Cluster Development Project

Lambani Embroidery
Latika Mundhra Sania Dewan Karthik. M Vikrant Sharma Nitin Dobre Jitesh Nenwani MFM 2007-2009

NIFT BANGALORE

To study the entire supply chain and self sustainability of the Lambani Embroidery artisans under the Cluster Project and to suggest ways to make them self sustainable.
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Sl. No.
1. 2. 3. 4. Acknowledgements Declaration Executive Summary Introduction About hampi Lambani art 5. Project Objective Methodology Places visited

Topic

6. 7.

SWOT Analysis Competition Faced form other Tribes Kashmiri embroidery Gujrati embroidery

8.

Lambani Embroidery About Raw materials Products Process Supply Chain Process

9.. 10. 11. 12. 13.

Observations and analysis Making artisans Self Sustainable Key Problem Areas Recommendations Bibliography

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A C K N O W L E D G E M E N T

With due respect and gratitude we would like to thank the administration and entire NIFT Faculty at Bangalore for their effort on assisting us. Also, an expression of gratitude towards the artisans for their relevant information which helped us compiles the document.

We would like to express our sincere gratitude to Ms. Sanjeev Malage (project consultant, cluster).

To Mr. Srikanth(Field Manager, Hampi Cluster Development) for his help and hospitality and to the institution for assisting us in various ways. And also not to forget Mr. Bala Gangadharan, who was our mentor during Hampi trip and this project would have been impossible without his help and guidance throughout the project

We also sincerely thank Ms. Gulnaz Banu, Course Coordinator, FMS,NIFT Bangalore for giving us this opportunity and for being a supportive and insightful Project guide to us.

FMS III(07-09) NIFT BANGALORE

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D E C L A R A T I O N

We hereby declare that the project is an original and bonafide piece of work done by us. All information and data of secondary source have been duly referred and acknowledge. If this project is found in any other form it should be considered null and void.

FMS III(07-09) NIFT BANGALORE

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Executive Summary
Cluster development project was conducted as a part of third semester for the students of fashion management studies department. The cluster identified for this purpose was Hampi and the crafts chosen for the study were Lambani embroidey and Banana Fibre Art. A study on Lambani embroidery was conducted by the group. The purpose of the project was to study the supply chain and the sustainability of the Lambani artisans. An extensive secondary survey was conducted to gain the basic knowledge. Primary research was conducted by visiting the cluster. Place visited include Hampi, Mariyananahalli thanda and Sandur Kushela Kala Kendra (SKKK), an NGO operating in this area was also visited. The co-operation provided by various Lambanis gave the insight into their practical difficulties and ground realities. Product exploration was an area where artisans worked enthusiastically. Since the art is hand crafted, it is highly dependent on the artisans knowledge of the skill, and more importantly, their will to practice it. In places such as Mariyananahalli we found that there were a lot of people willing to work, yet they did not have enough orders. They also lack the marketing skill and more importantly, knowledge regarding their market, as a result of which they are unable to exploit the art. Moreover, fewer people wish to continue the practice. In order for the art to progress as a whole, education among the artisans is extremely important, of not only the market scenario but also the returns of their skill/art. Lambani embroidery has a lot of scope and through the study it is sure that organising the craft will bring prosperity to the art and artisans.

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INTRODUCTION

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HAMPI
(Kannada: Hampe in Kannada) is a village in northern Karnataka state, India. The name is a corruption of Pampa, which is the puranic name of the Tungabhadra River on whose banks the city is built. Hampi is located within the ruins of Vijayanagara, the former capital of the Vijayanagara empire. Possibly predating the city of Vijayanagara, this village continues to be an important religious centre, housing the Virupaksha Temple. The village of Hampi contains several other monuments belonging to the old city. It extends into some of the old ceremonial streets of Vijayanagara. As the village is at the original centre of Vijayanagara, it is sometimes confused with this ruined city. Hampi is also called "The City of Ruins". The Vijayanagara ruins are listed as the Group of Monuments at Hampi as a UNESCO World Heritage Site.

Over the years, it has also been referred to as Vijayanagara and Virupakshapura (from Virupaksha, the patron deity of the Vijayanagara rulers).

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GEOGRAPHY

Hampi is situated on the banks of the Tungabhadra river. It is 353 km from Bangalore, 254 km from Bijapur and 74 km away from Bellary. Hospet, 13 km away, is the nearest taluka headquarters. The chief language spoken is Kannada. The principal industries of the village are agriculture, the support of the Virupaksha temple and some other local holy places in the vicinity, and tourism. The annual Vijayanagar Festival is organized by the Government of Karnataka in November. Due to the presence of several mineral deposits in this region (iron-ore, manganese), mining of these minerals has

been going on for many years now. But a recent boom for the supply of iron-ore in the international market has led to excessive mining in this district. The World Heritage Site at Hampi as well as the Tungabhadra Dam are now under threat. The City has been given Limited connectivity to preserve the character with scarce electricity, no GSM network coverage and amenities, still it is becoming a popular tourist destination as on Oct 2007.

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HISTORY
Hampi is identified with the mythological Kishkindha, the Vanara (monkey) kingdom which finds mention in the Ramayana. The first historical settlements in Hampi date back to 1 CE. Hampi formed one of the cores of the capital of the Vijayanagara Empire from 1336 to 1565. It was destroyed by Moslem sultans. Hampi was chosen because of its strategic location, bounded by the torrential Tungabhadra River on one side and surrounded by defensible hills on the other three sides.

The site is of great importance in terms of architecture and historical significance. The demography is abundant with large stones which have been utilized to make larger than life statues of god. One can see a structure of historic importance every quarter of a mile. Sadly the city is in ruins as it was not able to defend itself against Islamic aggressions who treat Idol worship as blasphemy, 'All' the statues have been destroyed or damaged, the successive governments have not been able to keep the place free from treasure seekers who claim further damage.

Recently the Archaeological Survey of India is conducting continuous excavations in the area to discover more artifacts and temples. Page | 9

PROJECT

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TITLE
To study the entire supply chain and self sustainability of the Lambani Embroidery artisans under the Cluster Project and to suggest ways to make them self sustainable.

Objectives:
Study about the basics of Lambani embroidery Finding the problems in the Lambani embroidery and related marketing mix concerns. Understanding the supply chain and suggesting ways to make it efficient Suggesting measures to make the artisans self sustainable.

METHODOLOGY

Secondary data collection:

Before visiting the field, necessary data was collected through various books, craft documentations, interacting with the people who have visited those places, and an extensive search of the internet.

Primary data collection:

In order to collect primary data and to know how the art practically happens, various thandas were the art is extensively carried on is visited. Artisans were observed while they practiced the art. Personal interaction and depth interviews with the artisans helped understand the processes and collect the required information for the project. Interviews were also conducted with the government officials and NGOs based in the region to understand the initiatives being taken up for the development of the art and the artisans. Page | 11

The Places visited:

SANDUR KUSHAL KALA KENDRA MARIYAMANAHALLI

About the artisans

Embroideries are preformed only by women artisans The basic occupation of the artisans still remains agriculture They mostly belong to lower or lower middle economical class The artisans are not only from the Lambani Community, they are as well from the other communities.

There are two types of artisans: 1) Artisans having consistent income, by working for small organizations (NGOs, e.g. Sandur Kushala Kala Kendra (SK3) at Sandur Talluk, and Sabala at Bijapur. NGOs also

provide ration (oil, rice, sugar, grains etc.), and Provident Fund schemes to the artisans) 2) Artisans having inconsistent income, by making products and selling them to the people by themselves. The people work mostly as part time and work full time during the tourist season (November to March) The skill level of the artisans working with NGOs are excellent since they work under supervision and are trained. While others artisans arent that strict with the quality of work. The artisans do the embroidery on the fabric panels, which are later incorporated for making different products like bags, purses, belts, wrist bands etc.

The artisans follow their traditional design patterns, nowadays; NGOs guide them by providing design patterns. Page | 12

Swot analysis of Lambani embroidery

Based on the market research, interviews, and fields trips an analysis of the development potential of lambani embroidery is presentable. Swot analysis of the handicrafts sector shows that there exists numerous structural flaws- the effect of these flaws needs to be mitigated in order to achieve full potential in the sector.

Strengths Availability of skilled artisans There are many people of the Lambani tribe who have both the willingness as well as the required skill, yet they are at a loss of orders. As a result, their skill goes to waste. Easy and cheap availability of labour and raw material The labour and the raw materials necessary for the Lambani craft are easily available. It is also inexpensive. Demand in both domestic as well as foreign markets for the handicrafts. There is high demand for the Lambani handicraft products not only in the domestic market but also in the International market, which can be further exploited leading to higher margins and higher profits, Rich craft heritage The Lambani Craft is a rich heritage being passed on from generations. However, the Lambanis are not being able to exploit it for their benefit. Willingness among women to work There is willingness among the Lambani artisans to work and devote time towards this craft. However, lack of orders and the lack of knowledge regarding the latest updates in the fields of embroidery, etc fails to allow them to do so. Uniqueness of the embroidery The Lambani embroidery is unique, a fact that can be exploited to the beneft of the Lambani artisans. Recycling of products/apparel is possible Many innovative designs and varieties are possible within the craft However, due to lack of infrastructure, education and funds impedes their knowledge of the innovative designs and varieties. Can be used for high end market as well as the lower strata of the society based on their changing needs. A large market can be targeted as it can satisfy the needs and requirements of both the upper and lover strata of the market.

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Weaknesses In order to achieve maximum potential within the strengths in the Lambani handicrafts sector, the following weakness need to be overcome. As far as the flaws in the development of these craft are concerned we have here mentioned only the major concerns that require immediate action. Technical facilities for the development of new products. The artisans are short of, or completely lack the technical facilities. Illiteracy among the artisans This prevents the artisans from having accurate market knowledge and the possible strategies that they could use to tackle the respective market situations. Lack of marketing opportunities Due to the illiteracy factor, few opportunities are present and as a result only a very few can be exploited. Inefficiency in sourcing wherein each artisan procures his own raw materials there increasing the costs of procurement As was seen in the village MMHalli, each artisan was left to procure his/her own raw materials, which led to a high input cost for each of the artisans. This inefficiency is a major weakness as it ultimately affects the price at which the product is sold. Lack of the knowledge of the market hence applying push strategy which thus leads to high inventory and lower profits. Due to poor market knowledge, the artisans produce their products and then go to the markets in Hampi and Hospet, where try and sell their ware to the various export agents and retailers, where they get a raw deal. Had they adequate market knowledge, they would be able to produce as per demand. Lack of knowledge regarding similar products being produced by other forms of handicrafts at a much lower rate When similar products as the Lambani products are sold at a lower rate, the latter will obviously suffer as the prices are not competitive. Lack of government initiative and guidance to understand the needs of the artisans The government needs to take further and more detailed interest in the craft to ensure its sustenance. Lack of designing and product development facility. Emphasis is still based on the old techniques without aligning the product design and colours to the latest trends. As the artisans are unaware of the latest designs, trends and colors, their products appear as old-fashioned leading to loss of market share. Untapped export markets, however the Lambani artisans are not exposed to the procedures and the markets to export their products There are many potential markets for the Lambani handicrafts that have not yet been tapped.

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Lack of affiliation with overseas handicrafts organisations and trade related associations. Structural weaknesses, such as, lack of conformity to product specification and delivery schedules and no mass production as the artisans are scattered. Lambani embroidery is often taken up as a part time job which accounts further lack of proper concentration thus hindering idea generation.

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Opportunities At present, the craft is not being properly managed. However there exists vast number of opportunities that can enable the promotion of this craft and create employment for women in the Hampi cluster. Potential domestic and export market Potential for product diversification Linkages with large industry to enhance the efficiencies of the sector Training to upgrade skills and pass on traits to the coming generation. Potential for women entrepreneurship development. Economies of scale can be achieved due to the existence of the large no. of artisans. Potential for the artisans to work together as an enterprise rather than on an individual basis so as to reduce expenditure and increase profits.

Threats The following factors demand attention for the growth of the lambani artisans. Competition is on the rise from the global markets especially in the fields of price and product design. High production costs affect the competitiveness of the products in the domestic as well as the foreign markets. Traditional use of the art is disappearing due to the lack of creativity and innovation that is unmatched with the customer demand and satisfaction. Lower monetary returns discourage the current generation to pass the art to the next generations while the younger generations is also uninterested in taking up this craft their profession. Machine embroidery poses a threat to the lambani embroidery especially in terms of costs. New employment opportunities luring the artisans for finding alternative means of earning.

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COMPETITION FACED FROM OTHER TRIBES

GUJARATI EMBROIDERY Gujarat is the most important centre for fine commercial embroidery in the world. The belt comprising of Kutch and Saurashtra up to Northern Gujarat to western Rajasthan and the Thar Parkar Disrtrict of Sind is the richest source of folk embroidery in the world. The various types of embroidery form Gujarat can be classified into: Mochi embroidery Chainai embroidery Domestic embroidery The centre for mocha embroidery is Bhuj where ari work for ghagras, borders, caps, chaklas, torans are produced. The motifs usually embroidered were butti often with parakeets perched on them. These are interspersed with figures of peacocks or Putali women. Gujarati embroidery is all embellished with mirrors, embroidery beads and cowries and so Lambani is mistaken as Gujarati . The difference in stitches and coins are one of the major attractions of Lambani products. The difference between the artisans of these areas are that these people are more enterprising than the lambanis.

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KASHMIRI EMBROIDERY The Kashmir economy survives on its tourism and craft industry. It is known for its carpets, jewellery, papier mache, craved walnut, crewel and kani embroidery which are all known for their intricate designs inspired from the mughal art and also from nature. They also produce

embroidered silver and beaten copper with intricate designs. Embroidery has been developed into a fine art in Kashmir. One of it is dorukha, double sided shawl. The right side of it cannot be differentiated from the wrong side. Due to the decrease in the tourism industry the art has now moved to various parts of the country and is thus sold commercially on a large scale giving tough completion to lambani art in places like Delhi art and other handicraft exhibitions. Kashmiri embroidery is known for the skilled execution of a single stitch. Chain stitch, satin stitch, the slanted darn stitch, stem, herringbone and sometimes the doori or knot stitches are used but not more than one or two at a time.

Sozni embroidery or dorukha is often done so skilfully that the motif appears on both sides of the shawl each side having a different colour. There is no wrong side. The same design is produced in different colours on both sides.

Another type of needle embroidery is popularly known as 'papier mache' embroidery because Flowers and leaves are worked in satin stitch in bright colours such as those of papier mache and each motif is then outlined in black. This is done either in broad panels on either side of the breadth of a shawl, or covering the entire surface of a stole.

A third type of embroidery is ari or hook embroidery; motifs here are the well-known flower design finely worked in concentric rings of chain stitch. This is same as colour Zari or ari embroidery.

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Lambani Embroidery

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ABOUT THE CRAFT

The Lambani embroidery is an amalgam of pattern darning, mirror work, cross stitch, and overlaid and quilting stitches with borders of Kangura patchwork appliqu, done on loosely woven dark blue or red handloom base fabric. A distinctive design range is its revival and use of local mud-resist handloom fabric, and the mirrors, shells and white ornamental trims that are a traditional part of Lambani as well as the Irikil sarees of Dharwad-Hubli and other local fabrics. There are bright colours that are mostly used in Lambani embroidery, out of which; red and blue are most common. The Lambanis or Banjaras of South India are a colourful people claiming descent from nomads who migrated from Central Asia. Their main occupation revolves around agriculture. The women are adept at needlecraft and, with amazing

ingenuity, sew together bits and pieces of cloth embellishing them with embroidery and mirrors, designing objects of everyday use, and storing them as part of a bridal trousseau. These products are closely linked to rituals associated with the rites of passage and the embroidery traditions are paramparic. The women use yarn pulled out from old saris for their embroideries. The rangaras supplied the hand-block printed handlooms to the Page | 20

Lambanis in their cluster vicinities. A thread of connectivity exists between the Banjaras, Vanjaras, Gaudolia Lohars Lambadas and Vagaries.

The women are Lambanis or Banjaras, said to have descended from wandering tribal gypsies. They have had their origins in North Western India i.e. Rajasthan and Gujarat. Before the advent of trains, the Lambanis travelled with their own oxen and cattle form village to village carrying salt and selling their traditional sewing and embroidery. The Lambani are known for their brightly coloured dress, heavily decorated and trimmed with embroidery, mirrors and shells.

Hampi cluster products draw their inspiration from Lambani embroidery stitches however designs inspiration is mix of modern graphics, flowers with elements of traditional Lambani motifs, it is a combination of computer embroidery and Lambani embroidery. Only Lambani women are employed as embroiderers. Some of this fine needlework on cushions can take one women up to two weeks (90 hours) to complete. In the case of throws and bedcovers, two women working on the one item will take a minimum of three weeks or more. These articles are all handmade with the exception of the outler case (two sides sewn together) done by treadle sewing machine and computer embroidery on the textile fabrics which Hampi cluster wants to promote giving buyer the maximum benefit of product development.

Lambani Women
The Lambani women embroider bright rainbow-coloured fabrics covered with a mosaic of patchwork mirrors. Their work is sought after by collectors for its vibrancy of pattern and colour, and for the unusual technique of sewing hundreds of small mirrors into the compositions. Each piece depicts an aspect of the Lambani creation myths.

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The Lambani women are great travellers, they can be found in groups throughout the central and southern parts of India selling their cloth at markets and on beaches. Their work contributes considerably to the income of their families. The Lambani women commonly wear large, silver earrings laden with bells called lolia and a large silver torque around the neck to which two large silver pyramid forms are attached. There are said to represent bee hives, as the Lambani were once known as a bee-keeping caste when they lived in the southern jungles.

Raw Materials
The basic raw materials used by the Lambanis are: Fabric

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Cotton poplin is used for making embroidered panels for different products like purse, spectacle bags, mobile bags, coin pouches, shoulder bags etc. Narrow woven cotton belts of lower counts (10s) are used to make bags and other patches to impart strength to required portion of the product such as shoulder stripes, handles etc. Narrow woven fabrics are

stitched together for required width to make the product. This gives the product the traditional patch-work look of the Lambanis Cotton fabrics in the range of 24s 30sare used for making home furnishing items such as pillow covers etc. On these fabrics it is directly embroidered or embroidered panels are attached as per the design requirements. Khadi was also being used for making garments (mainly kurtas). The fabrics are sourced from Hospet market since they dont have much of volume to source directly from manufacturing centers.

Embroidery threads: 2/40s cotton yarns are used for finer embroidery 1/10s cotton yarns are used for thicker designs such as cushion covers. Acrylic threads are also used by artisans to make products for local market. The artisans determine the number of plies of thread to be used to get a particular look of the design.

Accessories:

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The accessories are used to add beauty to the Lambani embroidery and are used as per the design requirements. Mirrors: are extensively used as decorative

accessories in Lambani Embroidery. They are purchased in form of sheets and are cut into required shapes and sizes (mostly squares and circles). Mirrors are sourced from Bangalore and Hyderabad are sold to artisans (or NGOs) by shops in Hospet. Cowry shells: are shells which have a hole in their back side facilitating to stitch them on surfaces. They are sourced from Cuddalore near Chennai and are available to the artisans in the Hospet market.

Paari: are beads basically used for the border decoration Lavi: are circular discs used for the decorative purposes. Taroti: are coins soldered with ghugras and rings which can be stitched for decorative purposes. The other materials used for decorative stitches are Ghugara, Patadi, Mendal, Gotta, and uod- dhara

The types of stitches used in Lambani embroidery are:

Alle Katta and Nakara Katta and Nakki Joulya Kalyani Kaache

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Vittidora Relo Thalodora Potte Vele Sonytang Gadri

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Products with Lambani Embroidery

Pouches Cushions Accessories Garments Bags Purses Bed Covers Caps Cases for spectacles,

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Supply chain Characteristics of Indian hand crafted items for exports:

They are quota free and neutral to fibre content or composition,

barring 100% silk.

They include Garments, Made-up and clothing accessories.

Are

produced

in

cottage

industries.

Must be ornamented using any one or more of the following Indian folk styles. Hand painting, Hand printing, Batik, Tie and Dye, Kalamkari. Hand embroidery, Crocheting. Appliqu work of sequins, wooden or glass beads, shells, mirror, ornamental motifs of textiles materials.

Extra wrap of welt ornamentation of silk, art silk or zari threads.

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Product Process Flow Order booking

Sourcing of raw material

Cutting for required panels

Supplying it to the artisans for embroidery

Collecting and incorporating embroidered panels in the product

Packing and despatching.

Most of the promotion and sale of the Lambani products takes place through 3035 exhibitions all over the country every year. These exhibitions include exhibitions organized collectively by NGOs as well as those organized by Development Commissioner of Handicrafts. Fairs have also been organized in Spain, Australia, US and UK and 30 35 regular orders a year are obtained from these countries.

Almost 80% of the sales come from domestic business, whereas 20% is from exports. Delhi accounts for the highest share of domestic sales, followed by Chennai.

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Some of the places where Lambani products are sold are Bombay Stores, Cauveri Emporium, Bangalore ; Shilpi Sharanya, Chennai, Fabindia, Next Shop, CCI, Dilli Haat, Kalpadram, Chennai, C P Philips, Chennai.

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Supply Chain of the Lambani Craft

Kadirampur tanda Cotton Fabric from Ranagara, Hospet Steels coins and shells from Gaddak Yarns (Cotton, Wool) from Kopal Original mirror are bought from Kolapur and duplicate mirror from local market.

Sundur Kushala Kala Kendra (SKKK) Sourcing of most of the material is from Erode, Bangalore, Hyderabad and Delhi. Cotton handloom / power loom / Khadi cloth duly handbloc printed and dyed in Naphthol / Direct / Vat Chemical colors to get different shades and dyed in Red, Navy, Blue, Olive Green, Beige, Maroon, Khera , Bleached colors. Dupian Silk and Tussar Silk clothes procured from Bangalore and Bihar. Various handloom cloths procured from Northern Karnataka. Ikat fabric is sourced from Hyderabad, Mangalagiri fabric from Bangalore and Hyderabad, Cotton and super shine cloth are sourced from erode. Print Blocks for block printing of fabrics are sourced from Andhra Pradesh. Embroidery yarn: Yarn are procured from delhi market in bulk and dyed to required color combination at work Mirrors are procured from market of Bangalore, Hubli , Shells are procured from Bangalore, Chennai and Delhi.

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Buyer Places an order to the mediator, Buyer may Export it or sell it in domestic market. Generally the goods are sent to countries like France, Australia, Germany and many other countries. The Mediator gives works to Artisan which generally works in Tandas or various Self Help Groups. The Raw material is generally procured from the vendors situated in Delhi, Bangalore and Chennai.

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Suggestions
People in SHG should unite together when they go for purchasing the raw material for the crafts in order to take advantage of bulk buying. A Supplier of raw material should come up in hampi supplying all the needed raw materials for the artisian, that supplier can purchase the raw materials from various parts of the country.

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Observations and Analysis

Lambani, as a craft, has survived since centuries. Lambani artisans concocted their own world, where the craft was done for personal use rather than for commercial purposes. With the spread of an awareness of the rich Indian culture and heritage and its importance in the international scene, the local handicraft started becoming commercialized. Foreign tourists as well as the urban Indian population showed an increasing interest in the Lambani craft. Despite all this, the living conditions of the Lambanis havent undergone a major change. We had an extensive discussion with the people in Sandur, Hampi Bazar and Mariammanhalli thanda and made the following obsevations

At Sandur Kushala Kala Kendra

Fabrics were sourced from Erode and Karur and the other materials like glass, threads etc are sourced from Bangalore. The Lambanis were paid on piece rate basis, and the amount depended on the complexity of the design. Page | 33

SKKK provided all the raw materials like fabric, threads, glass pieces etc required for the work. The Lambanis were earning on an average 25-30 Re a day. The Lambani family also gets jowar at a subsidized price i.e. 1 Re for 1 Kg of jowar. The newer generation is not interested in the embroidery work anymore, they want be educated. Sandur recently has become a place well known for iron mining. On an average 5000 trucks carrying iron ore pass on that road every day and this has led to a rise in the economy of that place and flourishing of alternate employment opportunities. The males can earn close to 1000 Re a day as a truck driver and as a result the household income has increased drastically over the past few years in the region and embroidery is not an attractive occupation anymore. The SKKK has enough orders and can get more but they do not have enough manpower to execute large orders. The art has a severe competition from Rajasthani and Gujurati embroidery and these are cheaper compared to Lambani embroidery. Although Lambani embroidery has a better quality in terms of the types of stitches, design etc only a few customers are able to differentiate the Lambani embroidery from others and willing to pay higher price. People working at SKKK felt they were not getting enough money for their work. Orders are mainly obtained by means exhibitions and trade fairs. At Hampi bazaar Some of the shops mentioned they hardly had any business even during the season because of too many shops in the surrounding and too much of competition. Some shop owners were not interested in associating with SKKK and were doing local sales and also exports on their own as it was more profitable. The shop owners also mentioned they have good orders from some clients but they do not have enough manpower to fulfil the orders on time. Page | 34

Continuing low traditional and social status of the artisans- inspite of creating exquisite pieces of art acts as a big de-motivating factor and contributes towards he artisans taking up alternative occupations.

At Mariammanahalli: The Lambani people in Mariammanahalli thanda did not want to be associated with the SKKK as they felt it is more profitable to operate independently and also the SKKK pays

very less.

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They were enough people to do the embroidery but not enough orders. Some orders are obtained from some customers or they take the manufactured goods to the Hampi Bazaar and sell there directly. People do not work in a group and also source materials individually ant this makes the raw materials very expensive. Raw materials are sourced from local Marwaris and the cost of raw material is very high when purchased from them. The thanda does not have any market information and they manufacture the goods randomly and then take it to the market and hope to sell it. They also felt there was a need for training in tailoring. The younger generation was not interested in embroidery and looked to be educated. The lure of lucrative jobs in the cities and the Middle East have drawn the younger generations as well as the skilled individuals away from their bhungas, nessados, tandas and villages and their former ways of life. Poverty a majority of the Lambani population in the thandas is steeped in poverty. There is a lack of basic amenities like gas connection, water supply. Per capita income is very low inspite of the various initiatives taken by the NGOs as well as the government. Because of poor marketing facilities, most of the lambani garment produce and handicrafts are purchased by middlemen in the export businesses, who net a big profit abroad, thus eating into the profits of the artisans. Lack of education most of the artisans are illiterate. This leads to various complications in selling the products to the customers / agents at the right price, buying the raw materials at the right price etc.

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Making Artisans Self Sustainable

Many initiatives have been taken by various NGOs as well as the government for the promotion of Lambani craft and up-liftment of the Lambani artisans. Organization of various exhibitions like the Pachchai exhibition - at Safina Plaza, Bangalore. This exhibition specially showcased the Lambani products. It was organized first in 2003 in association with Small Industries Development Bank of India (SIDBI), Bangalore. 12 NGOs including Indus Tree participated in this first exhibition. Dastkar, started in 1981, is a Delhi-based society that aims to improve the economic status of craftspeople and thereby promote the survival of traditional crafts. It has rendered major contributions towards the development of Lambani craft by organizing various design workshops for the artisans and helping them with making their products more commercially viable. It has also helped the Lambani artisans come into direct contact with the urban consumers by organizing fairs and festivals in Bangalore.

Sabala Craft Development Center, was established in 1986 in the arid district of Bijapur in South India. It has been working towards reviving traditional Lambani (a tribal community) and Kasuthi crafts. It promotes the artisans' work by participating in exhibitions. It encourages the designers to make commercially viable products including cushion covers, bolsters, bed covers, bags, scarves, purses.

The designs and techniques traditional, however, there is a professional designer for assistance. The color combinations are designed to match international trends and standards. A total of 500 artisans are affiliated with the organization. It has helped the artisans become more confident, strong and forthright. The Asian Heritage Foundation, in 2005, took the initiative of preserving the dying traditions of Lambani craft and redeem it to its pristine glory and magnificence. It researched and documented a collection of old embroidered pieces. Through a defined, design oriented use of this core collection workshops were held in collaboration with

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Sandur Kushala Kala Kendra to instill an awareness amongst the women artisans, of the quality of the old stitches, the fineness of the embroidery and the construction and layout of the motifs. These women applied themselves to relearning stitches that had been forgotten to create samples which reflected their cosmic interpretation of the universe.

Rich dividends were paid to the women artisans. The intention of these workshops was to create an awareness of the richness of identity and the pride of skill that can find new avenues of expression. Latha Tummuru, a textile designer from NID, has helped the Lambanis in bridging the gap between the market and the craft by helping them bring out various product lines on which their skills can be adapted. She conducted workshops in the various Thandas and deals with fabric cutting, stitching, the concept of sizing and the aesthetic use of embroidery on various commercially viable products like clothing, accessories and furnishing. The Lambani artisans are an important group of beneficiaries of the ATA's Artisan Enterprise Development Alliance Program (AEDAP). Under the umbrella of this program, various programs like the Indian Market Readiness Program have been held in the year 2007. It was six-day craft business training, held in conjunction with South Asia's largest trade show of gifts and handcrafts, the Indian Handicraft and Gifts Fair. Its aim was to train the artisans in making products relevant to the Indian metropolitan market as well as the export market where the Indian handicrafts are in great demand.

This program has roped in various Indian and international designers to achieve its objective. Jane Griffiths, versatile home and fashion accessory expert, worked at Sandur in Karnataka with Indian

designer Roohi Sheik and 300 artisans Page | 38

known for Lambani (tribal) embroidery and mirror work. They developed collections for home decor as well as bags, belts intended originally for local markets but also right for export.

There have been times when initiatives have been taken by the Lambanis themselves for their upliftment. A young Lambani-Banjara woman Laxmi Naik from Hampi rose to fight against the decline of her community and founded Suryas Garden, the working unit of a trust called SURYA LAMBHANI-BANJARA WOMEN WELFARE TRUST, along with eight members of the same community. There, the Lambani embroideresses mean to revive ancient skills and to produce meticulous work. Each piece is unique. The quality of embroidery demonstrates the vitality of the rediscovered motifs.

At this time, the Trust gives work to around twenty ladies of Kaddirampura and a surrounding Tanda. The Trust is providing them with materials, and patterns and most of the ladies work at home for the moment. The trust has collaborated with Jan Duclos, a French NGO activist to ensure the promotion and commercialization of the products locally or in Europe. A part of the proceeds is meant to be used to build a community workshop, a medical center for the embroideresses and a kindergarten. This will provide Lambani women with financial freedom, a sense of solidarity as well as an assertion of their ancestral identity. The Trust is now acquiring a piece of land of around two acres, on the outskirt of the village, where foundations will be started for a community building. Apart from this employment oriented scheme, a small library of Lambani documents related with LambaniBanjara culture and a systematic recording of traditional patterns has been initiated. Plans are underway by a collaboration of various NGOs in Karnataka called SANGH to build a community centre for the Lambani artisans and putting up a platform where artisans from all thandas can come together and interact. The detailed objectives are as follows : To enroll 50 to 70 ladies

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To develop a commercial network based on the tourist inflow and access to high quality product retailers. To develop a library on this quickly vanishing culture and its intricate embroidered traditional patterns. To set up a small dispensary for the embroideresses and their children. To set up a Bal-wadi for the children.

The products embroidered by the women and the community would target different types of clients:

- Tourists visiting Hampi looking for sophisticated, ethnic handicrafts, with high value of art. It would be sold in the Handicraft centre itself, as it is located at a distance of 1 km from Hampi. Visiting the centre would be felt by the tourist as an excursion in the local culture. Besides the Handicraft centre would promote ostensibly values of fair trade, and durable development, in its very exclusive outlets, not in basic emporiums. - High quality outlets in Bangalore, Mumbai, Delhi etc. - Textile exports or garment designers.

Steps are being taken by the state government also for the cause of the Lambanis. On 3rd April 2007, Deputy Chief Minister B.S. Yediyurappa conceded to the decade-old demand of the Lambanis for establishing a Banjara Development Corporation with an initial allocation of Rs. 10 crore. It had been decided to appoint a non-official, preferably an elected representative of the Banjara Community, as the first chairman of the corporation and a senior official of the Government as the executive head.

3 crore have been provided for the construction of a "Banjara Bhavan" in Bangalore (the Government has given a big site in the Miller Tank bed adjacent to the Ambedkar Bhavan) and Rs. 1 crore for upgrading the guru (Seva Bhaya) peeta of the Lambanis at Suryagondana Koppa in Shimoga district.

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Apart from promoting the art, culture and handicrafts produced by the lambanis, the Banjara Development Corporation would provide basic training to lambani women engaged in the manufacture of a variety of artefacts and garments. 1,500 lambani hamlets would be converted into revenue villages. Better educational facilities would be provided for the lambani children. Also, the Government would take steps to prevent atrocities being perpetrated against lambani women by the upper caste people. In Karnataka, the lambanis are a group in the Scheduled caste list although in some other States they had been listed under Scheduled Tribes and Backward Classes. Additional benefits in terms of employment, ration scheme etc would be accorded to the Lambanis.

One important initiative taken by the Central government has been the linkage of handicrafts with tourism. Thus any promotional campaign talking about Karnataka as a tourist destination would also talk about the Lambani craft. This specially serves to entice the foreign tourists who make it a point to se the craft and buy souvenirs. The greatest contribution towards the upliftment of the Lambani artisans has been made by the Sandur Kushala Kala Kendra, an NGO set up in 1984 in the Sandur Taluk of Bellary District of Karnataka. The objective of the Kendra to promote this skill of the Lambani women not

only to preserve this art but also to be a means of supplementing their family income. Designs and facility are

provided at the Kendra where the Lambani

women from the near by villages come to the Kendra to practice their traditional crafts for

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production of various articles. They are paid on piece rate wages. They are also given Provident Fund, Bonus and subsidized ration benefit.

The Kendra is working with eight Lambani villages. Self Help Groups: All the 300 artisans in eight thandas and about 45-50 tailoring women working in the mother center at Sandur have been formed into SHGs and are engaged in thrift activities. All the SHGs have been linked with the Banks, have obtained loans, and are regularly engaged in income generation activities to support their family members.

A market access training programme was organized by the Kendra in early 2007. The thandas were organized into sanghas. 1. Jagadamba Mahila Swasahaya Sangha 2. Tulaja Bhavni Mahila Swasahaya Sangha

Awards like National Master Craftsperson Award recently given to a 25 year old Lambani tribal Shanta serves to boost the spirits of the craftsmen. These awards have thus motivated the lambanis.

Suggestions Although a lot of steps have been taken so far for the development of the art which have helped it gain worldwide recognition, a lot still has to be done to efficiently utilise and capitalise by tapping unexplored markets. Understanding various markets and creating awareness and is the next step that has to be taken so as to efficiently utilise the capacity of the artisans profitably. The following areas should be focused on to make the artisans self sustainable so as to effectively contribute to their development.

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Key Problem Areas

From our observations we were able to identify some of the key problems for the development of the art and the self sustainability of the people:

The people of different thandas did not work together and even within a thanda also the people had not formed groups.

SKKK and some entrepreneurs who were selling on their own had some orders or demand for their products but did not have enough have enough manpower to execute huge orders whereas there were enough people in Mariammanahalli but not enough orders.

People in Mariammanahalli were not ready to work with SKKK because of the low pay.

The people in Mariammanahalli were also not working together and they were sourcing the material individually from local Marwaris which made the cost of material very high. And they also lacked market information regarding what has to be manufactured in what quantities.

People especially the younger generation were not interested in this work of art and looked for alternate occupations because of better earning opportunities and better standards of living were possible with other jobs.

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RECOMMENDATIONS
Lambani offers good potential for growth in rural areas. But the pressure on this industry is increasing as a result of the opening up of the economy. It is necessary to improve the quality of the lambani embroidered products and produce varieties that can compete in the international market. Also introduction of certification in private lambani clusters. Reducing the role of middlemen

As a measure to introduce transparency and ensure remunerative prices, to computerized trading in the markets. This will bring craftsmen and suppliers of raw material closer by eliminating middlemen. The lambani industry is passing through troubled times. Nift has taken several measures to mitigate the woes of the industry. These include continuation of the incentive price for the craftsmen. Development Fund should be set up to assist craftsmen in distress with matching contribution from the state government and NIFT.

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Development in information system

To spread the benefits of Information Technology across a wider spectrum an egovernance strategy that will improve quality of service delivery and information availability for citizens. To intensify rural initiatives using information and communication technologies through information kiosks, cyber cafes, low cost access devices, etc. Promote the art

To promote organised manufacturing in the State, necessary to establish a unit in a city like Bangalore to facilitate manufacturing, design and export activities. NIFT should set up a unit in Bangalore with Common Facilities Centre and design facilities to aid all crafts in Karnataka. Improvement of Infrastructure

The development of industry and commerce is dependent on basic infrastructure. In an increasingly globalized and competitive world, we have to move away from the debilitating culture of concessions and exemptions and move towards direct provision of critical infrastructure along with reforms within this sector. Rail infrastructure projects would be implemented through Special Purpose Vehicles, with private sector participation, wherever feasible. A pilot project for improvement of the quality and quantity of all categories in one of the centers and should be replicated in other districts in subsequent years. Capacity building There lies an untapped potential in the region and its artisans. Increasing income

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Counselling for the artisans

The artisans most of who are illiterate and are not connected to the world outside their villages should be made to realise the worth of their art and skill. Giving them this knowledge would motivate them to work efficiently. Counselling would help the artisans understand the value of their skill and also help them understand the market.

Formation of cluster

To encourage people to work in group and form a cluster so that the raw materials could be sourced at cheaper price and also the market information could be shared.

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Bibliography

www.Hampionline.com www.Cluster development initiative-project report www.Craftsofindia.com Decorative Designs and Craftsmanship of India Author: Ekanshi Bhavani Publisher: D.P Taraporewala and Co.

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