Thursday, 26 May 2016

IMPORTANCE OF LEATHER HANDICRAFT GOODS OF INDIA

IMPORTANCE OF LEATHER HANDICRAFT GOODS OF INDIA

“Craft” usually means a pastime or a profession that requires particular knowledge of skilled work. In a historical sense, particularly as pertinent to the Middle Ages and earlier, the term is usually applied to people occupied in small-scale production of goods, or their maintenance, for example by tinkers. The traditional terms craftsman and craftswoman are nowadays often replaced by artisan due to involvement of a substantial amount of art techniques in developing the products
A handicraft precisely communicated as “Artisanal Handicraft or Handmade”, is making useful and decorative objects completely by hand or by using only simple tools. It consist of a wide range of creative and design activities that are related to making things with one's hands and skill, including work with moldable and rigid materials such as  textiles, leather, wood, clay, metal, Bone, horn, glass, stone, paper, plant fibers, etc. Usually the term is applied to traditional techniques of creating items (whether for personal use or as products) that are both practical and aesthetic.
The use of leather had begun for the first time when man hunted wild animals for his food. He realized the usage of leather for the purpose of clothing and others, once his food requirements fulfilled .It got further boost when he settled down and domesticated cattle. Hide from cattle, deer was used to make clothes and footwear. In India the tradition of leather handicraft goes is running from last Indus valley civilization. There are several references in ancient texts about the use of animal skin. The tradition of leather crafts in India is over all proved by ancient sages. They use to sit on deerskin for having deep meditation and other works. Leather handicrafts manufacturers is not only used in making clothes and footwear but also in making smaller products such as caps, bags, purses, saddles, armor, lamp shades, box, decorative, animals etc. In the rural areas of India, hide from cattle and camel is locally cured and after tanning, it is used to make different items.
In this modern era, leather handicrafts in India have become a big industry. It offers not only for local needs but also the off shore market. There are various utilitarian items like shoes, jackets, lampshades, pouches, bags, belts, wallets, stuffed toys etc made from leather and they are widely exported from India in large heavy quantity. Different regions in India are famous for their unique style and pattern of leather products.
Rajasthan is known for its decorated leather items, beautiful lamp and lampshades. Bikaner and Jaisalmer produce decorative saddles for horses and camels. Bikaner is also known for Kopi, a particular type of leather bottle made from camel hide. Jodhpur is known for its decorated leather items, small leather accessories. “Mojdis” or thick footwear is made out of locally tanned leather.
Apart from this, West Bengal which is also well known for its decorated leather handicrafts or products. Various types of handbags, pouches, bags etc are made here. These items are usually decorated with traditional motifs and geometric patterns or pidis. Moreover, Kashmir is also famous for its ornamental leather products. Hoshiarpur in Punjab is known for use of leather pieces in appliqué work.
Madhya Pradesh is famous for its embroidered red leather handicrafts. Embroidery is done with silk and gold. Gwalior and Bilaspur are known for production of shoes, jutties, bags, mushk (traditional leather bag in which water is carried). While Indore and Dewas are known for making shoes & leather garments.
Kohlapur in Maharashtra is world famous for its kohlapuri chappals (traditional Indian footwear), these are popular because of their softness and durability.
Andhra Pradesh, there all such toys and puppets are available which are made of leather.
Karnataka has been noted for leather products painted with epic and mythological scenes, done in gold and silver.
The Export Promotion Council for Handicrafts (EPCH) is the apex government body and operates under the administrative control of the Ministry of Textiles, Government of India. EPCH has the distinction of being considered a ‘model council’, a self-sustaining body that self-finances all its promotional. The Directorate of Handicraft (DCH) in India has archived a list of designers who carries out Govt. sponsored projects with the help of local artisans followed by marketing through domestic and international trade fairs.
The Indian handicraft industry is one of the largest employment generators and accounts for a significant share in the country’s exports. The states and regional clusters that contribute significantly to handicrafts export. The Indian handicrafts industry is fragmented, with more than 7 million regional artisans and more than 67,000 exporters/export houses promoting regional art and craftsmanship in the domestic and global. In India the production of leather crafted products are done on both large and small scale. Because of low capital investment people can start their business on small scale. Through this flexibility the demand and supply can be managed.

Though Indian Handicraft industry is considered a cottage industry, but it has evolved as one of the major revenue generator over the years. There has been consistent growth of 15% over few years and the industry has evolved as one of the major contributor for export and foreign revenue generation.

There is huge demand for the Indian Handicraft products in both national and international market. To match the demand and supply with quality, there is need to have greater technological support and innovativeness with the uniqueness in industry.

-       By: Sweta Yadav- Faculty FDDI





Tuesday, 10 May 2016

MODERNISATION OF INDIAN CRAFT

MODERNISATION OF INDIAN CRAFT

                                                                                                                   By: Neelam Patel

ABSTRACT

The history of Indian handicrafts and textile goes back to almost 5000 years from now. There are numerous examples of handicrafts from the Indus Valley Civilization. The tradition of crafts in India has grown around religious values, needs of the common people and also the needs of the ruling elites. In addition to this foreign and domestic trade have also played an important role in the evolution of different craft forms in India. The craft traditions of India have withstood the depredation of time and several foreign invasions and continue to flourish till date. It is mainly due to the open mindedness of the Indian handicraftsmen to accept and incorporate new ideas.
Indian handicraft and textile products are unique expressions of a particular culture or community through local craftsmanship and materials. With increased globalization, however, products are becoming more and more commoditized and artisans find their products competing with goods from all over the world.
Though Indian designers, NGOs as well as Indian institutes also giving their contribution to uplift the situation of Indian crafts. Students are participating in workshops with artisans and exchanging ideas with each other to contemporise the products. Government and NGOs are giving the platform to the craftsmen through the crafts fair to display the modern handicraft products.

DEFINING CRAFT

‘‘Crafts can be defined as “those activities that deal with the conversion of specific materials into products, using primarily hand skills with simple tools and employing the local traditional wisdom of craft processes. Such activities usually form the core economic activity of a community of people called ‘craftsmen’.” (Professor M.P. Ranjan )
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. (Jasleen Dhamija-2003)

CURRENT STATE OF THE CRAFT INDUSTRY
Many crafts have evolved in modern times into new products using the same craft practices and are finding new expressions to suit contemporary needs.
There is a great variety of styles showing the creative ability of the artisans to adapt to new markets needs. The processes evolved from time immemorial have remained the same.
Today, an argument, an attitude faces crafts and artisans in India. This is the argument of economics, of sustainability, of marketability, which is the argument of financial survival (Crafts Council of India- April 2011)
The planners and policy makers of India have been addressing many problems and concerns of this country. They are also addressing the need of the craftsmen and their craftsmanship but probably the issue is so vast and complicated that the issue has not been touched in complete form.( Gandhi National Centre for the Arts- Under UNESCO’s Programme on Cultural Industries and Copyright Policies and Partnerships)

FACTORS AFFECTING THE DYING OF CERTAIN CRAFT TRADITIONS

Artisans were traditionally an essential part of the village economy, producing everyday utilitarian objects catered towards local markets, using designs and motifs that were of significance to their communities. However, with the advent of industrialization and increasing urbanization of markets for crafts, the historical artisan-consumer relationship has broken down, and largely been replaced by traders. This has rendered artisans' knowledge and skill, acquired over generations, virtually useless and made crafts an unsustainable source of livelihood. (Crafting a LivelihoodBuilding sustainability for Indian Artisans-William Bissel, Managing Director, Fabindia )

DESIGNER’S CONTRIBUTION

Design is currently considered a cross-functional and multidisciplinary innovation activity, capable of making sense of social challenges while devising strategic and holistic solutions to support competitiveness.
Design innovations in India’s fashion products result from a fusion of modern technologies and traditional craft skills. The design process in fashion begins with research and observation. The uniqueness of a designer’s creation lies in the interpretation of design sources. Sources of inspiration exist everywhere; anything visual, tactile, indeed sensual, can lead to inspiration in design.
Designers bridge the gap between the market and the artisan, as today the artisan is geographically apart from his/her client, to be able to understand his/her aesthetic and socio-cultural needs. Designers help in finding the relevance of craft with respect to the artisan, the consumer and to the global market. Designers are thus an interface, between the past and the present, the traditional and the modern, trying to match craft production to the needs of modern times and demands (Sethi, 2005) Designers should be trained not only to solve problems, but what is more important they should be trained to help others solve their own problems.

DESIGN INTERVENTION

Design intervention is a process that involves designing new products; redesigning existing products, with changes in shape, size, colour, surface manipulation, function and utility; exploring new markets and reviving lapsed markets; applying traditional skills to meet new opportunities and challenges; and the introduction of new materials, new processes, new tools and technologies.
It is seen as an interface between traditional and modernity, that matches craft production to the needs of modern living. Design interventions have a very important role in every step of the process in creation of the craft. They should focus on the identity of a craft, its social and cultural relevance to its region, and the processes and materials involved, to incorporate the interventions in the right situations, with efficient expected outcomes and reasoning’s.(Design Intervention and its execution in Crafts of India- Amrita Panda)

REVIVAL OF DYING CRAFTS

We’re living in a new golden era of good design, and collaboration between designers & craftspeople is largely the reason to be thankful for. As consumers, we’re more aware of materials now – not just their visual and sensual appeal, but also where they come from, why they matter. We’re more curious about how things are made and who made them (The Craft of Design- Joyce Lovelace-2013) Collaborative innovation between designer and craftsperson is a means of expanding the craft vocabulary and tapping contemporary markets. It is also argued that a link between the apparently conflicting tenets of sustainability can be achieved through responsible and strategic design innovation which integrates the social, economic, ecological and cultural aspects. (Rebecca Reubens 2010) It has now been recognized that indigenous innovations are crucial for any developing nation in order to achieve cumulative growth, both economically and socially. These innovations, as they will be mostly in the form of appropriate modifications in the existing products, will require further critical interventions and hand-holding efforts for their transition into markets. Design intervention can help bring in the much needed empathetic understanding and holistic vision to connect and integrate the various efforts towards a positive outcome. One would come across amazing indigenous innovations in India that can be developed into marketable products and thereby help in creating business success. These could provide vital directions for a country like India, to transform into an innovation-driven economy. (Ascertaining the Scope for Design Interventions for their Successful Commercialization- Ravi Mokashi-Punekar, Shashank Mehta- 2011)






 REFERENCES
 
·         The Craft Council of India, A Report (2011) “Crafts Economics And Impact Study” [Online] Volume 1, Stage 1 & Stage 2, April, http://www.craftscouncilofindia.org/ceis_final_report.pdf [Accessed: 6 April 2013]
·         Frater Judy, “Kala RakshaVidyalaya: A New Approach for Revival of Craft” [Online], VOICE, AsiaInCHEncyclopaediahttp://www.craftrevival.org/voiceDetails.asp?Code=14 [Accessed: 4 April 2013]
WEBSITES:
·         Craftmark: Handmade in India, Design Intervention Case Study, Source: http://www.iicd.ac.in/?p=793
·         http://www.craftcanvas.com/blog/
·         http://www.fibre2fashion.com/industry-article/5865/modernisation-of-indian-textile-industry?page=1
·         http://www.craftscouncilofindia.org/about-us/




Use of Vegetable dyes for design development & Eco friendly approach

Use of Vegetable dyes for design development & Eco friendly approach

                                                                                     Article by : Rajesh Sharma

Since the beginning of human civilization vegetable had been essential part of our daily life. Vegetables have been used for different purpose in food, beauty products, medicine and dyeing textiles. Nature has provided us abundance of raw materials for the different purpose.
Dyes derived from natural materials such as plant leaves, roots, bark, insect secretions, and minerals were the only dyes available to mankind for the coloring of textiles until the discovery of the first synthetic dye in 1856. Rapid research strides in synthetic chemistry supported by the industrialization of textile production not only led to the development of synthetic alternatives to popular natural dyes but also to a number of synthetic dyes in various hues and colors that gradually pushed the natural dyes into oblivion. However, environmental issues in the production and application of synthetic dyes once again revived consumer interest in natural dyes during the last decades of the twentieth century. Textiles colored with natural dyes are preferred by environmentally conscious consumers and today there is a niche market for such textiles
Natural dyes have been used since ancient times for coloring and printing fabrics. Vegetables and herbs are among them, used widely for dyeing and printing the textiles. Different types of fruits, vegetable, roots and herbs are used for dyeing and printing of textiles. In India it has been practiced for centuries and demand for such textiles is worldwide.
Herbal products are biodegradable and not harmful to ecology. To save the environment “mother earth” we must practice more and more use of herbal and vegetable products. In this movement of saving environment, the use of vegetable dyes is one step in this direction.
Natural dyes rather than chemical dyes are used, with several soaking, drying and dyeing cycles. This requires a ready source of water. Plants are boiled up to produce the natural dyes. Indigo produces the blue dye used, and Alizarin (red) comes from the root of the Indian Madder tree. Mordants such as wood ash or stale urine were traditionally used to fix the colour.
Source of natural dyes – Plants
  1. Catechu or cutch tree (brown)
  2. Gamboge tree resin (dark mustard yellow)
  3. Himalayan Rubhada root (yellow)
  4. Indigofera plant (blue)
  5. Kamala tree (red)
  6. Larkspur plant (yellow)
  7. Madder root (red, pink, orange)
  8. Myrabolan fruit (yellow, green, black)
  9. Pomegranate peel (yellow)
  10. Weld herb (yellow)
  11. Tea
  12. Turmeric
Organisation/Units producing natural dyed and printed textiles in India & Abroad:Description: http://www.naturaldyes.org/images/white200.gif
ANOKHI
Anokhi's roots lie in Jaipur, a city whose founders were enlightened patrons of the arts and crafts. Anokhi foucuses on the hand block which is carved out of wood and is the simplest of printing devices. Dyeing with vegetable colours is the oldest of colouring techniques. As pioneers of hand block printing for the export market, Anokhi has built on these for the last thirty years. It constantly seeks to create an environment in which traditional textiles have their place and value and to build a symbiotic relationship between the market and the design product - between skill and tradition.
Avani
A community based organisation working with creation of livelihood opportunities in rural villages of Kumaon Himalayas in Uttaranchal. We work with spinning, weaving and natural dyeing of natural fibres like silk, wool and linen. We are working with about 55 weavers and 500 spinners in 41 villages and hamlets in Kumaon, Uttaranchal. We are also using appropriate technology for processing of textiles. Solar water heaters for pre heating of water for natural dyes, development of models of solar powered spinning wheels. All the water used in natural dyeing is recycled for irrigation. All the products we make are hand woven and naturally dyed. The range of products includes: tweed jackets, carpets, shawls, mufflers, blankets, bedcovers and durries. Please email us if you are interested in purchase.
Asia - Uzbekistan
Zarina F. Kenjaeva - Producer of Silk Vegetable Dyed, Hand Knotted Rug & Suzane.
Zarina F. Kenjaeva, master of hand embroidery & natural dyes. We also weave carpets by order - Our shop in madrasa Nodir Devon Begi.
Zarina shows naturally dyed carpets recently displayed at the Folk Art Market in Santa Fe, New Mexico USA
Dream Bird Studio
Our baby slings, made from sumptuous natural fibers, and our naturally-dyed playsilks and adornment scarves come in a wide range of gorgeous colors from earth-based dyes. These living dyes from leaves, roots and even insects are a connection to our ancestors, and their beautiful colors resonate deeply. Iris Sullivan Daire.
Centinela Traditional Arts
A tapestry gallery located in Chimayo, New Mexico, specializing in handwoven wool products using natural dyes, custom-dyed yarns, handspun yarns, and the traditional Chimayo/Rio Grande weaving styles. The weaving gallery is run by Irvin and Lisa Trujillo, who are award-winning weavers whose work has been shown in, and collected by, museums across the United States, including the Smithsonian.
Edric Ong - Eco-Textiles & Crafts
Cottons, Silks, Ikats, Natural Dyes, Woodblock, handprinted scarfs, stoles & wraps. Edric Ong , President of Society Atelier Sarawak, designs and produces traditional textiles using natural dyes from engkudu, roots, sebangki bark, berries, fruit peels, and natural indigo. Traditional weavers of Sungai Kain in the interior of Borneo continue the tradition of Iban pau Kumbu in cotton Ikat to weave his designs.
Nature has given us abundance of resources for our making lifestyle in a better and purposeful way and making our environment more clean and healthy. With an advancement of technology we must find out new techniques for the development of textile and products with the use of natural dyes and minimising the use of chemical and inorganic materials. This approach will shorten the gap between us and nature.

References:
www.naturadyes.org