can be made more participatory where the members consider it as not just a wage earner but an opportunity to be part of a promising enterprise of the future. An important link to notice between the previous component of institution building and the present component of training is the aspect of building the sense of ownership that makes it a key feature of a livelihood project. The issue of participation in an artisanal work is important and it happens when they find joy in the work. A comparatively new concept proposed by a design consultant need to have an element of relevance too that brings the artisans closer to an intervention. In this regard, a thorough understanding of the skills, the possible refinements, local infrastructure that helps to introduce new technique for additional value addition and the existing interventions needs intensive mapping. Alongside, there might be a need of several interactive sessions where the artisan themselves participate with their own idea of a new look in their products, the reason for it and their idea of marketing them. Their ideas can then be discussed in form of a debate with the ideas of the designer and that might generate new collaborative possibilities which can be termed as participatory design. Here both the parties are in a position to contribute as the designer’s experience add on the demands of an urban market, innovative ways of preserving the traditional essence and the artisans hand showcases the expertise in his technique to fit in to that market. The alienation or lack of participation from the skilled in this process will result in an unsustainable intervention.

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An interactive session with the painters before making of the Wall Paper, based on the theme of Tiger

The concept of modular wall paper was introduced to the artisans of Madhubani by Rajeev Sethi

For an example of this issue, quoting from an experience of working with the folk painters of Madhubani may be worthwhile. The painters of Madhubani were known for their ritualistic painting on the walls. When a design intervention took place in that village, the idea of wall papers were introduced there. The concept of wall paper was new to the painters but the subject of the painting such as the “tree of life” was a familiar to them. Alongside a new medium that decorates the wall but without painting directly on the wall appealed to the painters and now a group of them from this village runs a successful enterprise that supports their evolved skill of painting. In an another Jiyo cluster nearby, the artisan embroiders and the designer has successfully combined their inputs and have come up with a new language where the artisans feel free to express themselves with their own imagination as an artist in them.

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Marketing, Trade Facilitation and Support Service

Recycled hand embroidered quilt, Locally known as Sujani being displayed by an embroider

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Jiyo Food supports a women’s enterprise at Guntur, Andhra Pradesh. Their stall at a national level exhibition in Delhi.

Quite often, middlemen from Madhubani occupy spaces in Government’s exhibition centres

A traditional craft sector is always based on a market that patronises the skill and its practitioners. This market place can be a nearby bazaar, a neighbouring township, a capital city, an individual family, a community, a foreign country and corporate consumers. Historically the adventure to explore markets taken up by the explorers have contributed to discovering new trade routes (Silk routes), new patrons and new possibility of cross cultural exchange of knowledge. This traditional system of trading has faded down and in a contemporary market the artisanal produce has fought its battle to find a place. Today, several innovations have taken place for the marketing of artisanal produce and a lot of governmental and civil society institutions has come up to support such activities. The growing middle class consumers in the cities are in search for something unique, one of a kind and they are also in search for a story that supports sustainable livelihood. The other contemporary market segments are boutique shops, exhibitions, rural market, tourism based market, retail, bespoke production and export. The diversity of today’s market segments has increased and each of these segments is thriving for more varieties that will surprise their consumers. The time is ripe for the crafts to flourish and therefore the component of the marketing, trade facilitation and support service is an important factor in a livelihood project. This component is generally taken into account after a new artisan society has been formed and they have a several ranges of merchandise to present in the market. In the beginning, the implementing agency of these projects takes charge to help them in various marketing tools such as the pricing, packaging, over heads and promotion to get them started. Most of these projects also train their beneficiaries in skills like basic accounting, sales figure analysis, maintaining bank accounts and production planning. They expect the new group to take charge of these responsibilities by the successful conclusion of the project. Here comes the issue of making of a village enterprise whose principle goal is to be self sustainable. In this context, it is important to understand, how the component of marketing being proposed are and who is representing the sell in the market. What is the role of an artisan in the chain of a product positioning and how does this role becomes an important practice in a village enterprise. Can these artisans present themselves in the market where the curious consumers are looking out for a unique object that is not just beautiful but has a story of sustainable livelihood and preservation? How capable these artisans are when they are narrating their stories to their client to attract their attention? While receiving inputs in various marketing tools, do they also receive any training that provides them to become a marketer?

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Lambani Embroiders were benefitted from Golden Path, A capacity Building project implemented by the Asian Heritage Foundation in collaboration with the European Union and Traidcraft. Their produce was showcased at the Birmingham Trade Fair in 2007.


In various craft based exhibitions in India, it is not uncommon to see a group of artisans selling their produce, negotiating with customers and attracting them by demonstrating their skills. In a situation like this, the artisans often appear more as a vulnerable person who is in need of support than a representative of a successful village enterprise with an array of innovative products. Not only these craft exhibitions, the artisans selling and demonstrating their produce can be experienced in government emporiums and recently in departmental stores. Now the debate is, whether this is the only way of involving the artisan communities in the sell of their produce or should there be a separate component of trainings that teaches the artisans various techniques of sale and representing their enterprise in a public domain.

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Nibha, A painter from Shilp Sangh wants to be trained in the skill of a marketing

The reason for proposing this component was an urge that had come from a village enterprise in Madhubani (State of Bihar, India) where the group were benefitted from a livelihood project. This group consists of around forty members and their principle involvement with this new institution remains only to produce and not taking it ahead. According to Nibhadevi’s (an artisan member of the group) version, “we could never sell our own products the way people do in the cities. When we go to an exhibitions and when our customers ask about why they should be buying our product, we remain quiet” (interview with Nibhadevi during the

cluster visit in June, 2011). This statement of inability from an artisan suggests relooking at the way the livelihood projects are designed. The term “self-sustainability” also needs to be relooked at especially when an artisan speaks of her inability to present herself as a sales representative of her own product. This might lead to have a dialogue with the planners about the way these artisans should be trained in the skill to sell their own product. Should they be trained in speaking in languages like English, which is often spoken by the middle class consumers in the cities? Should the training be focusing on their physical appearance such as clothing? Should they taught to be impersonal yet an active participant in the process of a transaction? Will there be different kinds of training available to suit different marketplaces or will it be a homogeneous learning? How will they be presenting themselves when they wish to position their produce in a high street departmental store or in a boutique? How will they be negotiating with a bulk buyer from a retail chain store and on what basis will they be justifying their price factors? Should the art of selling will necessarily be bringing back the selling techniques that a trader used to adopt in traditional bazaar system? All these possibilities may become part of a new component that will train the artisans to present themselves on a platform where they are not only skilled but an entrepreneur who represents their own enterprise confidently. When a group is formed, the essential quality amongst the members is necessarily the hand skill that brings them together. Along with the sense of ownership to run an enterprise provokes its members to learn an extra skill that contributes to various structural need of an institution. Therefore, as part of the marketing training, an orientation programme can be introduced, where interested members can be given priorities to different segments of skills and one of them can be “marketing and trade facilitation”.

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Ownership and the Protection of Skill specific Intellectual Property Rights (IPR)

The painters of Shilp Sangh have started signing their product. Narmada paints these Paper mache plates and her sign on the back side of it.

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Chanderi, A hand woven Saree cluster from central India is registered with Geographical Identification.

Kanchivaram Saris from the state of Tamilnadu has Geographical Identification

Historically India’s hand skill based creative industries were based on the tradition of imparting the knowledge to the young generations in a residential set up and the system was popularly known as Guru-Sishya parampara (apprenticeship). In this system of teaching, the young mind learned the techniques of a particular craft from the master artisan by staying at his house and by doing this the pupil became the prodigy of that particular skill. In this system of sharing one’s knowledge, the scope of the skill grew to a height and it kept on evolving for the next generation. In an institution like this, the student were mentored and allowed to copy his master’s work so that he can evolve his own skill by combining his master’s style with his own to generate a new possibility. Along with the resident students, in a house hold of a master artisan, the children of the family were always encouraged to start learning from an early age. Today these centres of excellence have lost its importance with the rapid growth of industrialisation. In the craft sector today, the Copying has become an issue in all over the world and it is undertaken frequently to gain quick monitory benefits without acknowledging credit or sharing the profit with the practitioner of an original idea from a traditional knowledge system. It is a wide spread practice to make use of traditional knowledge in contemporary businesses without returning back the due credit to the community or a region where it is originally practiced. There are several instances where a traditional system of knowledge or a range of motif were used by the contemporary service industry without informing enough about its origin as an inspiration to its end user. One of the widely known incidents of such kind was the use of traditional motifs of Australian aborigines by an industrial carpet manufacturing company based in America. This unauthorised use of region specific motifs stirred up controversy and the multinational carpet manufacturer were ordered to pay a collective award by the court to the community who were the original owner of the motifs. In this endeavour some local institutions (the Australian Institute of Aboriginal and Torres Strait Islander Commission) were principle to act strongly to achieve this. By doing this, the legal system of a particular country made sure to preserve the right of the usage of certain knowledge system only by a particular community or its original practitioner (Finger, Schuler, 2004, p: 17). This also helped to maintain the sacredness and the unique characteristic of a particular region specific culture.

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Dye Painted textiles of Srikalahasti is registered with Geographical Identification

Bronze casting of Swamimalai is registered with Geographical Identification

In India, the examples of similar mal practices are not rare. The use of sacred motifs from the tribal scroll paintings (Chaksu Dan Pata) were used on a range fusion lifestyle products recently launched by an Indian steel manufacturing giant. The consumer buys these products with hefty prices and appreciates the design without knowing the relevance or the source of it. In this case, the use of these motifs was never known to the tribal’s who resides in the remote Eastern Indian villages and there are no means or institutions to support their voice if it ever wishes to speak up. The system of geographical identification and the intellectual property rights and the other related laws are practiced in India to safeguard these practices. There are also the patent acts to safeguard an original idea of a particular community or an institution. There are few instances where the Geographical identification (GI) was registered and it acts as a main instrument to preserve a region specific culture or a hand skill. The woven sarees of Kanchivaram (at southern Indian state of Tamilnadu) and Chanderi (at the central Indian state of Madhya Pradesh), the painting of Madhubani are amongst few traditional skills that are protected by the GI in India. Now the question is, how does several village enterprises in a single cluster protect their uniqueness from each other’s and takes necessary steps to protect their own designs from being copied. There are instances of protecting the secret of a skill in various unique ways. For an example, in some craft clusters the daughters of the family are not supposed to be knowing the details of a technique as she will ultimately be married and be part of an another family. In some clusters these artisanal enterprises are reluctant to print their own catalogue and prefer to prevent from having a web presence. Not only that, some of these communities hesitate to go to a national level exhibitions as they feel immediately after the event, their products will be copied by many others. In India, there are examples of successful collaboration between the artisan communities and designers, where the designers help the community by using a particular technique in their collection. These collaborations portray several best practices along with few where the designer’s level becomes more important and not the artisan community who has worked for it. While considering such issues in the artisan clusters of preserving their own identity, it becomes evident that a new enterprise does need to understand the techniques of protecting their uniqueness.

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Madhubani Painting was one of the first artisan clusters to get registered with Geographical Identification. Today the artisan members of Shilp Sangh need to take necessary steps to protect their designs from being copied

In the new group at the Madhubani, who are the beneficiaries of a livelihood project, has raised this issues of safe guarding their designs from being copied. They also understand the importance of public appearances for promotion and business opportunity and that must not be the hindrance for losing their unique selling points. The debate is whether to involve the members in the lengthy process of patenting their work or should there be another way of being unique by believing in continuous innovation? In this context, many institutions believe in the process of doing enough business from an idea before it gets copied. According to Neelam Chebber, an eminent craft retailer in India (founder of Mother Earth), “a new idea or a product must have been that good that it is copied so widely”. This may be one way of looking at it, but the actual issue may probably be handled by initiating innovation in every stage of development. The innovation in terms of the design, the institution building, the management and the promotion will help to develop a signature which would be meant for appreciation and inspiration and not imitation.

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Fair trade and allied practices in the village enterprisesThatched mud hut with local bamboo at the village Ranti, Madhubani

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Fair trade and allied practices in the village enterprises

Sudha, with her painted paper busket

Fair Trade is a movement for tackling poverty through trade and it has been active for over 40 years. Although Fair Trade was born out of politics as much as it was born out of business, the primary goal of it has been to provide market opportunities and develop the market for products from indigenous producers in developing countries. Fair trade has been a catalyst in the development of ethical issues within mainstream trade and business practices, influencing the development of CSR (corporate social responsibility) and approaches such as Social Accounting and the development of the Ethical Trade Initiatives in the developed countries. Fair Trade from its beginning has tried to balance the demands of trading with the developmental objective of improving poor people’s livelihoods, a tension that has been a fine line to tread especially when targeting the more marginalized (Redfern & Snedker, 2002, p:3). The beginning of what is now commonly referred to as Fair Trade can be traced back to a couple of different start points that subsequently have common causes. In Europe Fair Trade came out of the student radicalism of the 1960s and a belief began to develop that business was a bad thing for poor people. While the anti-imperialism movements from earlier in the century had targeted governments and their dependent nations, the multinational corporations became the target. The idea behind the fairness of business can be traced back to the writings of Eduard Douwes Dekker, a Dutch writer who in 1859 published a book called Max Havelaar, which described the injustices of the coffee trade between the Netherlands and Indonesia(Redfern & Snedker, 2002,

p:4). The intellectual background of Fair Trade existed as an alternative to the traditional free market economic model that was developing during the first half of the 20th century. Oswaldo de Rivero described the free market model of trade and development as “International Darwinism”. According to him the writings of Adam Smith on free trade and Charles Darwin on the survival of the fittest have dominated the intellectual thinking of modern capitalism and its evolution. Both developments in general and Fair Trade in particular contend that a “survival of the fittest model” on an international scale is neither moral nor defensible in modern society. Fair Trade tends to lean more towards the model of economics where the price is more closely linked to cost of production and the balance of power is changed to offer fair access to markets. It seeks to create a more equitable balance between the world’s biggest companies and world’s poorest economically active workers (Redfern & Snedker, 2002, p: 4).

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An interior of a painter’s house in the village Ranti with a hand grinder

The UK-based NGO Oxfam was the first European organization to engage in trade that deliberately tried to enhance the opportunity and income of the producers involved. It established a trading subsidiary for this purpose in 1964. This idea began to gain popularity in a number of European countries and while the biggest Dutch alternative trade organisation was being formed in 1967 the first independent Fair Trade shop was opened in 1969 (International Labour Organisation, 2002, p: 5).

The Indian Scenario

Although there are ongoing initiatives to introduce the usage of fair trade standards in theIndian crafts sector, such initiatives currently impact a very small percentage of the total crafts producers in India. These initiatives have been limited to Non-Governmental Organizations (NGOs) and producer groups and have not made any headway amongst private sector producers who account for more than 96% of all Indian crafts produced and sold in both domestic and export markets. Efforts to expand the use of fair trade standards in the production and sale of crafts have not been able to initiate a meaningful dialogue with private businesses or to involve them in the process of setting fair trade certification standards. As a consequence, a majority of private businesses view fair trade certification as something ‘that NGOs do’ and as not relevant to their businesses (Draft Note, AIACA, Fair Trade, India, 2010, p: 1).

The practice of fair trade in a new village enterprise is essential as one of the main reasons for forming such artisan’s collective is to come out from the system of various unfair practices. The practices of exploitation are quite dense in many Indian clusters and these artisans are met with its consequences much before their products reach the market in national or international level. The various levels of exploitation of the artisans can be traced back to centuries and historically the reasons of some of these practices still prevail in certain pockets. One of the main reasons of the unfair practice in the craft sector could be the character of being “unorganised”

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The painting of the wall paper tiles

which always was a hindrance for having a collective voice. The traditional guilds and communities have lost its importance in the post independence era and their relevance of being integrated in a traditional set up does not apply to a contemporary democratic society. Many skills were revived in the last 60 years and many have found places in the shelves of the international market but the signature of an artisanal product is that is “handmade in India” is still struggling for its identity. The artisans who live in the remote villages find it rewarding enough after he has handed over his produce to the local middleman and has received his wage. These middlemen become the contact point between the consumers and the artisans and quite often the artisan community does not keep up with the actual value of his work. In some cases the master craftsmen in a village acts as a middlemen as his exposure levels are higher than that of others members of the community. In the village of Madhubani, there are instances of enrolling local artisans with a government funded project which were awarded to the master crafts men and the hidden criteria of enrolment in such a project was to pay less to the participatory artisans. Some of the middle men proclaim to be a painter himself while interacting with the customers and he makes sure to erase the actual artist’s signature after he has bought it from him. Amongst other unfair practices, Caste hierarchies are another system that restricts the artisans from certain communities to receive their dues.

One of the main reasons for implementing a livelihood project in artisan sector is essentially to address these issues. In a new found institution, one of the basic criteria to come together remains to be integrated to achieve a voice over the existing exploitation. The new artisan’s enterprise at Madhubani has been able to address these issues by coming out of their unfair transactions with the local middlemen. These artisans now have the exposure to interact directly with the customers and that has enabled them to have a fair idea of the demand of their produce and the price it can command. Therefore the artisan members need to be reminded of few minimum standards of Fair trade certification which they must get trained in to practice within the organisation. These parameters are as follows

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Hand Painted garden toys

Painted home Asseccories, Table linen

Wage StandardsOne of the standards is to sign up for a fair wage which is according to the local context and to the artisan who has crafted the product. The guidelines of the “World of Good” can be consulted for a Fair Trade Wage Tool to evolve a standard formula to calculate fair wages (AIACA 2010).

Working ConditionA clear and enforced standard for minimum working conditions of artisans is mandatory, which applies to suppliers and sub-contractors as well. The institution need to have a clear, written standard of minimum working conditions, both for craftspeople who are directly employed and for those who are affiliated with suppliers. At a minimum, the standard should include few measures such as non-discriminatory hiring practices across gender and caste and religious lines, access to safe and clean working environment for craftspeople and non-involvement of child labour in production (AIACA 2010).

Wage payment Rules need to be fixed for the payment terms and conditions for the completed work, including a fixed time by which the payments must to be made and introducing a system to enable the artisans to access their payments without botheration. The institution also needs to maintain clear records of internal supplier inspections and compliance with payment-period standards for third-party inspections. The organization must also need to agree for random third party inspections covering suppliers and sub-contractors as well as interviews with actual crafts producers in their homes (AIACA 2010).

Continuous Improvement Standards through Livelihood Security StandardsThe institution need to make an effort to engage in long-term trading relationships to promote sustainable local economies and help improve the livelihood security of craftspeople. The organization also needs to keep records of suppliers and the length of time they have been associated (AIACA 2010).

Timely upfront paymentsThe group need to show continuous improvement on making up-front payments at the time of placing orders to assist crafts groups and suppliers in purchasing raw materials without resorting to local informal sector creditors,money-lenders and the middle men (AIACA 2010).

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Insurance

Painted pillars at the central courtyard at Shilp Sangh’s workshop

The concept of accessing services that requires payment in an interim basis is still unpopular in the artisan sectors in India. It is reported that the people has expressed their ignorance in a contract that provides services to bring in sustenance in longer term. However the NGO representatives, community workers and planners have suggested it to be one of the most important factors that need inclusion in livelihood projects (Social Assessment Report,

NRLM, p: 109). Though the project has been implemented and the institution has been formed, it will be up to the newly formed artisan group to insure their enterprise. The group might also wish to reserve insurance policies for its existing members and the interested parties and declare it as a term while signing the contract with individual artisans. The practice of insuring their enterprise will bring more stability to their association with the institution and it will attract other artisan members from the village to be part of it.

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Artisan cluster based responsible tourism, residencies and volunteer ship

Mango Orchard at Shilp Sangh, Madhubani

Festival courtyard, Shilp Sangh, Madhubani

Decorative bowls Wall Paper tiles

In India rural tourism has become a buzz in recent times and the popularity of alternative tourist destinations has gained momentum. Many small villages in various parts of the country have opened the door of their vernacular houses to offer a glimpse of indigenous culture and local lifestyle. The government has extended help to support such initiatives and ministry of tourism has offered several attractive schemes to promote these enterprises. The concept of Residencies is not unknown in India but it is still quite bound in the purview of contemporary arts. The new craft based enterprise at Madhubani can benefit from offering opportunities of residential interactive workshops to craft practitioners, designers, design students, historians, writers and academicians. The group can also offer an experience relating to craft based tourism which will enable interested tourists to visit a village known for its hand skills. Their stay in the village can include guided tours to artisan’s homes, exposure trip to the new institution, a narrative session of their success story and the experience of shopping directly from the artisan communities. The group can also offer regular volunteering programmes to enable people with various expertises to come to their organisation to work with them and introduce different innovations. Possibilities can be explore in terms of exchange programmes with other craft based enterprises around the country and abroad that have emerged from similar livelihood programmes to create an environment of learning from each other.

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Members of Shilp Sangh with their highway signage

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Conclusion

A Godhna painter is using a straw stick and lamp black to paint

As discussed before, it is evident that India will keep being an active ground for the livelihood projects which are conceived within the country and with enormous international organisations. These projects are undoubtedly in need as the country’s large population still earns a wage that is less than the international standard of poverty line. Many of these projects intervention in the artisan sectors has showed path to sustainable livelihood by adopting innovative approach. Sewa (Self Employed Women’s Association), Urmul Trust and Anokhi are amongst those who has showed the ways of building a successful enterprise based on crafts skills and their ability to run it sustainably. The collaboration between the implementing agency and the beneficiaries in all the levels of project planning proves to be more empowering. Prior to its implementation, if the beneficiaries are involved

from the planning stage through surveys in conceiving its components, the actual issues addressed and the design of various training programmes become more acceptable at the receiving end. It is noticed that the concept of community partnerships in decision making is becoming more relevant and are practiced in many countries and the traditional practice of bureaucratic decision making for various developmental programmes that uses the public money is losing its popularity. The recent introduction of “Big Society Idea” at the UK is an example of such initiatives which are more community driven and enables a member of the society to be responsible for any actions taken. In a livelihood project that sets its target to develop self sustainable institutions in the village enterprises, makes the ownership as an important factor in each of its components. It is seen that the implemented programmes without a sense of entrepreneurship becomes more of a routine job than it actually bring changes to common people’s life. In contrast, the better practice of a real livelihood project seeks feedback in every stage from its beneficiaries and tries to synthesise it in the next stage of planning. These projects are designed to serve the people in need and the presence of the people’s participation in each of its stage therefore becomes crucial for its success. Right from the component of institutional building for bringing together the likeminded people to design developments and skill up gradation training for capacity building, the aspect of participatory action leads to these programmes to a reality and it brings real change in people’s lives. In India the concept of “Gram Swaraj” (Village Self Rule) or the decentralisation existed in Gandhian thoughts and the planners can refer to these ideas to establish a process of collaborative process that are based on the real agendas of common people’s issues and are futuristic in its approach that facilitates the ownership of its beneficiaries. In the absence of this practice the dependency syndrome on such projects for longer period prevents the community to achieve the actual idea of self sustainability. In such circumstances after the completion of these programmes, the outcomes remain locked in the files and are forgotten. The learning from such events will be to get back to the planning stage and involve more of people’s voice from the beginning to enable more participatory action and the sharing of responsibility. Essentially from the “institution building” where artisans take part in the future well being of themselves to various “training”programmes where they add value by suggesting necessary components, from the“trade facilitation where they become the main change agent by participating in each of its process to the fair trade, in every stage towards a sustainable creative enterprise, its members voice becomes most crucial. One of the key attributes of the making of such enterprise therefore is “Participation” at every level that will help to interconnect these marginalised communities amongst themselves and the rest of the world by the means of being truly empowered. As the members from Madhubani’s new artisan group believes “if they have been through a programme that took three precious years, they want to see they are enjoying its fruits too by full charge of it from the first day of its implementation”.

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The Report - arghyaghosh.comarghyaghosh.com/report/FinalMajorProjectreportArgh... · The following report aims to understand the actual change these projects bring to the livelihood

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