need assessment survey -- ghurni clay dolls -...

2012-2013

Design Clinic Scheme

Designer: Mahendra Pal

Need Assessment Survey

for

Ghurni Clay Doll

and

Terracotta Artisans

Cluster Co-

operative

Industrial Society

Ltd

2

Preface

Handicrafts sector occupies an important place in the economy of West Bengal as it contributes significantly to employment

generation and export earnings. The economic importance of the sector also lies in its high employment potential, low capital

investment, high value addition and a constant, if not increasing, demand both in the domestic and overseas markets. The

sector provides employment to more than 3 lakh craft persons mostly from rural areas.

There is one name – Clay Doll of Ghurni (PS Krishnanagar, District Nadia), which seems to play an important role in the

export market of decorative products. This industry is spread all over the area, including Kalipur, Bhatjangla, Pal Para, Halder

Para, Sandhya Para etc. There are many small units which are employing the similar process of manufacturing and producing

similar products but facing similar opportunities and threats.

In West Bengal, Ghurni is not the only cluster, which is actively involved in the craft of making Clay Dolls. But in terms of

content, approach and style, it’s undoubtedly a unique of its kind. These dolls are unique in their realism and the quality of

their finish; which truly represent a breakaway from the traditional form. Fruits, fish, insects, animals, birds, and of course

the entire pantheon of gods and goddesses, and even the ubiquitous Donald Duck and other popular comic strip characters,

faithful copies of real-life, down to the minutest detail. Realistic recreations of everyday life, work, mood and character --

farmers, weavers, rag pickers, basket makers, and umbrella makers -- are yet other specialties of Krishnanagar dolls.

However, today this Ghurni cluster can further be sub-divided into approx 21 individual units which employed about 100

artisans till present date.

This report is a unit level report of Interactive Study of Clay Doll Cluster of Ghurni, under the premise of MSME scheme.

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Table of Content

Introduction 4

Geographical Location 6

Cluster Detail 7

History of the craft in the locality 26

Present Status 28

Highlighted Core Issues 30

Process and Technique

Machines and Tools

Packaging and Transportation 51

Workstation and Infrastructure 54

Merchandising and Display 56

Market Analysis 58

SWOT Analysis 59

Conclusion 63

Scope of Interventions – Summarized

Marketing Models

Existing Product Range

A future vision

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Introduction

ABOUT THE PLACE:

Ghurni is a neighborhood of Krishnanagar in Nadia district in the state

of West Bengal. It is the centre for the production of clay dolls, often

referred to as Krishnanagar clay dolls.

CLIMATE:

The general climate of the place remains hot and humid, except the months of December and January.

WATER RESOURCES:

The Jalangi River is one of the major water resources of the area. Hough

alternative arrangements like local ponds, well, tube well etc are also

available. It is one of the wards of Krishnanagar municipality which has

started receiving piped arsenic-free water from 2006.

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ARTS AND CRAFTS:

Making of the clay dolls of variable scale and size is the main art &

Craft of Ghurni. It’s a traditional skill that has passed down through

generations. Nowadays, based on such clay models bronze castings

are also being made and have found pride of place all around the

world.

ECONOMY:

As a whole, Krishnanagar is an agricultural distribution centre. The economy is primarily based on small- to medium-scale agro-industries and trade. The surrounding region produces rice, jute, ceramics, mangoes, cattle, poultry and fish. There is unrealized demand for building large food storage, refrigeration and processing plants. There are a few sugar mills. Many expertises are to be found in this heritage city. Halwaikars or moyras (who prepare sweets) of Krishnagar are famous. While they produce all varieties of sweets, there are some which bear the hallmark of the city. 'Sarbhaja' and 'Sarpuria' are inventions that mark the talent of Krishnanagar's halwaikars. The shop of "Adhar Chandra Das" is famous for the above-mentioned sweet variants. Despite the economic boom in India in the 21st century, so far there have been no major industrial investment proposals for the town.

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Geographical Location Of Cluster

Ghurni is located at 23.25°N 88.34°E on the banks of the Jalangi River.

It can be reached from Kolkata by either train (100 km) or bus (118 km).

Krishnanagar City is a part of Kolkata Suburban Railway on the Sealdah–Naihati–Ranaghat–Krishnanagar line. Journey time is 2½ hours and one can return the same day.

Cycle rickshaws are available for travel within the city.

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Cluster Detail

S/N

Name of Units

Name of Owner

No of Artisans

Contact Detail

1

Terracotta

Kalyan Pal

3

Kalipur, 9734606207

2

Terracotta

Sanjit Pal

3

Bhajangla, 9547672097

3

Clay doll

Sanjit Pal (Ujjwal)

4

Ghurni, 9333332624

4

Clay doll

Swapan Pal

5

Ghurni, 9474136097

5

Clay doll

Pradip Pal

5

Ghurni, 8145507902

6

Clay doll

Ram Pal

3

Pal Para, 9564254285

7

Clay doll

Dilip Pal

4

Pal Para, 9733923232

8

Clay doll

Narottam Pal

4

Ghurni, 9609496259

9

Clay doll

Naresh Pal

3

Ghurni, 9800526603

10

Clay doll

Biswajit Biswas

3

Halder Para, 9232389579

11

Clay doll

Ramkrishna Pal

5

Sandhya Para, 9732726493

12

Clay doll

Biplab Das

3

Sandhya Para, 7872358102

8

13

Clay doll

Debdulal Paul

6

Ghurni, 9434956147

14

Clay doll

Tarit Paul

5

Ghurni, 9274341672

15

Clay doll

Subir Paul

7

Ghurni, 9434105339

16

Clay doll

Sanjay Sarkar

4

Ghurni, 9932227695

17

Clay doll

Mriganka Paul

7

Ghurni, 9434105395

18

Clay doll

Nirmal Paul

5

Ghurni, 9564317877

19

Clay doll

Madan Paul

4

Ghurni, 9800526603

20

Clay doll

Krishna Chandra Paul

5

Tarun Sangha

9

Name of the unit: Clay Model

Name of the owner: Sanjit Paul (Ujjwal)

No of artisans: 4

Contact details: Ghurni

9333332624

Advantages: Naturalistic skill inherited through tradition

Disadvantages: Inadequate space

Labour problem

Lack of proper display

10


Name of the owner: Swapan Pal

No of artisans: 5


9474136097

Advantages: The only artisan, making

clay-boats

Skilled in figurative

compositions

Disadvantages: Cannot employ any labour in order to save production

cost

Living in the studio-space only

Lack of proper display

11

Name of the unit: Clay Model Advantages: Small showroom beside

main road

Name of the owner: Ram Paul Tradiionally skilled

Wide range of production

No of artisans: 3

Disadvantages: Disorganized workstation Contact details: Palpara Inadequate labour

956425285

12


Name of the owner: Dilip Paul

No of artisans: 4

Contact details: Palpara

9733923232

Advantages: Use of advanced machineries

for cutting, packing, framing

etc


Disadvantages: Inadequate labour

Has to use family members in production

Inadequate studio-space

13


Name of the owner: Norottom Paul

No of artisans: 4


9609496259

Advantages: Skilled in animal and insects

Colouring skills

Unique furnace and firing technique

Use of advanced machineries

Neat and clean packaging

Disadvantages: Lack of funds

Labour problem

Clay to be brought from far

14


Name of the owner: Biswajit Biswas

No of artisans: 3

Contact details: Halderpara

9232389579

Advantages: Skilled in small scale figurative

works

Skilled in firing

Disadvantages: Lack of adequate space

Inadequate labour

Has to work alone

Doesn’t have machineries

15


Name of the owner: Ramkrishna Paul

No of artisans: 3

Contact details: Sandhyapara

9732726493

Advantages: Spacious workstation

Skilled in life size figurative works

Wide range of productions

Huge stock of raw materials

Disadvantages: Inadequate labour

Uses family members in production

Lack of adequate orders

Lack of machineries

16


Name of the owner: Biplab Das

No of artisans: 3

Contact details: Sandhyapara

7872358102

Advantages: Skilled in large scale figures

Disadvantages: Small workstation

17


Name of the owner: Debdulal Paul

No of artisans: 6


9434956147

Advantages: Wide range of production

Use of machineries

Disadvantages: Disorganised workstation

Inadequate labour

Works alone

Less number of orders

18


Name of the owner: Nirmal Paul

No of artisans: 5


9564317877

Advantages: Naturalistic skill in making

dragon, horse and prawn

figures

Disadvantages: Small workstation

Lack of capital

19

Name of the unit: Terracotta

Name of the owner: Kalyan Pal

No of artisans: 3

Contact details: Kalipur

9734606207

Advantages: Skilled in making

simplistic modern dolls, birds, animals etc

Disadvantages: Lives in workstation

Doesn’t have any labour

Uses family members for production Open air furnace

20

Name of the unit: Terracotta

Name of the owner: Kamal Krishna Pal

No of artisans: 4


Advantages: Skilled in making small

dolls and animals

Skilled in figurative

compositions

Disadvantages: Lack of space

Lives in workstation

No showroom

21

Name of the unit: Clay model

Name of the owner: Mriganka Pal

No of artisans: 7


9434105395

Advantages: Huge workstation

Use of modern

machineries

Skilled in large scale

figures

Labour strength

Disadvantages: Lack of innovative ideas

22

Name of he unit: Clay model

Name of the owner: Sanjay Sarkar

No of artisans: 4


9932227695

Advantages: Widerange of production

Well furnished

showroom

Skilled in large scale

works

Disadvantages: Lack of innovative ideas

23


Name of the owner: Sanjit Pal

No of artisans: 4

Contact details: Bhatjangla

9547672097

Advantages: Skilled in relief works


Disadvantages: Inadequate space in

workstation

24


Name of the owner: Subir Pal

No of artisans: 7


9434105339

Advantages: Skilled in large scale works

Wide range of

production Labour strength

Well furnished

showroom

Disadvantages: Inadequate space for

work

25


Name of the owner: Tarit Paul

No of artisans: 7


9274341672

Advantages: Wide range of

production

Well furnished

showroom

Disadvantages: Inadequate space in workstation

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History of the craft in the locality

The old name of Krishnanagar was Rewe. In the early 17th century Bhabananda Majumdar founded the royal family of Nadia. Later, Maharaja Rudra changed the name to Krishnnaagar. In 1757, Maharaja Krishnachandra (1710–1783) helped the British East India Company against Siraj ud-Daulah in the Battle of Plassey. He was a patron of the arts, including literature and music, and supported the production of clay dolls. In 1728 he brought families of potters from Dhaka and Natore and settled them in Ghurni, then a village.

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This pottery is very popular and in most of the international exhibitions held since 1851 -- in London, Paris and Boston -- Krishnanagar clay dolls have won medals and certificates and also great admiration from the Europeans. The exquisite craftsmanship of these artisans have earned them laurels and accolades from the British royalty like Queen Victoria as well as other important people of the British Raj and Catholic Popes in recent times.

The first rewarded artist was Sri Ram Paul (1819-1885). Presently the eminent artists are Sri Biren Paul, Goutam Paul, Ganesh Paul etc. Many artists of this region went abroad and engaged as an engraver to create temple image mosque, monuments etc. As late as 1990, when the Government of Russia wanted a bronze figurine of Rabindranath Tagore for display in one of their national parks, they sought the help of master craftsman Kartick Chandra Pal to give them a clay model. Paul provided it and later converted it into a bronze sculpture. The Pal families are inseparable from the history of the clay dolls of Krishnanagar. At present there are about 100 old families at Ghurni area, belonging to the Pal family, who are actively engaged in clay modeling.

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Present Status

The clay modelers of Krishnanagar have now fallen on bad days. Recently the artists who are involving such activities faced with great difficulties. Gradually decreasing the demand of good buyer, and also capturing market by cheapest non–breakable item throwing the clay model artists into poverty and unwillingness. Most of the young generations are inclined to service or other business leaving their heredity artistic works. The number of master craftsmen is decreasing as members of the younger generation are switching over to more lucrative trades or more paying professions. In 2007, the number of master craftsmen staying at Ghurni dwindled to 10, most of them aged. A few those have money engaging with stone sculpture, fiberglass models, although they lack the infrastructure for making fibre glass models. Fiberglass is more durable

and easy to mould. The petering out of the Zamindar-culture brought with it days of gloom for the modeling artistes and they witness continuous erosion of patronage. Tastes are also changing. Even ten years ago, the demand was for clay models of the great poets and traditional icons such as Rabindranath Tagore and Kazi Nazrul Islam. Now, they are losing out. The demand has shifted and so have the artists to the ‘hottest pin-up idols of cricket’, Sourav Ganguly, Sachin Tendulkar and Rahul Dravid. Even saints and religious leaders like Ramkrishna Paramhansa, Baba Loknath, and Sai Baba, have lost out in popularity to these cricketers.

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Now, NRIs have shown some interest in acquiring collections of the Krishnanagar clay dolls and the resultant demand has

made the market better for this craft. Govt. also pledged to arrange loan as their necessity and encouraged the artists as

inter-state competition and rewarded them.

After all we can say only govt. grant can help to survive

clay work of Krishnanagar and the artists who are still

struggling with their heritable creation. There is an urgent

requirement of interventions at every level from production

to end user. In this report we have tried to mention all the

possible sites which require incentive to revitalize this craft

which seems to prove as a promising field for handicrafts

export.

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Highlighted Core Issues

The fields mentioned below have been discussed in his report which are required attention and have been affecting the

overall development of the Ghurni cluster. These include:

• Raw Materials

• Process and Techniques

• Firing

• Machines and Tools

• Packaging and Transportation

• Workstation and Infrastructure

• Market, Merchandising and Display

• Earlier Design Interventions and Workshops

Raw Materials

► Clay

► Water

► Fuel for furnace

► Paint

► Clothes

► Jute or other fibre

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Storage availability of the Raw Materials

Issues:

• Most of the units purchase raw materials from the same local market of Krishnanagar.

Most of the artisans do not have sufficient space for storage and those who have so, place them carelessly in open

area or scattered together.

Due to the effect of temperature, and mixture of polluting elements like plastic etc, which are not been taken care of -

- the raw materials, especially clay, get contaminated by the external impurities which come with air, water, dust etc.

It is a slow process which does not come to notice but there is always a high chance of it showing bad effect after

firing.

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• Because of the inconsistency in raw material, the outcome also gets affected. Due to this sometime a part or the

whole lot of production has to be rejected.

Recommendation:

• Common Research and testing lab centres with experts who can check the actual troubling impurities in composition

and can suggest improvements.

• Standardized method and equipments should be developed so that artisan himself can check the raw material before

purchase or store.

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• There should a provision of common facility center which can provide raw material to the artisans who do not have

enough space of storage.

• The Units should have covered storage to ensure the consistency of raw material.

Process and Technique

As it is mainly a family oriented art, most of the household members are involved with clay doll making at Ghurni.

The process involves various activities, but it is formulated mainly in three prominent steps:

I] Preparation of clay and Moulding:

This process starts with preparation of collected clay for modeling. At

first, a moulder prepares the clay wet and processes it as it is to be

desired and dump it for at least one night.

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Issues: • Use of measuring equipment is not standardized. • No fixed trend to record the quantity of materials at every time they mixed, so that one can register the false step. • The addition of water in clay composition is based on approximation. No fixed measuring equipment is used. • There is an important issue which has been highlighted during the interaction with artisans was their earlier method of

preparation clay. It was prepared with manual beating of clay with the sprinkle of water. This clay contains more plasticity, which can be helpful in reducing breakage and cracks. The old artisans recommend this method but because of its laborious nature they use the regular method of clay preparation.

Recommendation: • Workshop should be conducted for the artisans to demonstrate the use and make them realize the importance of using

standardized measuring equipments for better results. • Need to conduct workshops to educate artisans to maintain regular records of every material in composition which

help them to reduce errors happened due to approximation. • A machine can be designed to resolve the issue of clay preparation according to the earlier traditional method, which

require less water and give more plasticity and can prove production friendly.

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Next, an artisan gives shape of a specific

model with the help of moulded clay.

At first a wire structure is made on which the intended doll is given shape with clay.

These dolls can be fully handmade or made with the help of moulds. The moulds are made of Dental Plaster for better

strength and durability.

In case of the moulding, the dolls are made of separate body parts, which are finally joined by the extended piece of wire

from each of them. Finally the joints are covered with another thin layer of clay.

38

Issues: • No organized space to store ready clay. • Left it casually in a space where people come with slippers and shoes which have impurities. • Usually the work station is congested and doesn’t have enough space to for taking the moulds neatly. • Clay which is left extra during casting, reduces its plasticity if it is kneaded again and again to reuse for the other

product. • The prepared clay and the moulds are kept in open area, where soil can easily be mixed which is full of unknown

impurities.

Recommendations: • Every unit should have an organized covered space to store prepared clay to prevent it to mix with other external

impurities. • An organized workstation should be developed, above from the ground and in a covered dry place. • Design intervention required in tool development. • Required to design a cover space where it could safely stored.

39

II] Drying:

Next important step is drying of the models.

Firstly, dolls are dried on sunlight.

Sometimes hand blower is also used for the same.

40

Issues: • Totally depend on Sun for drying. • Artisan faces problem during rainy and winter season for drying. • Some of the units do not have cemented or solid floor space to place product. • Tools have been prepared by the artisans by the locally available material like grass and iron scrap. • Self made Iron plates used as a tool for measuring tiles. • Use concrete or rough stone slab for leveling and sandpaper of different grade also used for finishing.

Recommendation: • Need to design an alternate drying or hot chamber which will be helpful during rains and winters. • Design Intervention required to develop standardized tools for cleaning and applying fine coating

for finishing. • Scope to design a proper workstation for finishing and levelling.

III] Firing:

Once the clay dolls are fully dried, they are placed within a furnace. The furnace or fire place is called ‘Poan’ in local

language.

41

Here models are kept for 4-5 hours at 500C. After the firing, once the dolls are brought out of the ‘Poan’, they become ready

for decoration.

42

Issues: • Breakage and cracks in articles- is happened due to unnecessary moisture content in the body or mishandling of the

article at the time finishing or loading. • Cracks usually appear due to sudden change in temperature or when hot article taken out of the furnace in hurry

without getting it cool up to the moderate temperature. Recommondation:

• Common Research and testing lab centres with experts who can check the actual troubling impurities in composition and problems during process and firing and can suggest improvements.

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IV] Painting and Decorating:

The immediate step is coloring of the dolls which depends upon the aesthetic view of the artists, which is the most vital thing

in giving the eyes and facial expressions of the models which makes it lifelike. Unique coloring pattern of Krishnanagar clay

dolls deserves crown in the world of dolls.

They have their own special technique in the traditional use of glue and in bringing brightness to the dolls which actually help

them to achieve fame and awards on state, national as well as international level.

During preparation of glue, tamarind seeds are used to increase the longevity of the colour fried in dry condition their shells

are separated. Then, cotyledons of the seeds (white portion) are grinded and boiled in water. After boiling, the mixture is

cooled and mixed with the colour.

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To increase glossiness in colour, a brushing treatment of arrowroot (plant from which a nutritious starch is prepared) powder

mixture is used on the colour coating. After that kerosene oil added to burnish is used to increase the kerosene oil added to

burnish is used to increase the brightness.

But, now-a-days, the artisans mostly use readymade colours and glues available in the local market.

In case of the human figures, dresses are made of cut pieces available from the local tailors or other waste clothes collected

from various sources. These clothes are wrapped on and fixed with glue to the bare bodies of the dolls.

45

Finally, hair is added to those human figures with painted jute or other similar fibre.

47

Issues:

• Most of the units use colors available in the local market, which is not always up to the standard of international, even

national, market. • Gradual degradation of the quality of painting. The painters are paid on piece bases. That’s why they work with an

intention to complete maximum number of pieces in a day and ignore the quality of artwork. • Often the artisans are bored of reproducing the same content and form which gets reflected in their lack of

involvement in the works they do. • Because of low quality in painting buyer don’t take it as value for money. • Artisans are showing less sensitivity toward the color combination and pattern making. • Most of the units have the same color palette. They usually depend on various resource people, exporters and clients

for new subjects and designs. Most of the units follow the same designs and patterns. The artists copy each other and make similar patterns and motifs.

• Now-a-days many of the clay doll artists are inclined towards works in glass fibre which may cause harm for the

existence Ghurni clay doll patterns.

Recommendation:

• Scope to make quality colors available locally. • Quality of painting can be improved.

• Conduct workshops with skilled artists who can make and train others to develop new content and patterns. • Artists need to suggest and train in terms of color combination and develop designs in series or family according

to market trend.

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Machines and Tools

The artisans of Ghurni cluster mostly use easily available tools

like:

Spade, wooden spatula, chisel, wooden piece, pliers’, scissors,

screw driver, hammer, hand drill, water pot, bucket, mug,

brush, water sprayer, palate, hand saw, coconut shell,

biological tools etc.

49

But, in certain cases, they also use semi-heavy and heavy machineries as well. Like blow lamp, grinder, spray gun, driller,

punching cutter, punching machine, board cutter etc.

Recommendation: • Scope of design intervention in tool development at every level of process to make the process fast and would be

helpful in manufacturing fine and quality product.

51

Packaging and Transportation

Usually the packaging of these dolls are done in two different ways:

► glass box for the costlier items

► plastic packet for the cheaper ones.

52

In certain cases, dolls are also made in high relief, which are framed with wood and glass. In recent times, frames made of

fibre are also being used.

The finished products are sent to the destinations by various modes of transport like rickshaw, van rickshaw, matador, bus,

train etc. They are even sent by air in case of orders from far away cities in India and abroad.

Finally, the dolls reach in various corners of the country and abroad to be sold in fairs, craft showroom, puja pandals,

personal collection etc. Representative samples are sold from the local counters at Ghurni and Krishnanagar as well both by

the artisan or their relatives.

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Issues: • Most of the units does not have approach directly to market. They deliver their products to local dealer and exporter.

Use only Plastic and newspaper for wrapping and put them in corrugated box which are locally available. But some of them use thermocol and bubble sheet for inter-state or international delivery of their products.

Recommendation: Required interventions for cheap, affordable and hygienic packaging.

54

Workstation and Infrastructure

55

Issues: Most of the units do not have any systemized infrastructure throughout manufacturing process. They lack enough space to arrange the materials in order for the smooth running of a professional unit. Most of the artisans are unable to organize their workstation for a healthy and generative atmosphere.

Recommendation:

Need to design an infrastructure.

56

Merchandising and Display

57

Issues:

• Very few units have a proper display area/ showroom. • The dolls displayed in a very random way which confuses the buyer instead of impressing him/her. • Artisans and even entrepreneurs find difficulty in communication especially during the fairs and exhibitions. It is

because most of the people involved in this trade are uneducated or unaware. • No brochure, leaflet or tag is being used. Recommendation:

• Need a good display design and brochure which would help in expanding and communicating to target market. • Product should be designed and displayed in a series, so that they can be arranged as a story of content, pattern or

color. This would make the buyers to appreciate and purchase the products. • Utilitarian products should be developed so that clay doll of Ghurni would reach to maximum number of people. • Make awareness about GI (Geographical Identification) mark for their products in fairs and exhibitions which would

help them to show their identity.

58

Market Analysis

Present Marketing Scenario and competition:

• Artisans are mostly dependent on mediators, traders and exporters for the marketing of the product.

• Almost all the units have their own local outlets, which do not fulfill their needs. On the other hand, most of them do

not have direct linkages to the larger market for the sale of their products.

• The use of inferior quality local paint and other materials makes it difficult to be sold in todays International Market,

which has turned absolutely corporate in nature.

• Clay dolls are facing unhealthy competition from products made of plastic and fibre glass.

• There is no proper costing procedure.

• Role of mediators is not decided.

Buyer’s Behavior:

• Customers value handicraft products and appreciate the uniqueness of the product.

• The most valued features are ethnicity and authenticity.

• Future Demands -- good quality and new range of products.

• More inclination towards traditional designs and patterns.

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SWOT Analysis

Strength

• Low investment infrastructure.

• It is a symbol of Craft Heritage.

• Scope of blending clay doll with other crafts of utilitarian pottery etc.

• Traditional design, style and motifs, which are the most important elements of this craft, add a lot of value to this

craft.

• Raw material is available at low cost.

Weaknesses

• Regular degradation in the quality of design and painting at production level.

• Completion of orders not on time due to laborious and time taking process.

• Presence of moisture absorbing component in body.

• There is no protocol to check the quality of the products and process at various level.

• Fragileness of products creates difficulty in transportation.

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• Lack of infrastructure for storage of raw material, dried models, fired products and finished ones.

• No testing lab for research and technical suggestion.

• Appropriate process of costing is not followed by some artisans. No costing idea about the product. Sudden changes in

prices.

• Artisans are mostly dependent on mediators and exporters for marketing of the product.

• The units do not have marketing arrangement for a larger direct sale of goods.

• Due to illiteracy and unawareness they are less capable in communication and not able to avail the benefits of

government policies.

Opportunity

• There is an urgent requirement of new design interventions in the field of content, body composition, tools, and

machines.

• Scope to develop new design patterns according to the need of the current market.

• More scope in handicraft export market.

• Easy availability of raw material.

• Provision of loan and profitable policies for small units.

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• There is an opportunity to employ more women in this sector, as they can work in various stages of the process. It is

also possible to continue with the production process in small groups.

• More scope of employment by involving other correlated crafts in clay dolls.

• Vocational training of making small utility products like potteries, jewelleries and lifestyle accessories could be helpful

to provide employment during throughout the year.

• Common facility center for raw material could be developed. Standard quality of raw materials can be provided to

artisans and manufacturer through those common centers.

• Training program should be arranged. It should look into the raw material and the products in various levels of

production procedure. So the quality of the products can be improved.

• Awareness program for craft identity should be held to common people to make them aware about the identity and

value of this craft. It can be done in the exhibitions and fairs.

Threats

• Lack of Unity.

• Due to the gradual degradation of quality, there is a large rejection in the exports. Finally, it reduces the possibilities

in the international market.

• Unhealthy competition with cheaper dolls made of plastic and glass fibre. Similar looking products – made in other

mediums – are available in market.

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• Young generation not interested in taking this craft as their profession.

• No scope to regulate and judge the reasons, if there is sudden increase in the of breakage and defects occur during

the firing process.

• Due to no reasonable wages, laborious work, and regular job – artisans are migrating to other regular jobs in near by

constructive cities like Baharampore, Bardhaman and Kolkata.

• Because of less education the craft people will not be able to follow the proper process of costing and to deal with a

buyer. So sometimes they have to sell their products in minimum margin or at the cost rate only.

• Artisans are not able to communicate to buyers about their craft.

• New trend of producing cheaper dolls, realistic in approach and finish, are visible in the open market.

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Conclusion

Scope of Interventions – Summarized

Raw material: need interventions in raw material to reduce porosity.

Clay processing: need equipments for even mixing of all raw materials. need to research some of traditional methods of preparing clay.

Mould making: training for making better moulds.

need to design a system of numbering and record.

Mould casting: design the space and infrastructure from the production point of view.

Drying: need to design insulating and heating chamber to prevent unfired products from moisture.

Finishing: scope to develop new and better tools for finishing.

Checking: scope to develop some technique or some solution to check the articles for cracks & defects before forwarding them for firing.

Loading into the furnace: need to design the furnace for even firing and equipments to control and regulate temperature.

Firing: scope to design a furnace substitute of wood and coal kiln, more efficient and eco-friendly.

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Unloading: need a research lab which can analyze the problems and defects, sees only after firing, suggest the required solutions.

Painting and decorating: develop new content, designs and patterns according to the target market.

reduce dependency on exporters for designs. Packaging : required interventions for cheap and organized packaging.

need to realize the value to use the GI mark for identification on packaging and exhibitions.

Display/merchandizing: better display and retail outlets.

website, package graphics, brochures and branding may help.

End buyer: develop new product range according to target market in or outside country.

quality control is a must.

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Marketing Models

Existing Marketing Model

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Suggested Marketing Model

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Existing Product Range

Mainly clay/earthen dolls are manufactured by the people of this sector though nowadays wax or fiber dolls are also

produced. The rate of clay dolls (generally human figures) various according to their artistic fineness. Cost of a 2’’ costs

about Rs. 150.00-200.00. The height of models of human figures varies from 2``to 1`.

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A future vision For Sustainable Market

Improved Quality NGO’s, SHG’s, other social and Sustain long term market. Government Organizations

Required interventions More scope to expand

Regulate the customize costing Market Designers and technical

People involved. Healthy market Design consultancy

Improved Raw Material Competition at the level of quality Research

and new designs

Supply of tested and Merchandising

Standardized raw material Increases quality market

Product packaging

New interventions Scope for more employment In tools and techniques Packaging

Involvement of other crafts. Workshops for different Branding Level. New designs and product Handicraft Expo. Skill up-gradation and Increases market Training programmes International market Increase in number of National Skilled artisans Reduced human errors Precision- Quality Production Research and Documentation Research Labs

need assessment survey -- ghurni clay dolls -...

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