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CLUSTER DEVELOPMENT PROGRAMME, INDIA

DIAGNOSTIC STUDY

ARTISAN

THE BELL METAL CLUSTER

KONDAGAON (CHHATTISGARH)

BY

BHUPESH TIWARI

Cluster Development Agent

DEVELOPED UNDER

THE TRAINING PROGRAMME FOR THE CLUSTER DEVELOPMENT

AGENTS, ORGANISED BY UNIDO CDP NEW DELHI

&

THE ENTREPRENEURSHIP DEVELOPMENT INSTITUTE OF INDIA

(EDII), AHMEDABAD

YEAR 2002

The views expressed in the Diagnostic Studies are those of the

authors and should not be attributed to UNIDO or to the

institutions they may represent.

KONDAGAON BELL METAL CLUSTER

CONTENTS

NO. TOPIC

PAGE

1 INTRODUCTION

1.1 The National Scenario 1.2 Government Support 1.3 About Bastar Handicrafts 1.4 The Kondagaon Bell Metal Cluster

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2 THE HISTORICAL PERSPECTIVE

I) Upto 1960 - A Hidden Art II) 1960 To 1970- Receives Recognition At National Level III) 1970 To 1980- Honour Of Artisans IV) 1980-1990- Received International Repute V) 1990-2000- A Time Of Diversification

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3 THE PRODUCTION DETAILS

3.2 The Process 3.2 Raw Material Requirement Of The Cluster 3.3 The Work Environment 3.4 The Cluster Map

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4 SKETCH OF OTHER ENTERPRISES & INSTITUTIONS IN THE CLUSTER

4.1 Local Institutions 4.2 Need For An Effective Service Institution

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5 ANALYSIS OF BUSINESS OPERATIONS

• Raw Material • Products And Markets • Main Issues Facing The Cluster

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6 SWOT ANALYSIS

• Strengths • Weakness • Opportunities • Threats

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7 VISION FOR THE CLUSTER 10

8 STRATEGIC DIRECTIONS & ACTION PLAN FOR INTERVENTIONS

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9 ANNEXURE 14


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1. INTRODUCTION

1.1 THE NATIONAL SCENARIO The evidence of the Bell Metal craft have been discovered in the relics of Mohanjodaro and Harappa civilizations, which prove the historical and traditional importance of the industry. Even today it is practiced in several parts of the country like Orissa, Madhya Pradesh, Chhattisgarh, Jharkhand, Bihar and U.P etc. These bell metal artisans are mostly tribal-people. The metal-crafts sector plays a vital role in providing employment to our rural population. In India there are about three million handicraft artisans and most of them are working in metal sector. These metal artisans display inherent creativity and play a significant role in protecting the traditional art and culture of our nation. The following graph shows the state-wise distribution of artisans in India.

STATEWISE DISTRIBUTION OF CRAFTS PERSONS IN INDIA (Figures in ‘000)

0

100

200

300

400

500

Ap

Ass

am

Bih

ar

Guj

rat

Har

yana HP

J &

K

Kar

nata

ka

Ker

al

MP

Mah

.

Man

ipur

Meg

hala

ya

Nag

alan

d

Ori

ssa

Pun

jab

Raj

asth

an

Sik

kim

Tam

ilnad

u

Trip

ura

UP

WB

A &

N

Aru

nach

al P

Cha

ndig

arh

State

Cra

mam

an


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1.2 GOVERNMENT SUPPORT The Indian Government has been giving a lot of support and has designed various measures for the development of handicrafts industry. The following chart provides a brief insight into the various development actions taken by the Government during the different five-year plans for the benefit of this sector.

HANDICRAFTS INDUSTRY AND THE FIVE YEAR PLANS Note: Please refer to Annexure 1 for details on each plan's outlay for Handicraft sector

Enhance opportunities of employment and income from crafts as an economic activity. First Plan

Second Plan Provision of support services for the development of various crafts

Third Plan Specific measures of development were adopted for identified crafts.

Fourth Plan Propagated the service institutions rather than the producer cooperatives

Fifth Plan Thrust on increasing production and exports and to improve the earning & working conditions of craftsmen.

Sixth Plan Training activities given a major impetus.

Seventh Plan Increased involvement of Voluntary Agencies

Eighth Plan Enhance opportunities of employment and income from crafts as an economic activity.


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1.3 ABOUT BASTAR HANDICRAFTS The Bastar district of Chhattisgarh is a prime place in the state for its unique tribal culture and traditions apart from its abundant natural resources. It is located in the extreme southern part of Chhattisgarh adjacent to the states of Orissa, Maharashtra and Andhra Pradesh. The tribal King Pravir Chandra Bhanjadev, who ruled Bastar for decades contributed a great deal for promoting the art and culture of the place. The Bastar district is world-famous for its handicrafts. There are 20-25 thousand artisans in Bastar working in various areas like Terracotta, Iron craft, Bell metal, Wood carving, Bamboo weaving etc. These crafts have a great market potential in India as well as abroad. Many designers and specialists visit the region with a desire to establish themselves in these crafts but due to a lack of proper infrastructure and facilities they fail to stay on for long.

1.4 THE KONDAGAON BELL METAL CLUSTER Kondagaon, a village in Bastar as a Bell Metal Cluster is about 300 years old. It is popular for decorative items like idols of God-Goddesses, and other utility items. Wax and wood which are essentially needed for these Forest Based Metal Crafts, are naturally available in abundance in this area. Technical upgradation, Finances, Testing facilities, Branding, New design development, Proper packaging etc. are the main problems of this trade. Apart from the Kondagaon town Bell Metal artisans also live in other villages like Barkai, Karanpur, Jagdalpur, Dahikonga etc. A village-wise list of number of artisans is given below. No. Name of the Village No. of Artisans Family 1. Bhelwapadar Para- KONDAGAON 100 2. Khorkosa 15 3. Karanpur 12 4. Barkai 8 5. Bhanpuri 4 6. Dahikonga 6 7. Alwahi 20 In India, the commercial trading of this craft (Forest Based Metal Craft) began at Moradabad. At other places, the craft was only fulfilling the needs of the local people.

2. THE HISTORICAL PERSPECTIVE The Bell Metal craft of Bastar is an ancient skill that according to the local artisans is about 500 years old. The craft received patronage from the Royal families, who used to pay the artisans to make idols. However, earlier the art was practiced only by the Gadwa tribals but after 1950 there has been an increase


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in the number of artisans. The actual growth of the cluster began in late 1960s. The following presents a checkered history of the growth of Bell Metal at Kondagaon

(I) UPTO 1960 - A HIDDEN ART: The artisans used to work for the Royal families of Bastar and make tribal idolatry statues. There were very few artisans at that time.

(II) 1960 TO 1970- RECEIVES RECOGNITION AT NATIONAL LEVEL: In 1960 after the Bangla -refugee rehabilitation or the D.N.K. project started, some I.A.S. and I.C.S. officers were posted in the region for administering the settlement activities. With these officers, some famous leaders and media people were also attracted to visit the place. This filtering-in of people from various regions gave an automatic popularity to the Bell Metal craft and soon the sector found space in Newspapers. Even officers who were posted there at that time felt the potential of the craft and tried to develop it further.

(III) 1970 TO 1980- HONOUR OF ARTISANS: In this decade, a few famous artisans of Bastar were given various state and national level awards. Also during this time, many exhibitions of the craft were organised in various cities of India, which made it move towards highly popular.

(IV) 1980-1990- RECEIVED INTERNATIONAL REPUTE: During this period Mr. Jaidev Baghel, one of the bell metal artisans from Kondagaon achieved international popularity. This attracted the attention of traders world-wide towards Kondagaon and as a result the new generation in the village also started taking keen interest in the trade. Many exporters from metro cities, after seeing the potential and glamour in the craft took training for developing the same.

(V) 1990-2000- A TIME OF DIVERSIFICATION: As the Bell Metal products started easily flowing into the external markets, the number of artisans involved in the craft increased and so did the production. Various growth measures like formation of groups of artisans, development of new designs etc were carried through with the help of Government Interventions. But at the same time, there was an increased competition amongst the artisans and it led to unhealthy practices. Because of working capital problems, the artisans who organised themselves in groups and pooled their resources. But those who were dependent on external buyers only, had to face many problems and sometimes they even had to loose their capital.


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3. THE PRODUCTION DETAILS

3.1 THE PROCESS The Dokara art is a major attraction of Bastar. They are prepared by the Ghadawa community and hence it is also known as the Ghadawa art. The Ghadawas are small artisan groups who produce brass or bell metal objects. The name Ghadwa is derived from the world 'Ghalna', which means to melt and as these people prepare the craft items by melting the metal using a lost wax technique, so they are given the name 'Ghadwa'. The raw materials such as wax and metal are purchased from market. The others like clay and fire wood etc. are collected from the nearby forest itself. First the artisans prepare images with a type of clay called 'man-matti', which is collected from river bed or from rice fields. When the image becomes dry, they are coated or plastered with another type of clay called 'rui-matti', which is obtained from an ant hill. This clay is also available in that part of the river where there is water current. The rui matti is mixed with cow dung and sand, and then is applied as a coating on the images to five them a final shape. Then the images are dried in the sun. The next step is to wax them. The wax wires are prepared by pure bees wax. The wires are separated and attached with the clay model from its front to back in a round fashion. The whole of the clay image is covered with the wax wires and then they make several designs with these wires. After the desired designs on the image are completed, it is immediately coated again with clay. This time they use local soil added with sand and goat dung. Sometimes this is done by mixing ant-hill earth with rice husk. At the time of coating, a hole or an opening is generally kept at the base of the image. The metal is then taken in a container named 'machhi'. Generally the metal is brass or bell metal. The container is then covered with a 'ghaili', a clay cup and is put into the furnace for two to three hours. After that the molten metal is poured on to the image through the opening. Then the mould is kept for cooling. And after that water is sprinkled on the image, which makes the clay coat to crack and break. The metal moulds into the shapes and designs made by the wax wires. Thus at last an artistic bell metal or brass object is ready. The image is then scrubbed with sandy clay to give it shine. Sometimes they are even polished with wet tamarind.


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3.2 RAW MATERIAL REQUIREMENT OF THE CLUSTER

Sl_No. Material Quantity (for 1 month)

Rate Amount

1. Bess Wax 200 Kg 120/- Kg. 24,000 2. Brass Metal 2000 Kg. 100/- Kg. 2,00,000 3. Fire wood 20000 Kg. 120/- Kg. 24,000,00

3.3 THE WORK ENVIRONMENT All individuals and group artisans work around their houses or at a common place. A majority of the artisans do not have working sheds or storage facilities.1

3.4 THE CLUSTER MAP The following gives a graphical representation of the cluster actors and the linkages between them.

1 Please refer to Annexure 2 for list of SMEs in Kondagaon Cluster


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KONDAGAON BILL METAL CLUSTER

Finished Product Local Market National Market International Market

Exporters at Mumbai, Nagpur, New Delhi, Bangalore etc.

Govt. Support Institution § DCH § MPHSVN § Zilla Panchyat § DIC Jagdalpur § MPALKP § SCZCC Nagar

Raw Material From forest From Kondagaon

Non Govt. Support Institution § SAATHI § PBSP § Shilpgram § BCDA

Financial Institution § Lead Bank: SBI § SIDBI § NABARD

Chhattisgarh Bell Metal Sub Sector

Kondagaon Cluster

110 artisans


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4. SKETCH OF OTHER ENTERPRISES AND INSTITUTIONS

4.1 LOCAL INSTITUTIONS 1) Saathi Samaj Sevi Sanstha: The organisation is seriously working for the revival of traditional handicrafts since 1989. The main focus of Saathi was to foster development of pottery-making artisans but after 1997 they expanded their focus and included other crafts also as part of their mandate. Saathi is presently working on the following aspects related to handicrafts: § Technology Development § Design Development § Marketing Assistance § Social Support, Awareness Generation

However a lack of funds and a shortage of skilled professionals has been a major hindrance in the works of this organisation. 2) Pramparik Bastar Shilpi Pariwar (PBSP): The PBSP was founded in 1985 and at that time it had a large number of artisans as its members. In the past, the organisation has carried out many developmental activities for the welfare of artisans, but now days it has become almost non functional. It is unable to take responsibilities of the artisans and due to this reason the Bell Metal artisans do not have trust in them. The major problems with PBSP are a lack of Identity and a shortage of professionals. 3) Madhya Pradesh Hast Shilp Vikas Nigam (MPH.SVN) MPH.SVN is working in Bastar since last two decades. Unfortunately being a Government institution, the artisans do not find themselves friendly and comfortable with them. Although it has done some developmental work on Tool design, Marketing, Training etc yet now after division of M.P., the fate of this institute is undecided and the staff members are uncertain about future. 4) Development Commissioner (Handicraft): The Development Commissioner (Handicraft) under the Textile Ministry was started 27 years ago with an exclusive mandate for development of artisans. There are many promotional and development programmes organised by this department but still a lot needs to be done to fully benefit the artisans. There is a lack of awareness amongst the artisans and also a faulty system design wherein the artisans are unable to link themselves with the programmes of this department. A wide geographical area under the Jagdalpur office jurisdiction which becomes unapproachable, a shortage of Manpower and a lack of essential resources, are some of the main problems faced by this department.


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4.2 NEED FOR AN EFFECTIVE SERVICE INSTITUTION Although the Bell Metal crafts have a huge potential both in domestic as well as in the international markets yet no significant work has been done to promote the same. Some serious attention is required to be given for technology development, development of proper tools and machines, quality testing measures, design development and packaging etc in this sector. For this there is an immediate requirement of setting up an effective institution.

5. ANALYSIS OF BUSINESS OPERATION

RAW MATERIAL: The raw materials required for this craft are mainly Brass, Wax and fuel wood. While Brass is purchased from the market, Wax is a bi-product of Honey Bee leaves and fuel wood which are naturally and easily available in the nearby forests.

PRODUCTS AND MARKETS: The main products of the cluster are idols of deities, decorative items, animal figures, utility items, goods for ritual purposes etc. These artisans sell their finished products to showrooms in metropolitan cities, houses and in Government or private exhibitions. The demand for these goods is different according to the markets it's catering to, like as under: 1) Local Market - Religious Purpose, Utility Purpose 2) Exhibition - Direct to users 3) Nation Market - Exporter, Emporiums, Orders

MAIN ISSUES FACING THE CLUSTER: 1. Lack of organisation amongst people and problem of working capital. 2. Although raw materials are easily available but they are a bit expensive. Besides most of the

material is bought from unauthorised dealers and hence it is sold without bill. 3. Advanced Technology, Equipment, Design, Quality Control and Marketing guidance are unheard

of. Lack of such institutions. 4. In terms of price fixation, the local producers do not have bargaining power and it is mostly the

fixed by the bulk buyers who come from various metropolitan cities. 5. Lack of expertise in documentation. 6. Due to inadequate exposure, product diversification is minimal. 7. Lack of market information thus unaware of consumer's changing tastes & preferences. 8. Most of the artisans are fully dependent on Bell Metal Craft and there is no other alternative

employment for their survival.


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9. Very few businesses have been profitable, and those too with effective support. 10. Due to poor repayment rate most of the Banks are not ready for financing. 11. Almost 90% artisans are illiterate and as a result they are not in a position to manage their

businesses efficiently.

6. SWOT ANALYSIS

STRENGTHS

• Traditional and ethnic craft • Skilled artisans • Easy availability of raw

materials • Environmental friendly

WEAKNESSES

• No marketing awareness • Lack of financial sources • Lack of unity and trust • Low product diversification • Lack of advance skills and tools • High dependence on brokers

OPPORTUNITIES

• Huge market potential • Support from Government to

Handicrafts sector • Vast innovation possibilities

THREATS

• Government policy in regard to procurement of raw material from the forest might be discouraging

7. VISION OF THE CLUSTER "Self Sustainable Development of Bell Metal Artisans of Kondagaon through community initiatives."


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8. STRATEGIC DIRECTIONS & ACTION PLAN FOR INTERVENTIONS The major areas to be addressed are social, technological, marketing, design-development, and financing and general welfare. These should be targeted as follows

Period

Activities Areas

Short Term Joint working capital for Raw Material Joint Marketing arrangement

Financial Marketing

Long Term Social Awareness, Technological Upgradation/Design Development Welfare Programs for community

Social Technology & Design Welfare


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ACTION PLAN FOR THE KONDAGAON BELL METAL CLUSTER

SL. No.

Strategy Activity planned Target beneficiaries

Implementing Agency

Sources of funds Estimated budget and man days

1. Trust building among cluster actors

1. Group formation, Awareness camps 2 Visits and Seminars 3 Formal and informal

15 Groups 110 Artisans

SAATHI D.C.(H) 60 Man days

50,000

2. Financial arrangement

1. Visits & Meetings 2 Identification of probable stake holders

Whole cluster SAATHI D.C. (H) SIDBI Local

Banks

3. Skill upgradation

1. Training Programmes on skill upgradation for 6 months 2. Capacity Building through Exposure visits

Whole cluster SAATHI D.C.(H) 45 Man days

4,00,000

4. Design Development

Training Programmes Design Workshop for 30 days

Whole cluster SAATHI D.C.(H) SIDBI

15 Man days

2,00,000


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SL. No.

Strategy Activity planned Target beneficiaries

Implementing Agency

Sources of funds Estimated budget and man days

5. Marketing support programmes

Establish direct linkages by Participating in trade fair, Exporter visits, Organise own Exhibitions

Whole cluster SAATHI D.C.(H) SIDBI

60 man days

8,50,000

6.

Technology upgradation

Pilot interventions of upgradation of tools & process

Cluster SAATHI D.C.(H) SIDBI

60 man days 50,000

7. Capacity building

Inter-cluster visits Cluster SAATHI DC (H) 10 man

days Rs 3000

8. Marketing linkages through I. T

Creation of web site & E-brochures

Cluster SAATHI & Group

DC (H), SIDBI 30 man days

Rs 30000 9. Community

empowerment Branding of product & patent of designs

Cluster SAATHI & Group

DST & DC (H)

60 man days

as per negotiations

10. Infrastructure Development

Establishment of CFC Cluster SAATHI & Group

DC (H) 30 man days


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ANNEXURE 1

DETAILS OF PLAN OUTLAY, EMPLOYMENT AND EXPORTS (PLAN I-PLAN VIII)

Plan Plan Outlay (Rs. in Crores)

Employment generated (Lacs)

Exports (Rs. In Crores)

First 1.00 n.a. 7.60 Second 9.00 n.a. 9.60 Third 8.60 11.35 27.70 Fourth 14.52 14.90 180.70 Firth 29.80 18.90 755.60 Sixth 110. 110.90 27.40 1700.00 Seventh 122.80 122.80 42.15 6400.00 Eight 223.00 77.65 27915.00

PERCENTAGE OF PLAN OUTLAY FOR HANDICRAFTS TO TOTAL OUTLAY

Plan Total Plan Outlay Outlay for Handicraft

% Outlay for Handicrafts

First 1960 1.00 0.05 Second 4672 9.00 0.19 Third 8577 8.60 0.10 Fourth 16160 14.52 0.08 Fifth 40712 29.80 0.07 Sixth 110821 110.90 0.01 Seventh 178570 122.80 0.60 Eight 4341100 223.00 0.51


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ANNEXURE 2 LIST OF SME’S AT KONDAGAON CLUSTER Sr. Name of the Enterprises No. of Investment Type of No. Artisans In Rs. Products 1. Rajendra Baghel, Bastar Kriti 18 80,000 Idols of God 2. Pool Singh Besra, Bastar Aadi Ship 14 80,000 Goddesses, 3. Ratiram Netam/Sukhdas Nag 10 15,000 Decorative Item, 4. Ramsingh Besra 9 50,000 Utility Items, 5. Shyam Sunder 6 20,000 Animal 6. Jaydev Baghel 7 5,00,000 Figures, 7. Praveer Kupatkar 5 60,000 Myraks, 8. Pradeep Sagar 5 30,000 Mask etc. 9. Suner Netam 4 5,000 10. Kapoorchand Netam 5 10,00 11. Bajrang Kuldeep 4 5,000 12. Kushnu Ram 3 5,000 13. Shobha Ram 2 5,000 14. Cham Sing Besra 2 5,000 15. Panchhu Ram Sagar 7 50,000 16. Individual Artisans 10-- Total Enterprises – 15 111 9,20,000

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