Paper mache craft cluster, Salempur, Madhubani, Bihar

Transcription

Report on need assessment study & design clinic workshop, 2013
Paper mache craft cluster, Salempur, Madhubani, Bihar
Design Consultant: Surabhi Khanna
Supported by : Design Clinic Scheme for MSMEs, Ministry of MSMEs
Organized by : National Institute of Design, Ahmedabad
In association with : Upendra Maharathi Shilpa Anusandhan Kendra, Patna
A word of thanks to the following institutions and individuals for
making this project possible and worthwhile.
DCS for MSMEs team:
Shashank Mehta, Project Head, DCS for MSMEs
Ashok Mondal , DCS co-ordinator, east zone
Sudev Mandal
Upendra Maharathi Shilpa Anusandhan Kendra, Patna
team:
Ashok Kumar Sinha – Dy. Development Officer (DDO)
Nila Sinha
Jitendra Kumar
Ganga Sagar Pandit
Devi Prasad
Sharmarjit Singh
Funding & support:
This project is funded by DCS for MSMEs, an initiative of the
Ministry of Micro, Small & Medium Enterprises (MSMEs),
Government of India (GOI) and National Institute of Design (NID).
Upendra Maharathi Shilpa Anusandhan Kendra, Patna provided
due support.
Disclaimer :
The analysis and views expressed in this report are those of the
author.
Salempur cluster:
Lalita Devi and her family for being a kind host
Sudama, Lalita Devi’s son
Shankar Mishra
Pushpa Devi
Subhadra Devi
Savita Devi
And all the women of the cluster
Need Assessment Survey| Paper Mache cluster, Salempur| 2013 | Surabhi Khanna
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This project is carried out with the support of
In this report, one can have an overview of the craft in this region
and steps to revitalize it. There are few things needed :
Design Clinic Scheme for MSMEs, an initiative of the Ministry of
Micro, Small & Medium Enterprises (MSMEs), Government of
India (GOI), Upendra Maharathi Shilpa Anusandhan Kendra, Patna
& National Institute of Design (NID).
a)
b)
c)
c)
The paper mache craft in Salempur village, Madhubani district,
Bihar is unique in terms of being handcrafted and decorated with
madhubani painting. The paper mache craft was evolved from the
local mud creations done for marriage ceremonies. About twenty
years ago, government of Bihar organized training for local women
to carry forward this area of craft.
The new generation will be interested in continuing the craft only
if there is assured return both in terms of money and recognition.
New range of fresh product designs
Regular design interventions and training
Large production by local craft people
Effective branding, promotion and marketing
The Design Awareness Program with need assessment study and
design workshop is an initiative for such an intervention. This
program also provides the possibility for collaborative efforts and
has a vast scope for development.
The uniqueness of paper mache craft of Madhubani region is:
• The organic forms with handcrafted texture
• ornamentation through the popular madhubani painting.
• Minimum tools and equipment for work
• Eco- friendly material and process
• Livelihood support for women from their own homes.
Today, with growing market, the craft has a hope for revival. It
needs development in terms of new product range, effective
promotion, but also for the unique, eco-friendly craft to survive
and flourish .
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Acknowledgement………..……………………………………………………………04
Executive Summary………………….…………………………………………………06
01 Introduction
About Design Clinic Scheme…….…………………………...…………12
About NID ..………..…….…………………….………………………………14
About Upendra Maharathi Shilpa Anusandhan Kendra,
Patna……………………………………………….…..………………….………15
About the Design consultant…………………..……………….………17
About Bihar state…………..…………………………………………..……18
About Madhubani district………….....………….…………………….21
About Salempur, paper mache cluster…………………………....23
History of paper mache……………………………………………………24
Paper mache products in different parts of
The world…………………………………………………………………….….26
Variety of paper mache in different
Parts of India……………………………………………………………………27
02 Paper mache craft, Salempur
History & tradition…….…………………………..................…………32
Products…...………..…….…………………….………………………………35
Specialty & features of paper mache Salempur,
Madhubani……………………………………………….…..…………………42
Raw materials, tool…………………..………………………….….………43
Process………………..………..…………………………………………..……45
Molds for paper mache…………………………………….……….…….51
Units…….…………………………........................................…………57
03 Design Audit Report
a) Study of existing Product design, redesign, new
product development and product diversification…………..79
b) Study for research and development directions
for future initiatives ………....………………….………………………..………80
c) Visual identity and branding from communication
design point of view……....…………….……………………………...........…82
d) Market and competition study for design
advantage and distinction …………….………………………..…………...…84
e) Study of display ……………………….………………………..…………....…85
f) Study of Technology, modernization & collaboration scope...90
g) Identify scope for innovation in process and
related areas for design intervention. ……………………………....……91
i) Study of scope in workstation and tooling design …..……………92
j) Study of training and skill up gradation opportunities .…..……93
k) Study of ergonomic and environment factors
in MSME premise……………………………………………………….……..……94
l) Identify packaging & logistics related design opportunities....95
m) Study of infrastructure and capability enhancement from
design perspective ………………………………………..……………………….96
n) Study of design opportunity for Inter cluster
communication……………………………………………………..……..……..…97
04 Recommendations & Conclusion
SWOT analysis…….…………………………...………………………..……..……99
Issues & scope of work……..…….………………………………….…...……100
Recommendations & opportunities…….…………………………..……101
Conclusions…….…………………………...…………..……………..……………102
Webliography…….…………………………...……………………………..…….103
Report on Design Clinic Workshop ....….… 104 - 140
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01
Introduction
Design Clinic Scheme for Design Expertise to MSMEs, a unique and
ambitious design intervention scheme for the country’s large
micro, small and medium scale enterprises, is an initiative of
Ministry of MSME, Government of India has been launched under
National Manufacturing Competitiveness programme.
The scheme is being designed keeping in mind the objective of
design awareness, design interventions and competitiveness
improvement for largest group of industrial sectors, Micro, small
and medium enterprises of the country which contributes to
approximately 45% of total industrial production and 40% exports.
They are major contributors to the GDP growth, accounting to
about 8%. They are also the largest employers after agriculture,
employing an estimated 41 million people.
The main objective of the Design Clinic Scheme is to bring MS&ME
sector and design expertise into a common platform and to
provide expert advice and solutions on real time design problems,
resulting in continuous improvement and value addition for
existing products. This model brings design exposure to the door
step of industry clusters for design awareness, improvement,
evaluation, analysis and design related intervention. Design clinic
scheme will assist industrial clusters to open a channel for design
information inflow for creative, innovative and futuristic approach
towards the product, process, operations, manufacturing and
business design. The scheme will help generate insight for
opportunity identification and design intervention for competitive
and breakthrough solutions for MSMEs.
Screen shot of the website : www.designclinicsmsme.org
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National Institute of Design (NID), Ahmedabad is assisting the
Ministry of MSME with the implementation of the scheme.
Regional centers are being set up all of the country for maximum
outreach. The Design Clinic Scheme is divided into three parts.
1. Design Sensitization Seminars – These seminars will create
awareness about design methods with respect to MSME’s
3. Design Projects – On gaining an overview of impact of design on
their business, the MSME’s submit project proposals to the Design
Clinic Zonal office for final approval. They may apply with a design
consultant, or design firms and independent consultants will be
made available as service providers for design inputs at various
levels.
2. Design Awareness programs – These programs include design
research to gain a better understanding of the MSME’s by the
designers. Followed by participatory workshop activities involving
designers and MSME’s to gain deeper insights by creating an
interactive problem solving environment. The insights will provide
an initial segway into the first level of design solutions/projects.
Design awareness program is divided into two parts as mentioned
below:
A.Need Assessment Survey
B. Design Clinic Workshop
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The National Institute of Design (NID) is internationally acclaimed
as one of the foremost multi-disciplinary institutions in the field of
design education and research. The institute functions as an
autonomous body under the department of Industrial Policy &
Promotion, Ministry of Commerce & Industry, Government of
India. Department of Scientific & Industrial Research (DSIR) under
Ministry of Science & Technology, Government of India recognizes
NID as a scientific and industrial design research organization.
reality. NID’s graduates have made a mark in key sectors of
commerce, industry and social development by taking role of
catalysts and through thought leadership.
National Institute of Design (NID), Ahmedabad is assisting the
Ministry of MSME, Government of India, as a nodal agency for
implementing the scheme. As part of the scheme a Design Clinic
Centre and its regional centres are being set up to reach out to all
parts of the country.
NID has been a pioneer in industrial design education after
Bauhaus and Ulm in Germany and is known for its pursuit of
design excellence to make Designed in India, made for the World a
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Upendra Maharathi Shilpa Anusandhan Kendra, is a well
established institute for training in arts and skills in Patna, Bihar.
The institute was set up by Shri Upendra Maharathi with an
objective to provide training in different arts and crafts of Bihar.
Now it falls under Bihar government, which helps the institute
hold classes for Madhubani painting, bamboo work, paper mache,
tikuli work and pottery. Students enroll for the 6 month long
course in either of the disciplines to learn and get better job
opportunities.
Other than the training program, the institute also has a museum,
which houses artifacts from different parts of Bihar.
Currently Upendra Maharathi Shilpa Anusandhan Kendra invites
many artisans specialized in different arts, to display their work in
stalls in national and state exhibitions.
The Design Awareness Program in Bihar is jointly organized by
Design Clinic Scheme, Government of India (GOI), Upendra
Maharathi Shilpa Anusandhan Kendra, Patna & National Institute
of Design (NID). 10 design consultants met the DDO of the
institute for need assessment survey in different craft clusters of
Bihar
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Traditional activities in village depicted through paper mache craft, Madhubani
Museum at Upendra Maharathi Shilpa Anusandhan Kendra
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Surabhi Khanna is an Architect, with masters in Toy & Game Design from National
Institute of Design (NID). Surabhi is designer for Gammat enterprise and involved in
design & development of innovative play products as stress busters and corporate gift
items.
She works at her design studio, for consultancy projects and innovative design
development of education and culture based products. Many of these are being produced
and marketed under the brand Gammat. Some of the ideas developed in Surabhi’s Design
Studio are utilized for the workshops conducted for teachers and children.
Surabhi Khanna
Designer (NID), New Delhi
Tel. +91 9718871998 / +91 11 46065692
Email khanna.surabhi@gmail.com
Blog www.khannasurabhi.wordpress.com
Surabhi Khanna has conducted workshops for teachers and students. This includes
workshop for teachers’ trainers of Care India, and students of Mirambika school and
Pallavanjali. She conducted workshops titled Toy, Design & Education (Khel, Design aur
Shiksha) with a group of teachers’ trainers at Katha organization, where some of her
creations and developments were learnt by the teachers to help them teach with
innovative methods. She was an exchange designer in Germany in 2010 and was an
invited international participant for the 2 week UNESCO creativity workshop in Germany
on Inclusive education and development in March 2013. Surabhi was invited to exhibit her
work for inclusive education at NCERT Foundation Day.
Surabhi Khanna is currently developing a range of ideas and designs at her studio. She is
also offering consultancy to organizations and institutions
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Bihar is a state in northern India.It is the 12th largest state in terms
of geographical size at 38,202 sq mi (98,940 km2) and 3rd largest
by population. It is bounded by Uttar Pradesh to its west, Nepal to
the north, Northern part of West Bengal to the east and
by Jharkhand to the south. The Bihar plain is divided into two parts
by the river Ganges which flows through the middle from west to
east.In 2000, Bihar was subdivided, the southern part becoming
the state of Jharkhand.
Ancient Bihar was a centre of power, learning and culture in
ancient and classical India. From Magadha arose India's first and
greatest empire, the Maurya empire as well as one of the world's
most widely adhered-to religions, Buddhism.Its capital Pataliputra,
now the modern Patna, was an important centre of Indian
civilisation.
LANGUAGES
Hindi and Urdu are the official languages of the state, while the
majority of the people speak Angika, Bhojpuri, Maithili and Bajika.
GEOGRAPHY & CLIMATE
Though the Himalayas begin at the foothills, a short distance
inside Nepal and to the north of Bihar, the mountains influence
Bihar's landforms, climate, hydrology and culture. Bihar is very
cold in the winter, with the lowest temperatures being in the range
from 0–10 °C (32–50 °F). Winter months are December and
January. It is hot in the summer, with average highs around
35–40 °C (95–104 °F). Bihar is a vast stretch of fertile plain. It is
drained by the Ganges River.
DEMOGRAPHICS
At the 2001 Census, Bihar was the third most populated state of
India with total population of 82,998,509 (43,243,795 male and
39,754,714 female). Nearly 85% of Bihar's population lived in rural
areas. Almost 58% of Biharis were below 25 years age, which is the
highest in India. The density was 881. The sex ratio was 919
females per 1000 males. Buddhism is very closely integrated
with Bihar Gautam Buddha attained Enlightenment at Bodh Gaya,
a town located in the modern day district of Gaya.
BIO-DIVERSITY
Bihar has notified forest area which is 7.2% of its geographical
area. The sub Himalayan foothill of Someshwar and the Dun
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ranges in the Champaran district are another belt of moist
deciduous forests.
AGRICULTURE
Bihar lies in the riverine plain of the Ganga basin area and is
endowed with fertile Gangetic alluvial soil with abundant water
resources, particularly ground water resources. This makes Bihar's
agriculture rich and diverse, although it has never reached its full
potential.
in the month of Kartik. People worship sun during the sunset time.
This is a festival for cleanliness. Even tough it is festival celebrated
for 4 days people maintain purity for even a month. Women do
fasting during this pooja time for family wellbeing.
FOOD
The most favourite dish among biharis is [LITTI- CHOKHA]. Litti is
made up of SATTU and CHOKHA is of smashed potato, tomato, and
brinjal.
FESTIVALS
Chatt Puja is celebrated twice a year; once in Chaitra and the next
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EDUCATION
Nalanda University was established in modern Bihar during early
5th century and flourished for 600 years till 12th century. It was
the world’s first university to have residential quarters for both
students and teachers. In 2010, the parliament of India passed a
bill approving the plans to restore the ancient Nalanda University
as a modern Nalanda International University dedicated for postgraduate research.
ART & CRAFT
For all art and craft lovers, Bihar is a must visit destination. Wood
craft, stone work, lac bangle making, madhubani painting, paper
mache, sikki craft, textile craft like khatwa,sujani, terracotta are
famous in different regions of Bihar.
Craft Map of Bihar. Madhubani is rightfully called the ‘Kala ki khaan (art mine)’.
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Madhubani district Mithila (Land of Sita)
Mithila was a large and powerful kingdom in what are now
northeastern India and southern Nepal. Today, Mithila refers to the
area and the people who live there. Madhubani, which in literal
translation means Forest of Honey, has been the cultural center of
Mithila region and today is an important district in the northern
part of Bihar, India.
The women folk of this region have been practicing their folk art
for centuries primarily to consecrate space around their
habitation, during rituals (of family life, of the goddesses). They
used to compose elaborate wall paintings or Bhitti-Chitra, and
floor paintings or Aripan on their mud homes. Mothers in this
region have been teaching their daughters patterns and dyes
sometimes unknown to the men, for a long time little known to
the outside world
TRANSPORT
Danapur-Jaynagar InterCity Express (13226) is a convenient train
which can be boarded from Patna to Madhubani. Other option is
to travel by volvo buses like Gaurav travels, Prithvi travels between
Madhubani and Patna. Bus is a better option than train.
STAYING
Tilak Chowk, near the railway station, Madhubani, has a lot of
hotels to stay.
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ECONOMY
The economy of this district basically depends on agriculture.
Major crops are wheat, rice, pulses. Rearing cattle is also
important subsidiary occupation. Younger people now migrate to
cities in search of jobs and businesses.
As regards trade and commerce, this district exports fish,
handloom cloth, makhana (Water berries), mangoes, sugar-cane ,
litchi, paddy, and brass metal articles to various cities insides and
outside the state. It imports medicine, machine, fine clothes ,
shoes, and cosmetic materials from other places. A number of rice
mills and timber saw mills have been set up in the district .
Madhubani has been an important centre for trade with Nepal
since the latter part of the 19th Century. The principal items of
export from Madhubani to Nepal are cotton, sugar, silk, betel nut
and tobacco.
POPULATION
In 2011, Madhubani had population of 4,487,379 of which male
and female were 2,329,313 and 2,158,066 respectively. In 2001
census, Madhubani had a population of 3,575,281 of which males
were 1,840,997 and remaining 1,734,284 were females.
ART
Madhubani paintings or Mithila Paintings is a style of Indian
painting, practiced in the Mithila region of Bihar state, India.The
name is itself named on the village Madhubani.
Sikki Craft :Using this craft exquisite objects like delightful baskets
and mats are hand-woven by women which are popularly given to
brides during marriage. one stops to admire and exult at the
manner in which the wild Sikki Grass, a virtual riverside weed, has
become a source of creativity for the Sikki womenfolk.
Paper Mache : Madhubani papier mache is found only in the
Madhubani district of Bihar. Objects are made out of paper pulp
and only painted from outside with motifs inspired from
Madhubani paintings. Papier Mache dolls Characteristics of
Madhubani Papier Mache.
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Salempur
Madhubani
30.8 km, 37 mins by autorickshaw from Madhubani to Salempur
Salempur village
Salempur is located in Madhubani district. Kitola chowk is a
landmark for tuning inside the village from the main road. The
beautiful village full of trees and creepers has people residing from
many communities. The major occupation has been agriculture;
either people own land or work as labourers. Migration to Patna,
Delhi and other cities is also a common feature.
Women are involved in agriculture and paper mache craft, which
has been documented in detail further in this report.
District
Block
Village
Population
Madhubani
Pandaul
Salempur
1102
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Papier Mache is a French term which means "Chewed Paper". The technique involves
using paper pulp with a glue or adhesive to make a variety of products. The objects could
be snuff boxes, decorative mouldings, masks, boats, lamps, cups, furniture or other
objects of utility and home decor. It is also widely used in traditional Indian folk art.
• Helmets : Paper was discovered in China in the Han Dynasty (202 B.C.- 220 A.D), which
makes the Chinese the inventors of Papier Mache. They used it for making helmets,
toughened with many layers of Lacquer. This art form was later known to exist in Japan
and Persia, where they used it for Papier Mache mask making and festive decoration. It
then travelled to Spain, France, Germany and finally, India.
Schenkl projectile with paper mache patch
• Decorative things : Papier Mache has its own history in America. Unlike Europe, it was
used more as a decorative item than a manufacturing product here. During the
Victorian times it was popular for papier-mâché objects to be coated with lamp black,
and varnished to imitate lacquer. Then they would be decorated with paint, bronze
powders and little bits of iridescent shell in forms of flower sprays and landscapes.
• Furniture : During 17th century, English artisans experimented with paper mache to
produce various types of furniture as well as dimensional embellishments for
application to architecture.
Full face male masquerade masks
of paper mache from China
• Firearms : Papier-mâché was used in a number of firearms as a material to form sabots
Despite the extremely high pressures and temperatures in the bore of a firearm,
papier-mâché proved strong enough to contain the pressure, and push a subcaliber projectile out of the barrel with a high degree of accuracy. Papier-mâché sabots
were used in everything from small arms, such as the Dreyse needle gun, up to artillery,
such as the Schenkl projectile.
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•
Details in architecture : Starting around 1725 in Europe, gilded papier-mâché began
to appear as a low-cost alternative to similarly treated plaster or carved wood in
architecture.
•
Boats : One common item made in the 19th century in America was the
paper canoe, most famously made by Waters & Sons of Troy, New York. The
invention of the continuous sheet paper machine allows paper sheets to be made of
any length, and this made an ideal material for building a seamless boat hull.
•
Paper observatory domes : Papier-mâché panels were used in the late 19th century
and early 20th century to produce lightweight domes, used primarily for
observatories. The domes were constructed over a wooden or iron framework.The
domes used in observatories had to be light in weight so that they could easily be
rotated to position the telescope opening in any direction, and large enough so that
it could cover the large refractor telescopes in use at the time.
•
Combat decoy : The British employed papier-mâché figures resembling soldiers to
draw sniper fire. Some were equipped with an apparatus that produced smoke from
a cigarette model. Bullet holes in the decoys were used to determine the position of
enemy snipers.
•
Theatrical use : Papier-mâché is an economic building material for both sets and
costume elements.
•
Puppetry : Papier-mâché is employed in puppet building, including marionettes,
hand-puppets, rod-puppets etc.
Detail of gilt
papier-mâché
as applied to
an English
picture frame
Paper mache soldier
figure used in WWI as
combat decoy
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1. An extensive world market already predisposed to quality
paper mache products of all types existed at the beginning of
the 20thcentury, ensuring a successful revival of the art.
2. In the Philippines, the multiple production of paper mache
objects (takas) first required the hand carving of hardwood
sculptures. These became the positive wooden molds
(takaans) that were coated with wax release agents. Then
pieces of paper soaked in natural rice starch were laid upon
the forms and dried. Once dry, the tough paper shells, which
mirrored each woodcarving were cut away with sharp blades.
The front and rear halves were peeled off and re- joined.
Seams were papered over and the hollow, light-weight paper
mache castings were then embellished and protected with
paint and gilding. The process was repeated again and again.
When paper mache artisans completed their orders, the
carvings were retired.
3. Venetian paper mache masks were derived from carvings as
well as paper mache costumes and ceremonial items used in
diverse festivals and holidays around the world. The decorated
mask were hand painted then varnished and waxed.
• Carnivals – masks, costumes
• Halloween - pumpkins, ghosts, witches, masks
• Christmas - different styles of Santa Clauses, ornaments,
reindeer, elves, angels
• Easter - Whimsical eggs and appealing bunnies
the positive wooden molds (takaans)
Eater eggs
Mardi Gras
Masquerade Zanni
Carnival
Japanese Hannya Mask
Paper Mache Horn Demon
Devil Oni Noh Kabuki Tattoo
Art
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• In Bihar and Jharkhand, Papier Mache as an art form goes a long way. The cities of
Patna, Hazaribagh , Murhu, Saraikela and Madhubani are well known for their
traditional styles of Papier Mache work.
• A range of decorative as well as lifestyle articles such as pen stands, envelope holders,
paperweights, jewel boxes, etc. are made in Delhi by combining waste paper with clay.
• Gujarat is known for its products made of Papier Mache and Plaster of Paris.
Colourfully painted and embellished figurines of Hindu deities, flora and fauna, toys
and other products and made here.
Papier Mache work from Jaipur, Rajasthan
• Gwalior in Madhya Pradesh has its own style of Papier Mache work and the figures of
gods and goddesses, toys and cartoon images from Ujjain are well known all over India
too.
• A range of handmade papers in many colours and textures are available in
Maharashtra.
• Shantiniketan in Bolpur near Kolkata, West Bengal is considered a pioneer of Papier
Mache as an art form in India. A huge range of articles are produced by the artisans
here.
• Assam is known for its colourful Papier Mache bags, files and folders, pen stands, etc.
Papier Mache work from Kashmir
• Odisha is famous for its Papier Mache craft. The artisans collect dry waste paper and
cloth of different kinds and create a range of products with them.
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• In Persia and Kashmir, Papier Mache has been used to
manufacture small painted boxes, trays, étagères and cases.
There is a very established market of these products due to
their neat and beautiful finishing.
• Rajasthan produces an array of Papier Mache products using
waste paper along with clay. Well established manufacturers
and exporters in Jaipur market their range to hotels, restaurants
and houses to enhance interiors. Pen stand, Animals, Tea light,
Birds tea light, Fruits, Masks, Faces, Photo frames, Coasters,
Boxes, Lamp stands, Christmas tree hangings, are available.
Paper Mache products, Kashmir
Paper Mache products, Jaipur, Rajasthan
28
• In Orissa, papier-mache masks and figurines are inspired by the
patachitra tradition. Mukha, masks, are made by using a mould
of clay and newspaper. Paper and cloth rags are soaked and
applied in layers with locally made gum on the mould. Saw dust
mixed with gum is applied smoothly, dried and burnished with
sandpaper.
As in patachitra painting, the colours are made from seashells and
rocks. The detailing such as the outlines of the figure`s eyes in red
and black follows the patachitra styles. Masks of deities, demons
and animals are made for use in the local folk and classical dance
performances. The figures and other products like dolls, pen
stands and lampshades are made in many sizes.
Paper Mache products, Orissa
• Chhau is a folk dance from Saraikella, Bihar as well as parts of
West Bengal and Orissa. Chhau is a masked dance, the motif of
which has been drawn from the mythological picturesque. The
dancers wear masks and typically depict Indian mythological
characters. This mask depicts the popular Hindu Goddess
Durga.
Mask for Chhau dance
29
02
Paper Mache craft, Salempur
Location & geography
Present status
Master Hema Devi GramNeed
– Post
Office,
Salempur
Pandaul
Madhubani district – 847223, Bihar
Assessment
Survey|
Paper MacheVillage,
cluster, Salempur|
2013 block,
| Surabhi Khanna
3
Long before, paper mache entered the village of Samlempur, little
girls used to watch their grandmothers and make decorative items
necessary for weddings. These included the traditional
diya,haathi, kohbar and many more things.
Subhadra Devi, a resident craftsperson from Salempur was
discovered as a very skilled craftswoman and was encouraged by
Development Commissioner (Handicraft) to learn and pursue
paper mache technique.
She carved out interesting traditional forms out of relatively
modern paper mache technique and beautifully decorated them
with the famous Mithila painting technique.
She was honoured with State award, Bihar in 1980 and with
national award in 1992. A training program was held under her, 20
years ago, for the women of Salempur.
Till a few years back, artisan Subhadra Devi was active in depicting
traditional stories and products for wedding ceremonies through
paper mache craft and made it well known as Paper Mache craft
of Madhubani.
Before paper mache, unbaked clay wedding decorations were made
32
A little girl making out things for playing out of clay from her courtyard. Will she learn paper mache?
Subhadra Devi displays her paper mache wealth to designer Surabhi Khanna
34
Images from onsite visit and online selling portals
35
When King Janak himself ploughed the dry field in his kingdom
with bulls, earth gave water thereby ending the draught. As a
blessing, the earth also took out Sita, who became his daughter
and later was married to Lord Ram.
Hathi Jannak Dala – When Haathi (elephant) gets his leg chewed
by magarmachh (alligator), Lord Vishnu comes to rescue. The
elephant model has its leg either broken or painted red to
indicated blood, so as to show that it has been hurt.
36
Goddess Parvati walks along with her husband Shiv, who rides his
pet ‘Nandi Bail”
Young boy Shravan Kumar, taking his blind parents on his shoulders
out for a tour. Unfortunately, King Dashrath killed him by mistake
and was cursed by the blind parents.
37
Gauri Puja – In Kayastha community, after the wedding the bride
with her groom standing behind her, puts sindur on the elephant
figure. In ancient time, a real elephant would be present. But later
the community made symbolic clay elephant. This recently got
modified to paper mache elephant in the village. In Brahmin
community, the puja takes place before the wedding. An elephant
is a very strong symbol in weddings of both communities.
‘Kohbar’ - It’s a hut shaped form, symbolic for Sacred Nuptial
Chamber. Presence of this motif is very important at the time of
marriages in Bihar. After the wedding rituals, the bridegroom puts
‘sindur’ on this house form for an auspicious entry in the home as
newly weds.
38
Women storing rice
Mother with child in her arms
Images courtesy museum at Upendra Maharathi Shilpa Anusandhan Kendra
39
Utility items are marketed as gifting options.
Images courtesy online selling portals
40
Games like Snakes & ladders, Chinese Checkers and playful aggarbatti stand, diya stand are attempts
at products incorporating traditional craft and modern interests.
Images courtesy CCIC and Bihar emporium
40
• organic forms with handcrafted texture
• Decoration with mithila painting style
• Livelihood support for women from their own homes.
• ‘Kachni’ - black ink lines, filling in between
• Use of bold colors & large eyes
• creation of object is more important than surface ornamentation
• Rarely find similarity between two objects
• Individual artists make one entire product – creation and painting
• Minimum tools and equipment for work
• Eco- friendly material and process
‘Kachni’ style - black ink lines, filling in between
42
Newspaper soaked in
water
Newspaper – Rs15./kg
Multani mitti : Fuller’s earth
Rs. 25/kg
Sand paper no.100
sponge
Zero number brush
Acrylic/ Pidilte paint
Fevicol or other local
water based glues
Methi (Fenugreek)
powder or powdered bark
of Dard Maida, a local
plant
43
Soaked paper being mashed well
1 Soaking
7 Layering
Drying
2 Mashing
Drying
8 Painting
3 Mixing
6 Leveling
Packaging
4 Creating
5 Drying
Selling
45
4 Kg of newspaper is soaked in a bucket of water for a minimum of 24
hours to 1 week
1
Soaking
2
The next day, the soaked pulp is torn into pieces with hands, beaten and mashed well for at least 5 minutes.
Mashing
46
This is kept on a plastic sheet and I Kg of multani mitti (Fuller’s earth) and 50g fevicol are mixed. In addition
either 50g of powder of ground bark of Dard maida or 250g of methi (Fenugreek) seed powder is mixed in the
pulp. The powder is added to avoid attack of insects and Fuller’s earth is added as a binding agent for the pulp.
3
Mixing
Paper mache pulp = 4kg newspaper + 1kg multani mitti + 50g Fevicol + 250g of methi (fenugreek) powder or 50g dard maida
The pulp is now ready to work with. The artisan starts by taking a piece from the pulp and starts creating the decided form. No
extra water is needed while moulding forms.
4
Creating
47
After the form is made, place it in the sun for 2-4 days to dry. In summer, the form dries
in even 2 hours, but in colder season, a few days are needed. One needs to check in
between so that the form does not become bent on one side. If it does, one needs to
press and correct it.
Once it has dried, put a layer of pulp (proportions : 1kg soaked paper + I Kg
multani mitti). This is done to create a uniform surface. Let it dry for 1-2
days. Use no.100 sand paper over the form to create a smoother surface.
5
Creating, Drying
6
Leveling, Drying
48
Now put Lep (layer) of thick multani mitti using a sponge
7
Layering, Drying
With a zero number brush, kachni style (lines with black paint) is done, then with
filling is done with different colors. Naturally made colors are not used, since
paper mache soaks too much color, hence lightens effect or brightness of the
color.
8
Painting, drying, packing
49
Craftspersons like Lalita Devi store dried paper pulp, lighter in weight & easy to carry to their training workshops
• In Salempur and most of Madhubani, paper mache is hand
moulded. This simple technique is very effective to create
interesting forms.
• Few people use stainless steel utensils as home moulds to
create utility products
• In Upendra Maharahti craft institute, plaster of paris moulds are
prepared. This gives one kind of form and the quality of each
piece being different is lost. But this technique is useful to
create a particular form in more numbers.
1)
Hand molded
2)
Home molded
3)
Prepared molded
Home moulds of stainless steel utensils
Prepared mould – plaster of paris
Hand molded
51
1) Hand molded
Handcrafting paper mache give one more
freedom to explore interesting forms and
concepts, which becomes restricting and rigid
with either home based or prepared moulds.
52
2) Home molded
Moulds available at home in form of stainless
steel utensils. After the paper mache is dried in
sun, it easily come off from the mould without
any effort.
With combination of hand molding, many
interesting decorations and forms can be
created.
There is a possibility of exploring many more
product with this simple and effective
technique.
53
3) Prepared molds
• This technique in used in Upendra Maharathi institute. Mould of Plaster of Paris is prepared from a clay mould. This Pop mould has
removable pieces, so as to remove paper mache form easily. Final outcome in this case is not too light due to the plywood support at
the back to hang it.
• The advantage of such a mold is that many intricate details can be created once and then products can easily be produced in mass
numbers.
54
• Soaked paper + Babol gond + Chalk powder as binding as well as whitening agent are all mixed
• On the finished product is applied a layer of varnish. Then copper powder sprinkled by blowing or with brush to give golden effect.
55
1)
2)
Hand molded
Home molded
Issue
Requires original creative visualization
Issue
If used as it is, restricted forms are created
Scope of work
Organic forms possible
Scope of work
Simple and effective method
Creative explorations of craftsperson
Combined with organic hand molded
form, many interesting forms can be
created
Variety of utility products can be made
easily
3)
Prepared molded
Issue
The master mold in clay
needs to be created with
details.
This is time consuming and
required fine expertise.
Scope of work
Many intricate details can
be created
Mass production is possible,
once the master mold in
plaster of paris is created.
56
Sr.no.
Name
Age
Village
Contact
Case study 01
Lalita Devi
60
Salempur
09006161247
Case study 02
Subhrada Devi
80+
Salempur
-
03
Nageshwari Devi
54
Raanthi
09576957620
04
Ved Prakash
25
Raanthi
07870120102
05
Malti Devi
48
Jitwarpur
09199948394
06
Rani Devi
35
Rajgram
08521904772, 08051905277
07
Pushpa Devi
50
Salempur
09162143417, 09771927304
08
Kiran Devi
37
Salempur
07250184235
09
Nirmala Devi
45
Salempur
07250184235
10
Vinita Kumari
22
Salempur
07761917039
11
Ranju Devi
35
Salempur
07764886117
12
Vibha Devi
35
Salempur
07782909572
13
Lalita Devi
50
Salempur
08581907388
14
Nirmala Devi
35
Salempur
09661866194
15
Manju Devi
35
Salempur
08986243917
16
Mantoriya Devi
38
Salempur
08294720190
17
Rekha Devi
35
Salempur
09334445937
18
Rinku Devi
28
Salempur
09955673467
19
Vinita Kumari
22
Salempur
09931479444
20
Lalita Devi
30
Salempur
08084473316
21
Parmila Devi
33
Salempur
07783897474
22
Geeta Devi
40
Salempur
-
23
Lalita Devi
40
Salempur
-
24
Savita Devi
25
Salempur
0918002667076, 08797484717
57
Artisan : Lalita Devi
Age : 60
Mobile no.: 09006161247
Active artisan, working since past 35 years
Award: Felicitated with State award, Bihar in April 2013
Training: Made mud articles since childhood, later learnt paper
mache from Subhadra Devi
Village: Salempur
Products: articulated forms for display, utility products.
tradition but yet having the potential to create modern forms.
Technique: only handcrafted. Uses home molds like tray, bowl etc.
Her expertise is creating interesting articulate forms. This special
quality results is a few of being art pieces. But the selling price is
not very different from other products which are commonly made
by other artisans too.
Family: lives with younger son. Lost older son in accident last year,
mother-in law, sister-in law and her family..Sister-in law, Meena
Devi, 45 years, and nephew’s wife, Gudiya, 22, years, sometimes
help her to paint products. Gudiya lives in New Delhi with her
husband and daughter and will not continue the craft.
Unfortunately her son Sudama does not intend to learn and
continue with the craft.
She has great ability to take inspirations and technique from
Few examples of Lalita Devi’s work, which show traditional techniques with potential to develop modern products
58
Earning: She sustains from workshop and training programs and
sometimes through selling her products in fairs. She also gives her
products to middlemen in Madhubani. Sometimes she Is able to
get Rs. 3 - 4,000 per month. Few products are also sold to a private
collector, who sells them through onlne selling portal. Sometimes
when invited to display in national and state exhibitions and fairs
like Pragati Maidan, New Delhi, Patna,Jamshedpur,Nainital, she is
able to sell few products.
Price of products : from Rs 150 to Rs. 1500
Issues: Despite working in dedicated way and being felicitated
with State Award, she is not able to earn well. Directly selling in
Delhi Haat, Dastkar is a huge investment and if products are not
sold, then she goes in a loss.
Due to working long hours with water, her hands are slowly getting
spoilt. This is an occupational hazard.
Lalita Devi displaying her work at Pragati Maidan
It is a pity that such a skilled craftsperson with a huge potential is
struggling since last 35 years.
Other activities: She also is sometimes involved in training
students of art colleges. Recently she was in Indore for giving
training on paper mache.
Skill of hand molded forms
59
60
Artisan : Subhadra Devi
Age : 80+
Mobile no.: Worked since the age of 15, was associated with Upendra
Maharathi institute. Retired
Award: Honoured with State award in 1980 & National award in
1992
Training: Encouraged by director Sengupta to jump from clay to
paper mache products at Patna
Village: Salempur
Products: traditional motifs like kohbar, elephant for marriage
ceremonies, mythological stories, utility items like flower pot, tray
etc. As a teenager, made products with clay, but later on was
encouraged to learn paper mache. She learnt the modern
technique, but gave it a unique identity with her skillful mithila
painting and forms carved out of traditional stories.
Few examples of Subhadra Devi’s work creating figurines from traditional and mythological stories
61
Technique: only handcrafted. No mold used.
Family: lives with her sons in New Delhi. None of her family
carried forward the craft. Visits her house in Salempur once in two
to three months but goes back to Delhi.
Earning: She worked as an employee in Patna as an artist. Now
she receives Rs.1000 as pension every month, which is meager.
But her sons are able to support her.
Issues: Though 20 years ago, she trained 20 women of Salempur
for the craft, only two women continued it. Craftswomen want
monetary assurance before committing to such work.
Individually it is difficult to sustain. But if a person gets order and is
able to give others, then it is possible. She considers herself lucky
as an artist to get recognition, but for the craft to survive, she
feels, women need to work as a group.
Figurines of Madhubani paper mache craft from as old as 15 years
are stored by craftsperson in a box in her house. These still are in a
good condition
62
Figurines depicting mythological stories and wedding ceremonies
63
03
Artisan : Nageshwari Devi
Age : 54
Mobile no.: 09576957620
Active artisan
Award: Honoured with State award
Training: Learnt from artisan Lakshmi Devi
Village: Raanthi
now also learn from her and help her make products to sell in fairs
and exhibitions.
Products: small decorative gift and display items like parrot, small
dolls, birds, utility items like bowls. Currently she is working on a 2
feet tall procures material from Tilak chowk, Madhubani.
Woman figure.
Cost of 1 doll – Rs.300
Cost of 1 parrot – Rs. 150
Earning: She is invited to display her products in stalls at several
fairs at Allahabad, Ranchi, Patna etc. Since Raanthi is well known
village for Mithila paintings too, many visitors also prove to be
potent buyers for her products.
Issues: Struggle to earn and sustain solely through the craft has
been quite a challenge.
Technique: handcrafts products as well as uses home molds like
stainless bowls, glass etc.
Family: Nageshwari Devi is a widow and lives with her brother and
his family. Her sister-in-law Raju Devi, 45 years and nephew’s wife
64
04
Artisan : Ved Prakash
Age : 25
Mobile no.: 07870120102
Active artisan
Award: His sister Hema Devi, 34 years, who received State award
in paper mache inspired him to learn the craft. She sometimes
comes home to work and store her products
Training: Learnt from artisan Lakshmi Devi
Village: Raanthi
Products: decorative items like
products like piggy bank.
Earning: Ved has finished B.com and is supported by his family.
Issues: He is pursuing the craft more as a hobby than profession.
The products made by him are not finished well.
hanging forms, dolls, utility
Technique: handcrafts products
Family: Sister Hema Devi is married and visits Ved in the village to
work together and store products. Their mother is Mithila painting
artist.
65
05
Artisan : Malti Devi
Age : 48
Mobile no.: 09199948394
Active artisan
Training: on her own. Has recently started working on paper
mache
Village: Jitwarpur
and Dheeraj and daughter Kalpana live in New Delhi and continue
painting professionally along with permanent jobs.
One can see how the condition of painting artists is way better
than that of paper mache artists.
Earning: The family is able to survive well with mithila painting on
paper, cloth, sarees and for hotels. They also train people in cities
and are able to charge fee for the same
Products: decorative bowls
Technique: uses only home molds like stainless bowls, glass etc.
For painting, they use natural color but on paper mache they use
acrylic color
Family: Malti Devi’s whole family is well known for Mithila
painting. Her husband Gauri Shankar Lal Das and youngest son
Pankaj Das have been living in Kolkata for the past year to work
with a chain of hotel on mithila painting.. Her older sons Neeraj
Issues: Malti Devi wants to expand her horizon from painting to
paper mache products. Since her family is quite skilled in painting,
she has an advantage to create beautifully painted products.
But she has not freely handcrafted paper mache and has always
used molds.
66
06
Artisan : Rani Devi
Age : 35
Mobile no.: 08521904772, 08051905277
Active artisan
Training: From her mother, legend Subhadra Devi
Village: Rajgram
Products: traditional forms like doli, kohbar,idols of gods &
goddesses
Technique: handmade only
Family: Rani Devi lives in a large family with husband, three sons,
husband’s brothers and their families. Her husband Akhilesh
kumar is quite keen on her continuing the craft on a larger scale
Issues: It is an irony that though she is the daughter of Subhadra
Devi, she has not been connected to marketing channels for her
products. Rajgram village is not famous for any craft and hence
seldom there are visitors. Therefore a major connection with the
outside world of customers is lost.
Rani Devi has not stocked even a few products, due to which she is
not able to apply to local organization as an artist to display in fairs
and exhibitions.
She was a teenager when her mother trained women of Salempur
and Rani Devi also helped her. Even if she arranges to teach few
women of her own village Rajgram, the craft will not survive
unless there is a self help group with a good market and demand
channel.
Earning: She is dependent financially on her husband, who
coaches school children and is an LIC agent.
67
07
Artisan : Pushpa Devi
Age : 50
Mobile no.: 09162143417, 09771927304
Not active artisan after a bad experience
Training: Subhadra Devi
Village: Salempur
Products: decorative and display items , hanging forms of gods
like Ganesh, Buddha, gave away most of products made till 5 years
ago to her daughter on her wedding
Technique: used only handcrafted technique. Her products are
intact even after five years. Pushpa Devi has a very delicated
manner to treating details on the product with paper mache eg:
jewellery on Buddha, decoration on Ganesha, small fish with
elephant form. Such interesting expressions of form do not seem
to be marketed well and hence the artisan has not got her due.
Family: Her youngest daughter Prabhati has completed her
graduation. Pushpa Devi lives with her husband, who works in
Indian Red Cross society and mother-in-law.
Earning: Earlier made a lot of paper mache products, but when
once was cheated by not getting paid, she left the craft and now
stiches clothes for village women as per order for her survival.
Issues: Like Lalita Devi, Pushpa Devi was vigorously involved in
working as a professional artisan for paper mache craft on order
basis. But 5 years ago, when a middleman did not clear her
payment for the products he bought, she left the craft forever.
She does not regret the decision since the payment for products
was anyways too less.
68
08
09
Artisan : Kiran Devi
Age : 37
Mobile no.: 07250184235
Potential artisan
Training: wants to get training for paper mache craft
Village: Salempur
Artisan : Nirmala Devi
Age : 45
Mobile no.: 07250184235
Potential artisan
Village: Salempur
Skills: has basic knowledge of paper mache. Under Subhadra Devi,
got trained 20 years ago, but did not practice professionally.
Skills: not skilled but interested to learn
Family: Her daughter Ritu Kumari, 18, is very keen on learning the
craft. She has tried making some things on her own but wants to
polish her skills
Earning: Kiran Devi’s husband Shri Sudhir Jha, works as a chemist
and sends her Rs. 3000 per month. They also have farm where
they grow wheat, rice
Issues: wants to know if the craft if profitable.
Family: Her daughter Arti, 15, wants to learn the craft.. Nirmala
Devi has four daughters, of which two are married. Her husband
Dinesh Jha works on their farm
Earning: The family tries to sustain through their farm, but it is not
enough. They feel an additional source of income will be great
help.
Issues: An initial investment in raw material is required. Hence
Nirmala Devi wants to be assured of the outcome
69
10
11
Artisan : Vinita Kumari
Age : 22
Mobile no.: 07761917039
Potential artisan
Village: Salempur
Artisan : Ranju Devi
Age : 35
Mobile no.: 07764886117
Potential artisan
Training: she was newly wed when women of Salempur were
trained, so was not able to learn, But now, wants to get training
Village: Salempur
Skills: kachni (traditional painting with use of lines) on paper with
calligraphy nibs
Family: lives with her parents. Her elder sister, who is married
now, used to paint and was her inspiration.
Education & Earning: Vinita is graduate in history honours from
Madhubani college. Her father Vinod lal Karn, is a medical
representative in Ranchi and supports the family.
Issues: Se wants to undergo training from artist Lalita Devi, who
she feels has a great amount of practical experience
Skills: knits sweaters for her family
Family: Ranju Devi’s husband,Pawan lal Karn, works in electronics
in Raanchi. They have 2 sons and 2 daughter, eldest is Sneha, 18,
studying B.com and wants to help her mother in this craft.
Earning: Ranju Devi sometimes knits sweaters on order basis for
people of the village. She charges approx. Rs.100 for half sweater
and Rs.200-250 for full sleeve sweater.
Issues: wants to learn the craft to work on order basis.
70
12
13
Artisan : Vibha Devi
Age : 35
Mobile no.: 07782909572
Potential artisan
Training: a young bride at the time, she could not get trained
under Subhadra Devi
Village: Salempur
Age : 50
Mobile no.: 08581907388
Potential artisan
Training: wants to get training for paper mache craft. Had come to
know late about Subhadra Devi’s training
Village: Salempur
Skills: has knitting skills and knits woolen sweaters for her family.
Family: Her daughter Khushbu, 15, is pursuing 10th standard. Her
sister-in-law, Rita Devi, is also keen on learning the craft.
Family: She has 2 sons and 2 daughter, all are married. Her
daughter-in-laws and grandchildren live with her.
Earning: Sudhir lal Karn, Vibha Devi’s husband runs a medical store
in Madhubani and provides for finances in the family.
Earning: Her husband, Ramvilas Mandal works as a munshi for
construction in Mumbai and sends the family some money each
month.
Issues: wants to contribute her earnings for her family
Issues: Wants to learn the craft for additional income
71
14
15
Artisan : Nirmala Devi
Age : 35
Mobile no.: 09661866194
Potential artisan
Training: wants to get training for paper mache craft.
Village: Salempur
Artisan : Manju Devi
Age : 35
Mobile no.: 08986243917
Potential artisan
Village: Salempur
Skills: Stitching on sewing machine
Family: lives with 2 sons and a daughter studying in school
Family: Has 3 sons, working in different cities, daughter is in 10th
standard.
Earning: She earns through stitching. Charges Rs. 40-60 for a
blouse, Rs. 20-35 for petticoat. Her husband Deven Saah sells
vegetables in Delhi and is not able to send enough money at
home.
Issues: There are times when she does not get order for stitching
and is not able to earn. She feels an alternative skill will help her
earn for her family.
Earning: Her husband Bhawan Kamath, has a government job in
sichaai vibhaag, mitti jaanch. They have farm where wheat, rice,
masoor daal is grown.
Issues: wants to work on order basis like Lalita Devi.
72
16
17
Artisan : Mantoriya Devi
Age : 38
Mobile no.: 08294720190
Potential artisan
Training: very keen to get training for paper mache craft.
Village: Salempur
Artisan : Rekha Devi
Age : 35
Mobile no.: 09334445937
Potential artisan
Village: Salempur
Skills: farming skills
Skills: does not know any hand work
Family: Has 2 sons & 2 daughters; all studying. Her mother-in-law
also lives with them.
Family: Has 3 sons & 1 daughter; all studying.
Earning: Her husband Shiv Kant is a laborer in Mumbai. But since
he is unwell, he is at home. They do not have farm, hence it is
difficult to sustain. She works as a laborer in other people’s farms
during sowing and harvesting season.
Earning: Her husband Jagdish Kamath is a labourer as per need
during sowing & harvesting season. The family is dependent on
him financially
Issues: needs to know the craft to earn on her own
Issues: needs to know the craft as an alternative for earning in
non-farming season
73
18
19
Artisan : Rinku Devi
Age : 28
Mobile no.: 09955673467
Potential artisan
Village: Salempur
Artisan : Vinita Kumari
Age : 22
Mobile no.: 09931479444
Potential artisan
Village: Salempur
Skills: crochet work to make shawls, door hangings
Skills: stitching on sewing machine
Family: Has 3 sons & 1 daughter; all studying.
Family: Lives with parents, brothers, sister-in-laws
Earning: Her husband Ramesh Kamath is a laborer in mumbai and
sends them some money every month.
Education, Earning: Has completed her B.A. Her brothers help her
financially. Sometimes stitches clothes on order basis and is able
to earn.
Issues: needs to know the craft to earn on her own.
74
20
21
Age : 30
Mobile no.: 08084473316
Potential artisan
Village: Salempur
Artisan : Parmila Devi
Age : 33
Mobile no.: 07783897474
Potential artisan
Village: Salempur
Skills: not skilled but interested to learn and wants to take it as
livelihood
Skills: not skilled but interested to learn and wants to support her
family
Family: Lives with two sons and in-laws
Family: Lives with 2 sons and 3 daughters; all studying in school
Earning: Her husband Dhaneshwar Kamath has a private job as a
cook in Kolkata. He sends overaround Rs.3000 per month, which is
difficult. They do not own farms.
Earning: Her husband Shankar Kamath works in Mumbai in a
restaurant and sends her some money.
Issues: Does not know much about paper mache craft, since the
village system does not allow women to freely go to other
women’s house and know about their work.
75
22
23
Artisan : Geeta Devi
Age : 40
Mobile no.:
Potential artisan
Training: Had taken training from Subhadra Devi but did not
continue the craft. wants to get trained now
Village: Salempur
Age : 40
Mobile no.:
Potential artisan
Village: Salempur
Family: Lives with her husband Gulab Kamath and two sons and
daughter-in-laws. Her daughters are married and settle in different
places.
Family: Lives with two sons. Two older sons are in working outside
village.
Earning: Her husband Brahmadev Kamath is a labourer for farming
and supports them financially. They do not own farms
Earning: Her sons support her financially. Do not own farms
Issues: wants to relearn the craft and involve her daughter-in-laws
too
76
24
Artisan : Savita Kashyap
Age : 25
Mobile no.: 0918002667076, 08797484717
Potential artisan
Training: very inclined to learn paper mache craft.
Village: Salempur
Skills: not skilled but interested to learn but has skilled people in
her family to support
Family: Lives husband and mother-in-law. Her mother-in-law has
been an expert in making cloth dolls.
Earning: Her husband supports them financially. They also have
farms.
Issues: deeply wants to learn the craft and keep it intact following
Subhadra Devi’s example.
77
03
Design Audit Report
Issues, concerns & opportunities
Study of existing Product design, redesign, new product development and product diversification
ISSUES & CONCERNS
Product Range : Traditional motifs like kohbar, doli have relevance
only in wedding rituals of mithila region. Hence cities and other
parts of the country are not able to relate to them
Characters from mythology end up being display and in the
modern day need to be rethought of.
Utility items common, restricted to tray, pen stand outdated, need
new designs
Though there is motivation to create new things, the artisans need
some guidance in terms of orientation towards to upcoming urban
markets
Wedding custom only in Madhubani region.
Limited market opportunity in urban scenario
The beauty of the hand crafted products is their organic visual
character. This feeling is lost looking at structured products like
tray, pen-stand
OPPORTUNITIES
New areas to be explored : education, children products,
lightweight furniture, safe and eco-friendly building blocks, toys,
do-it-yourself kits etc, Lightweight Jewellery
Bold forms need to be incorporated well in innovative design
products
Tray, pen stand etc. are very common and not
too interesting products
79
Study for research and development directions for future initiatives
ISSUES & CONCERNS
•
They do not have enough funds, time and expertise to carry
out research and development on a regular basis.
•
Few artisans like Lalita Devi, Nageshwari Devi who are exposed
to a wider market opportunities due to being invited to display
at fairs and exhibitions are able to grasp market culture. But
without guidance in design and marketing, even they are not
able to produce new things.
•
Objects involving critical ergonomics require some guidance
from designers in terms of proportions.
This product
combines the
traditional diya (oil
lamp) stand with
the modern
toothpick stand for
weddings.
But this Toothpick
cum diya stand is
too long.
Sometimes products involving
critical ergonomics are not well
thought off. In this case, the
bangle is too big for a normal
human hand
80
OPPORTUNITIES
• Amalgamation of materials with paper mache will bring out a
variety of new ideas
• With good market response, the artisans are very well able to
articulate for urban market.
• A few selected concepts can give way to many ranges of
products for a long time.
• Each artisan will be able to depict concepts according to their
own perspective and bring out newer things. With good market
opportunity, support can be provided.
Diya embeded in lady form.
Copper wire used to hang fish
form. Gives interesting concept.
Broomsticks and jute used as
interesting portions in paper
mache product. Such
amalgamation can be used
more often. Khar (left) is are
burnt for traditional puja.
81
Visual identity and branding from communication design point of view
ISSUES & CONCERNS
• There is absolutely no visual identity for the clusters as they
rarely sell the products directly to the final consumers.
• There is no proper documentation/ catalogue of traditional and
non-traditional products made in Salempur
• Artisans do not have any photographs to show earlier or sold
work
OPPORTUNITIES
• Branding : Branding under a common group of artisans
Products without any tag of common local brand of people of
Madhubani. Shop owner are able to convey only some verbal
information to tourists from India or abroad
created in Salempur will be essential. Otherwise, private
collectors will exploit the artisans and sell the products under
their own brands, without giving due credit to the craftsperson.
The idea of having a common visual identity and branding for
the cluster was well accepted. The concept of common brand
building like “Mithila’s Paper Mache”will help them to create an
identity for themselves.
• The Branding should be done by Ambapali Bihar Emporium in
New Delhi and they should provide services for boosting
marketing in Delhi and state capitals.
• Captions or Stories: Some interesting forms or combinations
82
which the artisans make themselves, need to be accompanied
by an interesting caption or story. Even existing traditional
products, when accompanied by stories will help relate the
customer to the object and therefore sell better.
• Catalogue: A product catalogue is a must and also presence of
products online as a part of the brand will be of great help and
reach larger audience.
• Stores : List of stores and online selling portals can be
indicated for the products on the site of the local brand
• Documentation online: A comprehensive documentation of
Madhubani’s Paper Mache craft will be a great source of
information for the people and to understand the craft.
• Handcrafted
promoted: Promote the
handcrafting original and interesting forms.
concept
of
• Short promotional Films: Short promotional films should
be commissioned to practicing designers and design students
on paper mache development process and highlight the master
craftspeople and their work. This could be available on public
domains like YouTube etc.
The artisans of Salempur, Madhubani district,
Bihar present to you interesting handcrafted
products with their skills of paper mache and
mithila painting.
Sample tag (front): Name tag
of local Brand and skilled
artisans of Salempur,
Madhubani
This product called ‘Kohbar’ is
alkejreojfdx,mf;lskf;xl;sl;d/.,e kjdsocxjmk.,x
sodkncxkmsd x sijdzcxlkm, osijdznxc
ooiksjcxmoidjzkclmx spdkjmc epdjkscmx
speodkm eojdsx esdojc wefdscojpo wefsdpkn
wfdsncpk wsfpodjc wefodcjp sefdscjnkl
wefosdjpnkl fesodcnp wefsojpdn grojp grwoj-rp
Sample tag (back) :
Explanation or story of the
product
83
Market and competition study for design advantage and distinction
ISSUES & CONCERNS
• The craftsperson is not given due credit, since name is not
revealed on social networking sites for online selling. Therefore
local branding as a group of Salempur is necessary. This should
be done by Ambapali Bihar Emporium, New Delhi
• Many a times, payment of the craftsperson is cleared only if the
products are sold. Thus investment gets stuck for the
craftsperson, who waits to start more work. This is a very
negative feature for any creative field.
Emporiums place an order every 15 -30 days for products.
• Directly selling in Delhi Haat, Dastkar is a huge investment and if
products are not sold, then craftsperson goes in a loss.
• Central Cottage Industries Corporation (CCIC), Delhi and Bihar
emporiums need to put the display of products more
prominently and creatively.
OPPORTUNITIES
• Forming an association of paper mache artists in Salempur is
important. They should bills and all payment should be cleared
on purchase of the products.
• Two or more local resident like school or college going children
of the village must have basic knowledge of the internet to help
artisans in their families display new product range online.
Online selling portals like i-tokri and Lokatma are involved in selling
the products through social networking sites
84
Study of display
ISSUES & CONCERNS
• In emporiums and shops in Delhi, paper mache masks and wall
hangings were kept in closed glass boxes instead of displaying
on walls.
• The products were at a height where they were not visible to
adult eye level.
•
Other products Madhubani region displayed vaguely in
between products from other states.
• There was no written information about the specialty of the
region and the craft. No information about the product too.
Products of paper mache, Madhubani in a closed
display at a non visible height.
OPPORTUNITIES
Promotional posters with information about the unique paper
mache craft of Madhubani and product range, to be given to all
concerned emporiums, shops and hotels in Delhi, Patna
Every product should have a small tag indicating some information
about the
a) product
b) craft
c) Region
d) Website of the brand and link to promotional video
Doli from Madhubani region displayed vaguely in
between products from other states.
85
ISSUES & CONCERNS
• Kashmir’s paper mache products are very well known and
popular. They have been given a whole room for display at CCIC.
Madhubani’s products neither have the variety nor the amount
of products in comparison.
• Products are displayed in the basement of emporium, so often
customers only buy from the ground floor
OPPORTUNITIES
• If mass production as well as variety is present, there is a good
possibility of display and selling of Madhubani’s paper mache
products in CCIC and Bihar emporiums in Delhi and other main
cities..
Full separate room for Kashmir’s paper mache products
• CCIC and Bihar emporiums are also a hub for many tourists. So
if the products are promoted with proper information about the
craft, region, style and craftspeople, the market can prove to be
very profitable to the craftspeople directly.
Products are displayed in the basement of emporium,
so often customers only buy from the ground floor
86
Madhubani game - papier mache snakes &
ladder
Rs. 285
Madhubani bin - papier mache
Rs. 750 – large, Rs. 550 – medium, Rs. 475 small
Madhubani aggarbatti stand - papier mache
frog
Rs. 325
Madhubani lampshade- papier mache
Rs. 350
Madhubani diya stand - papier mache
animals
Rs. 100 per piece
Madhubani diya bowl - papier mache
Rs. 325
Madhubani Doli- papier mache
Rs. 323
Madhubani wall hanging- papier mache sun
Rs. 285 – large, Rs. 152 - small
Pricing as seen in Central Cottage Industries
Corporation (CCIC) & Bihar emporium, New Delhi
87
Brand: Indiacraft
Madhubani tray - papier mache elephant Size-11" X 11"
Rs. 345
Madhubani wall plaque or tray - papier mache bird on tree-12" X 12" (mbtpm1212pf)
Rs. 345
Madhubani pen holder - papier mache flower motif Size-Ht 4" Dia-3" (mpps43fbt)
Rs. 138
Pricing at online sites, emporiums = buying price from artisans + 30-40% store cost
It is important that local association of paper mache artisans, Salempur is mentioned as a brand on the product tags
Pricing on online selling portals
88
Craftsperson
Private collectors
International
fairs,
exhibitions
National Fairs &
Exhibitions
Agents
Emporiums
Online selling portals,
social networking sites
Store
Marketing
networks
Customer
89
Study of Technology, modernization and collaboration scope
ISSUES & CONCERNS
• Many artisans used home molds like utensils to make products.
It is important to incorporate hand crafted forms, since it is the
specialty of the region. Hand molding is unique and artisans can
create many interesting forms.
OPPORTUNITIES
• Moulds of clay or plaster of Paris can be introduced so that one
can have mass scale production in less time. This will help
artisans create popular forms more often. This process is
practiced at Upendra Maharathi crafts institute, Patna. Molds
like steel bowls, trays etc. can be used to as a base with
addition of hand molded forms to created interesting products.
•
Paper mache products using mold at Upendra
Maharathi crafts institute, Patna
Intricate details can be achieved in the products through the
mold, without creating in each piece separately.
90
Identify scope for innovation in process and related areas for design intervention.
ISSUES & CONCERNS
• Drying is problem in monsoon and winter season. Most of the
work is done from March to June. In September and October,
work is slowed down, but from November to March, it is not
done.
• Natural color from plants, flowers is not used since it gives a
faded effect
OPPORTUNITIES
• Traditional method of heating sand on chulha and drying paper
mache (like clay) can be tried in winter.
• Instead of painting with details with natural colors, give the
product a base of natural colors like Geru (for earthy color) and
Henna (green color). Use of natural colors will retain the color
making art of the region and also give a special quality to the
product.
Geru and mehendi colors used to color paper mache products
from Rajasthan. Decoration done with viscous ceramic mixture in
cone.
91
Study of scope in workstation and tooling design
ISSUES & CONCERNS
• Measuring tools and Molds specially for products with critical
ergonomics is required.
• Tool for drying products in winter is required.
• Due to working with wet paper pulp, skin of the hands of
craftspersons is affected
OPPORTUNITIES
• Simple tools made out of clay can be used for uniformly
spreading paper mache mix.
• Advantage of this craft is that it is can be done anytime at
home. This is very effective for women’s livelihood support
because they can do this at home as per their convenience.
• In between household chores and taking care of children, they
can take out time to create products
• Plastic gloves can be introduced specially in the process of
preparing paper pulp
Simple tools used in Upendra Maharathi
craft institute
92
Study of training and skill up gradation opportunities
ISSUES & CONCERNS
• No new innovative products
• Production of repetitive products
• Need to learn techniques for mass production
OPPORTUNITIES
• Craft and Design workshop
• Awareness of marketing skills
• New product development needed
• Packaging skill for selling and transportation
• Special schemes for motivating craftspeople to teach their
children and continue the tradition of this craft
93
Study of ergonomic and environment factors in MSME premise.
ISSUES & CONCERNS
• Soaked paper can give a foul smell if kept for a long time.
• Since paper is soaked in water, there is a chance of mosquitoes
breeding. This can give rise to diseases.
• Due to working with wet paper pulp, skin of the hands of
craftspersons is affected
OPPORTUNITIES
•
Containers for soaking can be kept covered.
• The houses have verandahs and open spaces, where the
artisans are able to work. Hence the work space is safe and
comfortable.
• Craftswomen can meet and work together at a common facility
center.
• Plastic gloves can be introduced specially in the process of
preparing paper pulp
94
Identify packaging and logistics related design opportunities
ISSUES & CONCERNS
• Regarding packaging, the artisans use paper to wrap the produc
ts. Sometimes they also use plastic, but tit is not eco-friendly.
• If not well packed, there is a chance of the products breaking
during transport.
OPPORTUNITIES
• Using paper bags, since it is the basic raw material of the
product and hence matches the ideology.
• Painting skills can be utilized to create beautiful packaging
Plastic gives a very unnatural feeling to the 100% biodegradable product.
• Since many women know stitching, cloth bags can also be an
alternative, specially for expensive products to give justice to
the packaging.
To transport, the articles are packed in a box and sent
through courier. An artisan once had all her products
returned back, since they were broken during courier.
95
Study of infrastructure and capability enhancement from design perspective
ISSUES & CONCERNS
• Storage and display space not available.
• This is needed for mass scale production.
• Proper space for protection from rain.
• Display space for tourists to visit and buy on spot
OPPORTUNITIES
• Common space for storage and display of products in the
village.
• Such common facility centre can also provide an alternative
work space for artisans.
• Exhibit products for selling on spot
Dried paper mache products before painting, stored in one corner
of cooking space, along with utensils, oil bottle etc.
• Storage for raw materials and finished products.
• Space for keeping soaked paper.
96
Study of design opportunity for Inter cluster communication
ISSUES & CONCERNS
• Paper mache craft , Madhubani is Overshadowed by the mithila
paintings. The painting was promoted so well by Bihar
government, that other crafts, specially paper mache has
suffered a great decline.
• From procuring raw material, to creating forms and painting
them, everything is done by an individual craftsperson. Hence
dependency on other craft cluster does not exist. Even today,
the women do not visit each other’s homes without specific
purpose.
OPPORTUNITIES
• Selling through a common brand, set up by the craftswomen of
Salempur will improve communication as well as provide ease
for marketing by dividing responsibilities.
97
04
Recommendations & Conclusion
2.
Market links need to be established more.
1. The products are lightweight and hence easy to be carried by
tourists in airlines.
2. No health hazards. Chemicals are not used in the process of
making or finishing. Since the craft does not have dust or
chemicals, it has no side effects. Pregnant women, young
mothers with children nearby, can easily practice the craft.
3. Unlike terracotta, paper mache products do not need to be
fired. They only need to be properly dried in the sun.
4. The raw material like newspapers, discarded notebooks is
easily available in plenty and recyclable. So this is an ecofriendly craft.
5. Very low investment for tools and equipment is required.
6. Heavily skill based. Therefore human creativity is used.
1. CCIC, Bihar Emporiums provide a useful platform for the
products to be sold well, since many tourists from all over the
world visit them.
2. Branding and selling through a group of local crafts persons,
will help establish a unique identity of the craft and the place.
3. A vast opportunity to develop a range of new products for
urban markets is present. This can provide large business
opportunities.
1. The next generation does not want to continue the craft as
livelihood. There has to be special institutional plan to tackle
this concern.
1. Product concepts developed are old. New innovative products
are not being made.
99
Limited Product Range
Currently hand molded products
Hands of crafts persons spoil slowly due to working
long hours with water
Difficulty in selling products
Products are packaged in crumpled paper
Display of products in emporium not prominent
New generation not interested in continuing the craft
as livelihood
Need for variety of products
Design intervention at regular intervals
Combining techniques of of simple home mold and hand molds can be
explored
Introducing use of plastic gloves, at least for the preparation of paper pulp
Branding and promotion of specialty of Madhubani’s paper mache craft
required. Every product should have a small tag indicating some information
about the product, craft, region, website of the brand and link to
promotional video
Neat paper or cloth packaging to be designed for products
Promotional posters with information about the unique paper mache craft of
Madhubani and product range, to be given to all concerned emporiums,
shops and hotels in Delhi, Patna
There has to be special institutional plan to tackle this concern.
100
Sustainable Market
101
The need assessment of this project provided an
overview of the issues, problems and possibilities for development
of this craft and crafts persons.
The first and the foremost need is designing range of new,
interesting products, which are contemporary and also have utility
value or gifting possibility. Till now, traditional mythology, wedding
products, common utility items were made. But what is required is
a deeper understanding of the upcoming urban market and
therefore an urgent design intervention. Due to the Design
Awareness program, along with Upendra Maharathi Shilpa
Anusandhan Kendra, Patna, the first step will be taken through a
Design workshop for the cluster. Designers and design students
should be involved in the process of idea development every 6
months in collaboration with the emporiums and craft
communities.
Once design intervention takes place at regular intervals, market
opportunities are many and need to be expanded through
promotion. Ambapali Bihar emporium, New Delhi must create and
evolve local brand for marketing and promotion of paper mache,
Madhubani.
Recognized craftspersons like Lalita Devi, Subhadra Devi,Salempur
and Nageshwari Devi ,Raanthi have created a deep interest in the
community to get training for the craft. But it is only through
effective marketing, variety of innovative products and mass
production that the craft can survive and give interesting way to
the society. Ultimately, once the crafts persons are happy and
satisfied with marketing, they will responsibly keep burning the
light of the special region.
a) There needs to be a huge variety of products to display and
choose from.
b) There has to be large production of products by local crafts
persons.
c) promoting the specialty of paper mache craft of Madhubani
region.
d) Developing a website, specially for the paper mache
community and link it with various other websites of Bihar
state craft, emporiums.
e) Short promotional films should be commissioned to practicing
designers and design students on paper mache development
process and highlight the master craftspeople and their work.
This could be available on public domains like YouTube etc.
f) Emporiums in every state, should prominently display the
variety of designed products of paper mache, Madhubani.
g) System for receiving feedback from customer to designer and
craftpeople should be provided.
There is need for active promotion and branding the products of
Madhubani under an association of Salempur. It is necessary that
the local common brand has an online selling portal too.
102
http://www.craffts.com/home-and-furnishing/decor/lampshades-and-lamps/kruppke-p419.html
http://www.qartoos.com/madhubani-paper-bin-colourful-bird
http://www.shakiraaz.com.au/madhubani-handpainted-pen-holder-2.html
http://www.dollsofindia.com
https://www.facebook.com/itokri
https://www.facebook.com/Lokatma.Art.India
http://www.biharjagran.com/culture.php
http://en.wikipedia.org/wiki/Bihar#Agriculture
http://mospi.nic.in/mospi_new/upload/census_2012/handicraft/Bihar.pdf
http://artisangilt.com/papier-mache
http://www.dsource.in/resource/papier-mache-mask/index.html
http://www.cohands.in/handmadepages/book207.asp?t1=207&lang=English
http://creeksideartgallery.com/articles/art_of_takaan.html
103
REPORT ON DESIGN CLINIC WORKSHOP
Paper mache cluster, Salempur,
Madhubani, Bihar
2 – 6 December 2013
Conduted by : Surabhi Khanna
Design expert
Organized by : Upendra Maharathi Shilpa Anusandhan Kendra, Patna
In association with : National Institute of Design, Ahmedabad
Supported by : Design Clinic Scheme for MSMEs, Ministry of MSMEs
Design intervention workshop for paper mache cluster, Salempur, Madhubani, Bihar was conducted from 2-6
December 2013 under Five-Band Design Clinic Scheme. This workshop was felt strongly required after the
submission of the Need Assessment Survey Report.
The workshop was planned based on issues and opportunities identified during the Need Assessment Survey. It
was found that the paper mache craft was depleting from the region. Many women from the cluster
participated in the workshop as first time learners. This was the first successful step.
Design intervention workshop| Paper Mache cluster, Salempur| 2-6 December 2013 | Surabhi Khanna
105
As part of the project, need assessment survey was done in
Salempur. The following were observations which led to the need
for a design intervention workshop.
1. Madhubani style of paper mache craft is a great heritage,
which is unfortunately a declining craft.
2. Only a few crafts person are actively working in this craft.
During the survey, detailed interaction was done with the only
two practicing master crafts persons in the village namely Smt.
Lalita Devi and Smt. Subharada Devi.
3. The new generation is not motivated due to limited income
from the existing products.
4. The existing product ideas are outdated as they based on
mythology or local ceremonies only, which is not appealing to
the urban market.
5. To bring this great heritage out of distress, design intervention
in form of new, fresh ideas for contemporary market was
required.
Existing themes of products
Mythology
Wedding ceremonies
Miscellaneous containers
106
Figurines depicting old and local themes by crafts person Smt.
Lalita Devi
Figurines depicting mythological stories and wedding ceremonies
crafts person Smt. Subhadra Devi
107
1. New product range and variety : The existing products
made by master crafts persons are conventional and based on
local themes, hence outdated for the urban market. The need
assessment survey brought out the urgent requirement of
product diversification through the design intervention
workshop.
2. Supporting the craft & crafts persons : The background
need assessment survey brought out that although the craft is
well known, actually only very few master crafts persons are
active. It was important to generate awareness and interest
among new learners and the young generation, for the craft to
survive. Also it is important to develop new designs and
product range to create confidence amongst practicing artisans
to continue the craft.
4. Simple techniques :Since not all the participants in the
workshop were as skilled as the master crafts persons like
Lalita Devi, Subhadra Devi, it was important to introduce
simple methods to develop many products.
5. Mass production using utensil – mold & hand craft
skills: Available molds from home like steel bowls, plates etc
were utilized along with hand craft skills and creative
expressions. This helped bring out variety of concepts with due
efficiency and speed.
6. Promoting gift products :The survey brought out a need
for a range of gift and low cost products for quick production
and large scale selling.
3. Considering First Timers : Majority of the participants in
the workshop were first time leaners. Therefore the workshop
was designed in a manner that first the participants could work
on basic molds to make a utility product and later create hand
molded forms to enhance the product. This was very well
received by the participants
108
Coverage of design clinic workshops in Madhubani district in Dainik Jagran, 3rd dec 2013. The picture on the left shows
the inauguration of the design intervention workshop in paper mache cluster, Salempur, Madhubani
109
Sr.no.
Name
Age
Village
Contact
Sr.no.
Name
Age
Village
Contact
01
Lalita Devi
60
Salempur
09006161247
21
Vinita Kumari
22
Salempur
09931479444
02
Rani Devi
35
Rajgram
08521904772, 08051905277
22
Vibha Devi
27
Salmepur
09931479444
03
Pushpa Devi
50
Salempur
09162143417, 09771927304
23
Lalita Devi
30
Salempur
08084473316
04
Prabhati kumari 21
Salempur
09162143417, 09771927304
24
Parmila Devi
33
Salempur
07783897474
05
Kiran Devi
37
Salempur
07250184235
25
Geeta Devi
40
Salempur
-
06
Ritu Kumari
18
Salempur
07250184235
26
Lalita Devi
40
Salempur
-
07
Nirmala Devi
45
Salempur
07250184235
27
Savita Devi
25
Salempur
8002667076
08
Arti Kumari
15
Salempur
07250184235
28
Shitli Devi
65
Salempur
-
09
Vinita Kumari
22
Salempur
07761917039
29
Pooja Kumari
19
Salempur
-
10
Ranju Devi
35
Salempur
07764886117
30
Subhita Devi
30
Salempur
-
11
Sneha kumari
18
Salempur
07764886117
31
Rinku Devi
28
Salempur
-
12
Vibha Devi
35
Salempur
07782909572
32
Julie Devi
27
Salempur
-
13
Khushbu kumari 18
Salempur
07782909572
33
Rita Kumari
18
Salempur
-
14
Rita Devi
36
Salempur
07761917039
34
Chandni Kumari
19
Salempur
-
15
Lalita Devi
50
Salempur
08581907388
35
Geeta Devi
60
Salempur
-
16
Nirmala Devi
35
Salempur
09661866194
17
Manju Devi
35
Salempur
08986243917
18
Mantoriya Devi
38
Salempur
08294720190
19
Rekha Devi
35
Salempur
09334445937
20
Rinku Devi
28
Salempur
09955673467
110
There was an overwhelming response of 35 participants,
registered for the workshop. Majority of the participants were
fresh learners in the workshop.
Day 3
Creating hand molded forms on dried basic molds
of day 1
Design input session
layering and finishing dried small products of day 2
Keeping all products to dry
The schedule was planned, considering drying time in winter sun,
making time by first time learners and time for painting.
Day 1
Morning session
Introduction of workshop
Preparation of paper pulp mixture
Deciding products from sketches suggested by
Designer & making molds under guidance of
craftsperson Smt. Lalita Devi’s
Placing paper pulp molds to dry
Afternoon session
Inauguration session
Material preparation – soaking paper
Day 4
Selecting dried large products
Layering and finishing large products of day 1
Painting dried small products
Day 5
Painting the products
Displaying products for on-site exhibition
Photography of exhibition
Concluding session with plan of action
Day 2
Making sketches for small products
Selecting type of products and assembling them
with design inputs from Designer and under
guidance of practicing crafts persons
Keeping all products for drying
111
Participants at work on first day. Women mixing paper pulp and multani mitti, many for the first time
1. Special trays with
bird and animal
form integration
with basic mold
2. Bowls with
variety of forms
for different uses
3. Range of jewelry
ideas
4. Souvenirs :Fridge
magnets
5. Diya and candle
stand
113
Participants guided to choose product and using steel utensils to create basic molds with paper mache pulp
114
First day : participants deciding kind of product and taking a utensil to create a basic mold.
Participants making products using basic molds
Participants placing products of day 1 for drying
New ideas made on first day, being dried in open
Creating various forms on dried basic molds of steel bowls
Creating various forms on basic dried paper mache molds to develop various final products
120
Design consultation for participants during the workshop
121
Examples of sketches made by participants for ideas for small products
122
Working on details of small products using magnets, ear ring hooks, candle, diya etc. with paper mache pulp
123
Participants painting the products
124
Idea development : Special tray - bird
form integration with basic mold
Idea development : Bowls with varied forms
Idea development : Special tray – twin bird form
Idea development : Souvenir Fridge magnet
Idea development : Special tray - figurine
Idea development : Special tray - bird
Idea development : diya stand with animal forms
Idea & display development : Ear rings
displayed on leaves
The main objective of the ideas was to introduce the range of concepts suitable for
urban and metropolitan markets, which is largely missing in the existing situation
125
Note : The prototypes shown in the these photographs are concept development. They will be made individually by artisans with intricate finishing
after the workshop to be sold in the market.
127
Souvenirs in various forms as fridge magnets, created excitement
in amongst the participants.
The practicing artisans immediately saw a great scope for selling
such small, lightweight products in large numbers in urban fairs.
128
The idea of displaying the ear rings on a sturdy kathal or jackfruit leaf suggested to the cluster, was found to be fascinating.
Practicing artisans had unsuccessfully tried to sell ear ring using crude copper wire.
In the workshop, available ear ring loops from the market were used. The final product looked neat and the artisans showed interest in
developing the product for market opportunities.
129
Freshly painted ear rings, displayed on fresh green leaves.
130
Special tray - bird form is an integration with basic
mold, which proved to be a very effective method for
fresh participants in terms of simplicity and variety.
131
Special tray – figure- form integration with basic mold, proved to be a very effective method for fresh participants in terms of simplicity
and variety.
132
133
Special tray - bird form is an integration with basic mold, which
proved to be a very effective method for fresh participants in
terms of simplicity and variety.
134
Special bowl depicting the region – by using various forms with
basic bowl molds, there becomes possibility of creating interesting
concepts and a large variety in the product range.
135
136
137
New Themes of
products
1. Special trays
with bird and
animal form
integration
with basic
mold
2. Bowls with
variety of
forms for
different uses
3. Range of
jewelry ideas
4. Souvenirs
:Fridge
magnets
5. Diya and
candle stand
An overview of range of themes of products developed in the workshop. The community can continue some of the old ones and
gradually introduce the new ones, which will be more welcomed in the urban and metropolitan markets.
138
1. The background need assessment survey brought out that
although the craft is well known, actually only very few master
crafts persons are active in the craft.
7. The quantity and quality output from the workshop exceeded
the expectation. All the concepts are new, yet related with the
style and identity of this craft.
2. Majority of the participants in the design intervention
workshop were first time learners, inclined to practice the
craft.
8. Upendra Maharathi Shilpa Anusandhan Kendra, Patna provided
satisfactory support. They deputed their officers, both for the
survey and the workshop. It is also appreciated that they took
the prototypes with a purpose to exhibit. They also arranged
photo documentation.
3. The existing products made by master crafts persons are
conventional and based on local themes, hence outdated for
the urban market. The need assessment survey brought out
the urgent requirement of product diversification through the
design intervention workshop.
9. It will be a good idea to place an order based on the concepts
and make a trial marketing in emporiums.
4. The need of the hour is fresh, new product range for urban,
contemporary market with local techniques and facilities.
10. The response of the crafts persons was overwhelming. The
master crafts persons seemed very keen to make and sell
these in the next fair.
5. In spite of difficulties in drying in winter sun, the participants
were able to tackle the handicap and were surprisingly able to
bring out a number of range of new ideas.
11. The workshop did not use any expensive or special equipment
and explored the existing skills and techniques available with
the community.
6. It was very heartening to see that 35 participants came to the
workshop and worked very hard, despite no monetary
compensation. The overall response of the participants was
very positive and none of them dropped out of the workshop.
139
Participants with Designer displaying outcome of workshop

Paper mache craft cluster, Salempur, Madhubani, Bihar

Transcription

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