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Much
has been written about the Indian handicraft scene and continues
to be written. The
recent celebration of the Golden Jubilee of Handicrafts Resurgence
by the Development Commissioner of Handicraft’s office focused
attention on the situation of craftspersons.
Now the centenary celebration of Kamaladevi Chattopadhya
being celebrated by the Crafts Council of India and its regional
organisation is focusing attention on the crafts once again for it
was Kamaladevi who developed the programme and brought the
craftspersons into the public eye.
Even today we have to ask the question “Who are the
craftspersons?” When we use the word artisan in the English context, we mean
a mechanic, a skilled worker, and when we apply it to craftsmen we
think of craftspersons involved in a mindless mechanical activity.
That is perhaps not what we really mean.
It is the confusion in using the word in the way that it is
used in French. In
French ‘artisana’ means crafts and we are confusing the issue
by using the word `artisan’ for craftspersons.
A craftsperson is one who is skilled in a craft technique
and though he may produce a number of similar objects, each one
however expresses the maker’s creativity.
Besides, he also creates a number of other objects, which
are a total expression of his or her creative self.
Take the case of a potter.
He may stand at his wheel and produce a thousand clay lamps
or kullars, cups, but he is also able to create wondrous
forms and shapes, gods and godesses, animals and birds for worship
and to delight our hearts.
There are crafts made by men and women for their own use with the
surplus being sold locally, as is the case in crafts, which use
local materials such as palm leaf, papier machie, embroidery and a
host of others including the loin loom weaving.
There are traditional craftsmen who supply the needs of
local industry and households such as the jogis, the itinerant
bamboo workers, the stone-carvers, the gaudolia lohars, the
itinerant iron-smiths connected with making and repairing of
agriculture implements, household utensils and many more that
never get counted in the census or became a part of government
programmes.
Despite the lacunae that exist, the 50 years of handicraft
development after the setting up of the government organisation,
the All India Handicrafts and Handloom Board (in November 1952),
have been an eventful period. I would say that the change in the perception of crafts began
much earlier when Gandhiji came out to defend the Indigo workers
against their exploitative colonial masters.
It began when he announced his Swadeshi movement.
It began when he created Khadi as the livery for the
freedom fighter and the Gandhi topi became the emblem of
the unification of all people, irrespective of caste, creed, or
status. We were not
only equal in the eyes of God, but also equal in the struggle for
independence. Khadi
was our symbol and our creed.
His deep awareness and perception of creative expression as a way
to create a balanced personality was reflected in his call for
giving importance to crafts in our educational system.
His vision of `Small is Beautiful’ gained ground in the
1920s and Schumacher spoke about this once again in the 70s.
Unfortunately, we have only given lip-service to this
concept, and the introduction of crafts in Basic Education
remained a token gesture, an Indian speciality.
If we are to understand the crafts today, we have to see it in the
context of the development of the movement as a part of a
governmental programme, a very rare occurrence.
This was possible because of the dynamic leadership of
Kamaladevi, who was a true disciple of Gandhiji and gave her life
for the cause of the crafts, for performing arts, for nurturing
the creative spirit of our country.
She launched the programme for handicrafts and handloom
development in 1952 at the behest of Jawaharlal Nehru.
The Cottage Industries Board was transformed into the All
India Handicrafts & Handloom Board. The bifurcation occurred
later. This was a challenging task for there was no previous
experience on which to build the work. This meant the creation of a new economic order for a newly
independent country, which would nurture and support the existing
structures and skills and develop the industrial sector.
The economic planners of the Planning Commission who had
been trained in the economic policies applicable to industrial
societies looked at the cottage industry sector from the point of
view of European economists: as a non-productive welfare activity,
while the Marxists saw it as exploitation of labour.
To build an economic policy, which saw the craft sector as
an important part of Development Economics, and to convince the
Planning Commission to give it the importance it needed was an
uphill task.
Kamaladevi was able to get the advice of well-known economists,
Prof PN Dhar and Dr Raj Krishna to develop the approach needed to
evolve a Development Programme for Handicrafts.
She had the able assistance of a dynamic young Gandhian,
LC. Jain, whom she appointed as Member Secretary of the All India
Handicrafts Board. Kitty
Shiva Rao was the Vice-President and Pupul Jayakar an active
member of the board. She
was later appointed by Shri Morarji Desai to head the Handloom
Board.
The All India Handicrafts Board was a statutory board with a
government department to execute the decisions.
A handful of people began the task of mapping out the craft
centres and trying to reach out to them.
Kamaladeviji was a woman of foresight, of action and she
created a multi-pronged programme. A team of economists, marketing
experts and researchers carried out a rapid Market Survey of
Crafts in well-known urban centres in the different regions and
developed a plan of work based on the findings of the survey. The Central Cottage Industries Association was an outcome of
this survey and was the first voluntary organisation in
handicrafts being run by the Indian Cooperative Union.
The economic advisors proposed a prioritisation of the most
important issues: to survey the handicrafts industry to assess
employment levels and get a detailed picture of the status of the
craft, which required a planning and research division.
Assess the technological and design inputs needed to
upgrade the products and bring them into the market; for this
purpose Regional Design Centres were set up along with
Technological Centres and training centres.
The Central Cottage Industries Association was set up to
create not only a market outlet, but show-case the finest products
of handicrafts and introduce new products from all over India.
It was also imperative to educate the consumer and influence
tastes for which a number of exhibitions of different crafts were
organised. Every year one state was selected for developing their crafts
and holding an exhibition of their products, and one craft was
highlighted. This
also created a sense of urgency to develop the products of one
area and one craft, and create a sense of pride in the creative
expression of their state, amongst the government officials and
the craftsmen.
In the early years Kamaladevi travelled the length and breadth of
the country locating the craft centres and assessing their needs.
Handicrafts were spread throughout the country.
They answered the needs of the local people and found a
market within the region. Products
were made for a known clientele and for festive occasions, and
except in some urban centres there were no large retail outlets.
Mostly, the objects were custom-made.
People ordered their personal needs with the weavers, with
the printers, with the jewellers, with the shoe-maker. Families
ordered their furniture for occasions, they ordered their
household needs. In
the rural areas the jajmani system functioned with craft
families working with the local landowners.
There were no large stores where people could buy whatever they
required for maintaining their homes and work places.
Also, products of one area were not known in the other
areas, except in the case of Varanasi for brocades and silks, or
Moradabad brass or the work of the Sthapathis and Sompuras, the
temple-builders.
Kamaladevi met the chief ministers of all the states, who had been
her colleagues in the freedom struggle and got their support in
evolving institutional structures and budgetary allocations to
assist the craftspersons in each and every state.
It was a one-person crusade and she mobilised government
support, voluntary effort and a number of individuals to work
selflessly for the cause of the crafts and craftspersons.
It was this pioneering work that built the base of the craft
organisation.
Today we take it for granted that we can walk into a shop and buy
printed silk and cotton sarees or yardage for our homes or table
linen. Till the 60s this did not exist.
One bought the material, went to the printer and selected
the patterns from a sampler, selected the colours and these were
then sent for printing. The
large printing centres of Rajasthan, Madhya Pradesh and Gujarat
were producing only for local peasantry.
It was Kamaladevi who got the help of the Craft School at
Jaipur, which was directed by a well-known designer, Surjit Sahay,
to revive the refined printed textiles printed in the royal Karkhanas
and introduce their printing into Sanganer.
Similar work was done in Madhya Pradesh and Gujarat.
Within a short time a rich vibrant printing industry with
an urban and export market emerged. This is only one example.
It can be multiplied manifold.
The brass industry of Jaipur, Moradabad and Jagadiri were
transformed. Bell-metal
industry of Bengal, Assam, Orissa and Kerala, which catered only
to local markets, were assisted.
The Bronze Casting of Swamimalaya, Karnataka had
deteriorated, and a Bronze Casting Centre with master Sthapathis
brought back the purity of form. Wood carving of Uttar
Pradesh, Punjab, Rajasthan, Assam, Bihar, Karnataka, Tamil Nadu,
Andhra Pradesh and Kerala, which was copying European patterns in
furniture and calendar pictures in their carvings were given help
to develop new areas of production.
Stone inlay of Agra was revived.
The master stone-carvers of Orissa and many other centres
were helped to find a market for their skillful renderings.
Today India is in a much more fortunate situation pertaining to
the preservation and evolution of its craft than most countries in
the world, because of the work carried out at the initial
development stage.
Perhaps due to the emphasis placed on evolving a market for
handicrafts and getting the “Brahmins” of the Planning
Commission to accept it as an economic activity, the aspect of
looking at every creative expression as a commodity was emphasised
and we did not draw the fine line between creative expression and
commodification. Even
the Regional Design Centres of the All India Handicrafts Board
began to answer to the needs of the market rather than the need of
the craft community.
The Design Centres did fulfill the need of the time by evolving a
design and technological development programme, which could be
extended to thousands of practitioners, who were facing poverty
and starvation because of a shrinking local market, while the
newly opened marketing centres needed goods that would meet the
consumer demands. Yet,
instead of bridging the gap between the designer and the master
craftsmen, which had grown during the colonial period, the gap had
widened. The National Institute of Design, which has made the study of
crafts an important part of their curriculum, did not correct this
situation.
Kamaladevi’s inspirational qualities enthused craftspersons,
private institutions, individuals and trusts.
She even got the support of religious institutions to
support the craft activities through their temple trusts.
She involved well-known persons such as Rukmani Devi
Arundale and her institution Kalakshetra, which revived the
traditional weaves of Kanchipuram, and where the Vegetable Dye
Research Laboratory with Shri Chandramouli as the researcher was
first located. Durga
Bai Deshmukh set up Craft Teachers Training Regional Institutes,
while the great Rai Krishan Dasji set up a textile wing in Bharat
Kala Bhawan Museum at Varanasi, to be used by the master
designers. Prabha
Shah and Malati Jhaveri set up the Prajapati Pottery Centre at
Dharavi in Mumbai in 1954 with a grant from the All India
Handicrafts Board. Later
they developed a voluntary organisation, Sohan Sahakari Sangh, by
collecting membership from a large number of well-wishers from all
over the country. Through
the devoted work of Prabha Shah, who gave her entire life to reach
out to craftspersons throughout the country, a number of craft
centres were assisted to develop a range of products, which would
meet the changing consumer demands.
The state governments also took up the initiative as in the case
of the Mahabalipuram School of Architecture and Stone Carving,
which was headed by the great Vaidyanathan Sthapathi, Shilp Guru
Ganapati Sthapathi’s father.
Few know and realise that the All India Handicrafts Board carried
out supportive and protective policies for the sector as a whole
with a small budget and none of the activities were subsidised.
Yet they became viable economic activities.
In 1953-54 the export of crafts was 23 crores, today it
touches 9,276.50 crores and it is 20 per cent of the total exports
of India. If we take
the entire handicrafts and handloom sector, one estimation puts
the employment figure to 36 million people.
The craft journey of fifty years has been enriching. It has been enriching for the country as a whole, for the
craft community and for all of us who have been involved with the
craft movement. India’s
experience, which was the first experience of evolving such an
important and far-reaching programme, provided an example to many
countries who emerged from colonialism into sovereign countries to
evolve their own programme. India
was their resource and it shared its experience.
Ministers, heads of government departments, trainees came
from all over the world, Mexico, North Africa, many African
countries, from Pakistan, Philippines, Iran, Syria etc, to learn
from the Indian experience.
However, it is necessary to ask some soul-searching questions. Where are we headed? We
need to examine the institutional structures and ask if this is
the best method of functioning?
What is the role of the government today and what should
they be really doing?
How valid are the overall structures and the divisions that had
been made of the sector in 1954 in today’s context?
It may have been necessary to make administrative divisions
of Handloom, Handicrafts, Khadi Village Industries, Silk Board,
Coir etc, when the development work was beginning, but are these
enormous juggernauts, with the structures repeated in the states,
effective and necessary, or are they superfluous expenditures
which continue to be incurred by the government?
How effective are the different marketing corporations and
associations? Is
their turnover less than one per cent of the total handled by the
private sector? Should
the government continue to handle these institutions or should
there be an attempt made to hand it over either to the crafts
associations or to the voluntary sector?
For that matter, what is the role of the Crafts Council of India
and other voluntary organisations?
Do they provide a platform for the craftspersons?
Are they performing their role of being the protectors and
inspiration of the sector? Are
they functioning as the voice of the craftspersons?
These and many such questions are agitating the minds of
many of us who have been working in this area for many decades.
It is true that a great deal has been achieved, but a great deal
has been lost. It is
true that the craft sector has come a long way.
Craftsmen, who 50 years ago were discriminated against, who
lived at the edge of society, who were tied to the jajmani
system, which in some cases made them virtual slaves, have today
come into their own in some cases.
Yet, even today we have a lack of understanding of what are
the key needs of the sector. The government organisations are a
law unto themselves and function as patrons.
They talk of using the voluntary sector for development
activity, but many in the voluntary sector have also become
exploitative. How
many of these organisations involve master craftsmen? How many master weavers, heads of Weaving and Craft Societies
are involved in the policy-making by the government machinery?
Lakhs are spent on seminars, surveys, junkets of officials,
office-bearers of voluntary organisations, while the small monies
needed by the craftsmen for organising themselves do not get any
support.
The recent issue of Seminar (23 March 2003), “Celebrating
Crafts”, is a good example of the confusion that exists in a
proper understanding of the sector.
Laila Tyabji, Chairperson of Dastkar Delhi, a leading
voluntary organisation, which has done excellent work under her
direction in her lead article says “...a failure to classify
craft properly lies at the root of much confusion and failure.
Focal needs get confused, inputs get diffused”.
Each article examines issues very narrowly.
The case of Jawaja, a durree project, which is discussed,
is a case of excessive resources of two major institutions,
National Institute of Design and National Institute of Management,
being invested for very little result. The remark “this project continues to require emotional and
physical stamina... They keep asking, tell us what we should do.
And we say `no, tell us what you think you want to do’.
And they get impatient with us.
Basically, the whole issue is how can we help them develop
their own problem-solving skills”.
This is the key issue. The
craftspersons have to learn to stand on their own feet.
This cannot be done by plastic surgery.
This requires a complete change in the mindset of the
government and the leadership of the voluntary sector.
It requires that the knowledge, the skill of the masters
should be a part of the formal education system.
Just as music, dance, performing arts have become a part of
the educational system, so should the crafts.
Special efforts need to be made to educate the children of
craftsmen through special programmes, reservations of seats in
professional institutes. This
is never done. The
status of craftsmen needs to be raised not just by annual awards,
but by recognising their skills in technical institutions as
full-fledged faculty. They
should be appointed to head Design Centres with administrative
staff under their control. Seminars
should be organised by them in their craft communities rather than
in 5-star hotels where government officials, art historians,
anthropologists sit and talk about the craftsmen who are either
absent or a silent presence.
It is only when craftspersons are equal partners in the
production, marketing of crafts, in deciding the government policy
towards crafts can we expect crafts to develop the strength to be
sustained as they were throughout history.
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