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1. Cluster Detail
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West Bengal Birbhum Bolpur
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A cluster is defined as a geographic concentration (a city/town/few adjacent villages and their
adjoining areas)of units producing near similar products and facing common opportunities and
threats. An artisan cluster is defined as geographically concentrated (mostly in
villages/townships) household units producing handicraft/handloom products. In a typical
cluster, such producers often belong to a traditional community, producing the long-established
products for generations. Indeed, many artisan clusters are centuries old Artisan.
Hand Embroidery:-
Kantha is the most popular embroidery of West Bengal done with folk motifs. Other
embroideries include the chikan work, the zari work and Kashida. The fine subtle form of
chikan embroidery is usually done on very fine textured cloth like muslin and cotton. The
embroidery is usually done by the same coloured thread as the cloth itself. Like blue thread is
used on light blue cloth while white thread may be used on white cloth. Though white on white
is a popular combination other colored threads are also used in white cloth.
Silk embroidery on cotton clothes, the Kashida, is the most common form and is used primarily
for caps and scarves used by the Muslims for prayers. More contemporary modern embroidery
involves Kashmiri stitches, Cross stitches, Convent stitches, Cut work and combinations.
Kathiawari mirror work is also used in abundance. The modern style uses alpana designs and
motifs of flowers, animals and birds.
The main flat stitches with their traditional names are:
Taipchi: Running stitch worked on the right side of the fabric. It is occasionally done within
parallel rows to fill petals and leaves in a motif, called ghaspatti. Sometimes taipchi is used to
make the bel buti all over the fabric. This is the simplest chikan stitch and often serves as a basis
for further embellishment. It resembles jamdani and is considered the cheapest and the quickest
stitch.
Pechni: Taipchi is sometime used as a base for working other variations and pechni is one of
them. Here the taipchi is covered by entwining the thread over it in a regular manner to provide

2. the effect of something like a lever spring and is always done on the right side on the cloth.
Pashni: Taipchi is worked to outline a motif and then covered with minute vertical satin stitches
over about two threads and is used for fine finish on the inside of badla.
Bakhia: It is the most common stitch and is often referred to as shadow work. It is of two types:
1. Ulta Bakhia: The floats lie on the reverse of the fabric underneath the motif. The
transparent muslin becomes opaque and provides a beautiful effect of light and shade.
2. Sidhi Bakhia: Satin stitch with criss-crossing of individual threads. The floats of thread
lie on the surface of the fabric. This is used to fill the forms and there is no light or shade
effect.
Khatao, khatava or katava is cutwork or appliqué - more a technique than a stitch.
Gitti: A combination of buttonhole and long satin stitch usually used to make a wheel-like motif.
Jangira: Chain stitch usually used as outlines in combination with a line of pechni or thick
taipchi.
The bolder or knottier stitches include the following:
Murri: A very minute satin stitch in which a knot is formed over already outlined taipchi
stitches.
Phanda: It is a smaller shortened form of murri. The knots are spherical and very small, not pear
shaped as in murri. This is a difficult stitch and requires very good craftsmanship.
Jaalis: The jaalis or trellises that are created in chikankari are a unique specialty of this craft.
The holes are made by manipulation of the needle without cutting or drawing of thread. The
threads of the fabric are teased apart to make neat regular holes or jaalis. In other centres where
jaalis are done, the threads have to be drawn out. In chikankari, this is not the case. Names of
jaali techniques suggest the place where they originated from --- Madrasi jaali or Bengali jaali --
-- or possibly the place of demand for that particular jaali. The basic manner in which jaalis are
created is by pushing aside wrap and weft threads in a fashion that minute openings are made in
the cloth. Shape of openings and the stitches used distinguish one jaali from another.
Raw materials:-
The fabric is worked upon with a long needle,threads,tikris and beads.Multi sized frames are
used, usually about 1.5 feet high,to secure the cloth on which the design is sketched with a
stencil. One hand secures the thread under the cloth to the needle while the other hand moves
the needle on top of the cloth with ease.

3. Process:-
The production process of a chikan garment, assuming it is a kurta, goes through several
processes. In each process a different person is involved. The final responsibility is, however,
that of the person ordering the manufacture, who is also usually the seller. Chikan work involves
several stages. The fabric is cut by the tailor into the required garment shape, after which the
basic pre-embroidery stitching is done so that the correct shape is available to the block-printer
to plan the placement of the design. The design is printed on the semi-stitched garment with
fugitive colors, and the embroidery of the garment is then begun. After completion, the article is
checked carefully since most defects can be detected at first glance. However, the finer flaws
surface only after washing. The washing is done in a bhatti, after which the garment is then
starched and ironed. The whole cycle can take from one to six months. Originally, chikan
embroidery was done with white thread on soft, white cotton fabric like muslin or cambric. It
was sometimes done on net to produce a kind of lace. Today chikan work is not only done with
colored threads but on all kinds of fabrics like silk, crepe, organdie chiffon, and tussar.
Techniques:-
There is a discipline and method in the application of the stitches. The darn stitch is worked on
rough cotton fabric to fill angular designs and to cover the surface of the fabric, while satin
stitching is done exclusively on delicate fabrics like silk, muslin, or linen. In chikan some
stitches are worked from the wrong side of the fabric, while others are worked from the right
side. It is however unique in its discipline in as much as stitches designated for a particular
purpose are used only for that purpose --- they are not replaced by other stiches. For example,
the chain stitch (zanjeera) will only be used for the final outline of a leaf, petal, or stem.
Different specialists work with different types of stitches. For example, open work or jaali is not
done by embroiderers who do the filling work. Each worker completes his/her bit and the fabric
is then sent to the next embroiderer. The wages for each job are fixed separately.
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Leather Craft:-
Variety of articles such as Hand Bags, Wallets, Jewellery, Utility Box, key Rings Etc are made
from leather in Bolpur.
Raw materials’s Leather Craft:-
The main raw material that is used for making leather crafts in West Bengal is the skin of goats
and sheep. The creating of leather crafts specifically the leather puppets follows some
procedures like washing the hide, cleaning and decorating it with immense perfection and
dexterity. Once the puppets are structured, then the dyeing and outlining of the borders are done.
Apart from creating these leather puppets, the craftsmen of West Bengal create leather items

4. that are used for home décor like lamp shades, wall hangings, Hand Bags, Wallets etc.
Leather Craft’s Process:-
Leather is bought from the wholesale market and soaked for two days in huge drums. It is then
washed thoroughly to rid it of excess tanning ingredients. While fully wet it is stretched on the
floor and left to dry. This process involves some skill as the leather needs to be stretched
uniformly to avoid wrinkles. Good stretching can also increase the leather surface area by 5 -
10%. At this stage the water in the wet leather acts as an adhesive and holds it firmly to the
floor. As the leather dries it automatically disengages from the floor.After this it is marked and
cut to size with scissors and cardboard formats.he piece which needs to be embossed is then
moistened with a sponge and rolled out with a rolling pin.A block is made according to the
desired design by the acid etching process used in old letter presses. The die is placed in a ball
press machine and the leather is sandwiched between the die and a sheet of hard rubber and
strongly compressed.The leather is again cut according to patterns and assembled to make bags
or boxes. Boxes are made using cardboard stiffeners and everything is pasted together using a
rubber-based glue. Cardboard is cut using a die, because the cutting has to be very precise. Even
a slight error ruins the final shape of the bag.
Leather Craft’s Techniques:-
Various other techniques are involved in making a complete product, the most important of
which is skiving (to disguise the edge of the leather without increasing thickness though fashion
pundits have opposing views on this), creasing (to ensure an even fold), beating(with a mallet to
increase effectiveness of the adhesive) and polishing (rubbing the leather hard with a smooth
piece of stone or glass to give the leather that shiny surface, the pressure and heat involved also
closes the pores and gives the leather a high and even density). Bags are made by stitching
together the pieces using a sewing machine. Unlike fabric stitching leather has to be stitched
with a more heavy duty machine and a certain amount of pre-stitch adhesion is required to keep
piece in place.
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How to Reach:-
Netaji Subhash Chandra Bose International Airport is the nearest airdrome, located about 160
km from Birbhum. Located at Kolkata, the airport is well connected to the entire country as well
as to certain international destinations. After de-boarding from the air carrier, tourists can either
opt for a train heading towards Birbhum or arrange for a bus/personal cab to reach the beautiful
and striking district. Birbhum is well-linked to the other districts in West Bengal by railways.
The Howrah-Sahibganj loop of the Eastern Railway passes through this district. While the
junction at Nalhati connects Birbhum to Azimganj in Murshidabad district, the Andal-Sainthia
line connects it to the main Howrah-Delhi main line. In short, Birbhum is appropriately linked
to the other districts, which makes traveling to the place fun. Birbhum is very well connected to
the other districts in West Bengal. The Panagarh-Moregram Expressway linking Grand Trunk

5. Road (NH 2) with NH 5 cuts across the district. Apart from this, there are several other entry
points for the place as well. Regular bus services from Kolkata, Siliguri and other cities connect
Birbhum to all the districts in West Bengal. As for the local transport, there are bus services,
auto rickshaws and taxis that make traveling easy. Apart from this, the entire district is covered
by local trains that connect all the major divisions of Birbhum. Ahmadpur, Dubrajpur,
Rampurhat, Asansol, Murarai, Sainthia, Bolpur Shantiniketan, Nalhati, Siuri,Chatra, Rajgram
and Swadinpur, each of the towns has a railway station, linking the entire region of Birbhum..
 HANDICRAFTS IN WEST BENGAL
 Clusters
o A cluster is defined as a geographic concentration ofunits producing near similar products and facing common
opportunities and threats.
o The producers often belong to a traditional community,producing the long-established products for generations.
Some facts:
o To promote local production,innovation and collective learning.
o It is estimated that400 modern SSE and 2000 rural and artisan based
clusters existin India.
o These contribute upto 60 percent of India's manufactured exports.
o The SSE clusters in India are estimated to have a significantlyhigh share
in employmentgeneration
 Cluster developmentsteps
o Selection of the cluster
o Selection of a cluster DevelopmentAgent
o Diagnostic Study
o Preparation of Action Plan for intervention.
o Approval of the projectand release ofthe funds.

6. o Implementation ofTrustBuilding between Cluster Actors and
Cluster Developmentagent
o Monitoring and Evaluation
o Self ManagementPhase
 Listof Indian clusters
 BIRBHUM CLUSTER
o Birbhum is a districtin WestBengal.
o The name Birbhum comes probablyfrom the Land ("Bhumi")
of the Brave ("Bir") .
o Is famous for its topographyand cultural heritage .
o VisvaBharati University at Santiniketan,established by
RabindranathTagore,is one ofthe places Birbhum is internationally
renowned for.
 Birbhum
Geographical Area: 4550 sq.k.m.
Total Population (2001 Census):3012546
ForestArea: 15966 hectares.
Net Area Available for Cultivation: 531463 hectares.
Resources:Livestock.
Minerals:China Clay, Fire Clay, Black Stone and
Crude Clay
Agricultural produce:Paddy, Wheat, Potato and Sugarcane.
No. of Registered SSIUnits:3624
No. of Large/Medium Units:4
Banks & Branches Commercial Banks - 109
Rural Bank - 65
Co-operative Bank - 18
 BANKS VISITED
State Bank of India
o Location : Sriniketan Branch
o 5 Groups of artisans were given loan from
the branch.
o Interest: 11% (half yearly compounded)
o Scheme –SHG
o Loan a/c is opened and loan is given
o 4 times the saved money in 1 year.
UCO BANK
o Location : Bolpur
o Rate of Interest: 11% per annum
o No of group under this branch:10
o Criteria of selection:corpus fund,subsidy,operation.
o DOCUMENT REQUIRED:

7. o Demand PromissoryNote,Letter of Weavers.
o Processing time:15 Days.
PASCHIM BANGA GRAMIN BANK
o Location : Sriniketan Branch
o Loan amount:Minimum 2500,
o maximum 2,50,000 per group
o The bank gives shortterm loan of amount
maximum ofRs.25,000 which they have
to return in 12 months.
o Interestrate: 11% annually
o No. Of SHGs under this branch: 350
o The loan amountsanctioned is 4 times the amountofsaving done by group done lastyear. The sanction ofloan and
processing takes about10 days.
 CRAFTS IN BIRBHUM
o Shola-pith.
o Artistic Leather Goods.
o Macramé Ornaments.
o Suri Bowls are symbols ofexcellence of Bengal Art
o Silk Weaving.
o Katha
Handicraftconcentration
 KANTHA
o Traditional form of embroideryof WestBengal.
o Running style of stitch.
o Done on quilts,bedsheets,blankets,saris,salwar suits,stoles,napkins,etc.
o It is also known as ‘Dorukha’.
o Means making worn out garments into beautiful garments. Therefore is also
known as recycling art.
o Origin lies during the era of Lord Buddha.
o Quite closelyspaced stitches,often in brightly coloured blocks ofpattern
which denotes specific symbols and produces a rippled effectupon the fabric.
 KANTHA
Different types of kantha
o Sujanikantha
o Durjanikantha

8. o Lepkantha
o Archilatakantha
o Rumalkantha
o Oaarkantha
Different types of patterns
o Jaal
o Folk life designs
o Dhanchori
 KANTHA
Product: Items basicallycomprises ofsarees,Punjabi suits,dupatta,sotles,shawls,bags,etc.
Commonlyused fabrics is tusaar silk,Bangalore silk,cotton,etc.
Price: Product type.
Fabric and raw material.
Intricacy of design made on fabrics.
Promotion:Fairs:EPCH fairs, Sarasmela
Retail Outlets: AmarKutir, Swabhumi,Manjusha,
Basundhara,Alcha.
NGO’s: Sasha,amarkutir,Kolkata socio cultural society,
aid to artisans.
Word of mouth publicity.
Distribution :The distribution channel is unstructured.
Channel Productreaches the final consumers through intermediaries.
The local markets and retail outlets help increase the
productvisibility and product accessibility.
 KANTHA
Packaging:Artisans notconcerned aboutpackaging.
Packaging is handled byretailer and NGO’s who stock and sell it.
Segmentation:People who value the art and craftsmanship involved.
Of the marketTourists and foreigners
Demand:Period ofdurgapuja is the highestselling period.
The month of October to march are the months
experiencing the highestsale.
Supply: Plain sarees and dress materials are procured from adjacentdistricts ata price range of about Rs.500- 700.
Raw materials like thread are aboutfrom local markets.
Consumer buying pattern and expectations:
All the products have different demand patterns.
Sareesand dupattas have highestdemand.
 PROBLEMS
o It is pursued as a hobby, rather than a profession,no motivation
o Most of the work is done on contract basis
o Lack of awareness aboutmarket,selling price,backward linkage etc.
o Hesitantto go out of the districtbecause oflanguage problem
o Hesitantto take risks on their own
o Lack of finance to start their own work
o Loans iftaken are utilized for household works

9. o Lack of regular orders
o No united decision among the artisans regarding the prices
 Suggestions
o Regular source oforders should be found ,so that artisans have a regular source ofincome.
o Wages of artisans should be increased,so thatthey are not attracted to other jobs.
 BATIK
o Word batik actually means 'waxwriting'
o Process ofwaxing and dyeing
o No artistic skill is needed
o Batik fabric is popular for its durability
o The colors in Batik are much more resistantto wear than those of painted or printed fabrics
o craft of Batik is easier to learn and perform
o Lack of trained people
o Training of 15 days is not enough
 LEATHER
Packaging:Artisans notconcerned aboutpackaging.
Packaging is handled byretailer and NGO’s who stock and sell it.
Segmentation Two major segments:
of the market: Firstis the foreign clients who importthese products
Second is the domestic buyer belonging to Kolkata & other parts of westBengal,guwahati,Chennai & Mumbai etc.
Focuses on the niche segment& hence the impetus is on quality
Demand:The domestic demand for leather craft increases during the festive season i.e October to feb
Demand throughoutthe year
Supply: The raw material has to be purchased & processing is done atshantiniketan& then sold outside.
Many a times he does nothave the adequate capital to invest in raw material
 PROBLEMS
o Lack of skilled workers
o Lack of professional attitude among the artisans
o Artisans are not concerned about maintaining proper qualitylevels
o Hesitantto go out due to language problems
o Family – owned units,unwilling to take initiatives for changes
o No proper pre set up channel for the raw materials to reach the artisans.Institutions have an upper hand
 Suggestions
o Provide on the job training to workers to develop professional attitude among workers
o Quality standards can be maintained bythe firm
o More NGO’s should be encouraged and open factories
o Should focus on domestic markets due to better prices.

10. o The information aboutavailabilityof loans,as well as directions to avail financial benefits should be given to them.
 MACRAME
o Very less growth & income opportunity
o Lack of skilled workers
o Lack of professional attitude among the artisans
o Artisans are not concerned aboutmaintaining proper qualitylevels
o Hesitantto go out due to language problems
o No proper pre set up channel for the raw materials to reach the artisans.Institutions have an upper hand
 PROBLEMS
o Stagnation and complacencywith regard to general living conditions.
o The working culture is totally unorganised.
o Lack of education and pragmatic unawareness among the artisans.
o Language problems and general personalitytraits such as being overtly humble and shyis another hindrance to
progress.
o Lack of sufficientinformation regarding marketing and organisational structure.
o Artisans harassed bymiddle men.
o Lack of interactions with NGOs.
 Suggestions
o The information aboutavailabilityof loans,as well as directions to avail financial benefits should be given.
o Training should be given in priority to those artisans who have been associated with the art form.
o Training should be given in the condition that the artisans use whathas been taught.
o More NGO’s should be encouraged and open factories.
o There can be product extension: diversifying into products which require lesser time - dupattas,scarves etc.
 RETAIL OUTLETS
o ALCHA
o AMAR KUTIR
o BASUNDHRA
o VANALAXMI UNIUN SAMITI
o SHILPA SADAN
 ALCHA
o Alcha Store in Santiniketan stocks things designed and made primarilyin Santiniketan under the “Abakash” label.
o It was started in 2003 by Ms.KiaSarkar, Ms. Lipi Bose,Ms. BiruSarkar.

11. Location
Non-commercial area ofthe town surrounded bygreenery.
Alchaalso runs a cafe (next door) also has a tiny bookstore.
Target Segment
Tourists and foreigners.
Store Environment -
Creative presentation ofmerchandise designed very aesthetically.
The walls are made up of the mud highlighting the rural look.
 Merchandise Assortment
Less SKUs to avoid the cluttered look.
More styles and designs rather than on the productdepth.
Bags,kurtas,sarees,leather accessories,lightJewelry,organic food, organic cosmetics,upholsteryetc.
Weaving, dyeing, batik, iron and bronze work, leather, wood and bamboo work and terracotta. To make: Clothes,
Accessories,Linen,Home embellishments
Price
High priced .
The psychological pricing strategyhas been followed here which implies higher the price better the quality.
Service
Five sales persons are always there.
Extended in to a library and a small restaurantfor their refreshment.
Promotion
Word of mouth promotion and few hoardings.
 AMARKUTIR
o A retail store opened atbolpur by the Amarkutir society.
o It is an NGO firm that started in 1922.
o It is aimed atthe rural developmentand promoting village arts and crafts.
Location
At a commercial streetofthe town.
Other small shops having similar merchandise are also there.
Target Segment
Mainly tourists from kolkata and foreigners.
Store Environment
Bigger in comparison to Alcha(area approximately700sq.ft) is smaller than thatof Vasundhra.
No props are used to displaymerchandise.
The merchandise is displayed mainlyon the walls and in the small displaywindows.
 Merchandise Assortment
Manufactures all the products and retails them through their own outlets.Have their own setof artisans who make the
products & sell attheir outlets.Sarees,kurtas,leather accessories etc.
Large variety of merchandise is the USP of store.
Price
Medium priced.
20% of the MRP is paid as the making charge to the artisans.
Service
Artisans Co-operative Society” is the controlling unit.
4-5 people to assistcustomers on the floor
About 65 expert leather craftsmen are engaged attheir wares in AamarKutir
Promotion
Same as it is in Alcha and Vasundhra.
* The peak seasons are during ‘Posh Mela’,‘DurgaPuja’ and ‘VasantUtsav’ (i.e.Holi). During this period,sale is Rs
70,000 to Rs 1 lakh daily.
 VASUNDHRA
o Products are procured on a consignmentbasis and the artisans gain after the sales are made.

12. o Various handicrafts are sold here too.
Location
Like Alcha, the store is located at a non-commercial area ofthe town.
A beautiful garden and a nursery surrounding the store.
Target Segment
Mainly tourists and foreigners.
Store Environment
Bigger area.
Keep similar merchandise together,no extra creativity can be seen.
Typical conventional shop with a wooden counter
Use of big iron and wooden racks for the displayof the merchandise.
 Merchandise Assortment
Sources the products from Bolpur and from the nearby villages
Number ofSKUs at the store is very high both in product depth and width.
Product categories like sarees,fabric,kurtas,leather bags,leather footwear,accessories,leather wallets,wooden
dolls,dhokra items etc.
USP- Large number ofSKUs
Price
low priced in comparison to Alcha.
Moderately priced.
Service
Seven to ten sales persons are there on the floor.
These people make sure thatthe customer (foreigner or a tourist) understands the craftand its intricacies.
Promotion
Like Alcha, Vasundhra is also dependenton word of mouth promotion and on hoardings,which help in attracting
foreigners and tourists
 VANALAKSHMI UNMESH SAMITI
o Aims at create an ideal model ofsustainable developmentusing Nature in a symbiotic relationship with growth.
o To reach out to the rural population around them and help improve the village economyby working with Nature.
Location:
Located where the Forestends.
A Banyan tree, seven centuries old,stands guard atthe entrance.
Target segment:They are mainlytourists and foreigners
Store environment:
The space for retail is less.
This space has been used for displaying garments,bags,farm products.
Very less space has been given to sell variety of products.
 Merchandise assortment
Farm produce:For selling farm produce such as rice,mustard,ghee,jams,jellies,squashes,pickles,murabbas,
toffees, aampapads,and traditional Bengali sweets such as coconutroundels (naroos),pithas and patishaptas.
Local village handloom products & handicrafts:Lungi,Handloom Towels,Kurta,Blouse material,Saris,Salwar
materials,Embroidered,Tops,Bags,Terracotta show pieces,Cane stools (Mora),Cane mats (Chatai & Madur),Cloth,
paper and cane files,Fabric – kantha embroidered as well as withoutembroidery.
Price
Medium priced.
Service
Three sales persons are always there on the floor.
A library and a small restaurantas a part of extended serrvices.
Promotion:
e-marketing,satellite linkages.
Direct marketing through word ofmouth is done.
 SHILPA SADAN

13. o Reputed Institute of VisvaBharati engaged in promoting Crafts and Design education which was setup by
GurudevRabindranath Tagore in 1922.
o To uplift craft and Craftsmen and thereby improving the rural economy.
Location
In the campus ofvisvabharti university.
Target market
Tourists and students along with foreigners.
Store environment
Not very well organized.
Staff has not taken enough care for the outlet.
Products can be displayed in a better way.
 Merchandise assortment
Very less variety of products were displayed.
All products were manufactured bythe students involved in the program.Products include file covers,wallets,bags,
files,clutch, printed bedcovers,printed diaries,trey, tea pots.Crockery, fabric, etc
Price
I Not very highlypriced.
Prices are low.
Price of various items range from Rs.25- Rs.600
Service
Two sales staffwas presentto entertain customers.
2 accountants were there for accounting and billing.
Service was slow.
Promotion
No measures for promotion is taken exceptfor word of mouth.
 Artisans Profile
Artisans 1: : RabiaBibi ( Success)
Business :Kantha embroidery
She has established herselfas a successful entrepreneur,with 6 to 7 number ofartisans working under her.
Costing ofa Saree :
 Artisans Profile
o Products :Sarees,Dupattas,Bags,Stoles -Rs.600,Kurtas,blouse pieces :Rs 150-200 Design & color combinations
are chosen by artisans only.Traditional designs with little variations . No Finishing .
o Other professions :Animal rearing & farming.
o Location:Her home onlyor sells itto a shop in Ilaam Bazaar
o Other details:
o Participate in various Melas like Saturday mela,Poushmela,theysell the basic saree for Rs.3000
o They got the training from NIFT bolpur training centre 1-2 years back for which they were paid Rs.1500 for a 13 day
workshop.
o No bank Loan , No bank account, only a ration card holder.
o Interested in opening a business & grow,move to kolkata but due to financial constraints cantexplore the market
opportunities.
o Need help from co-operative societies.
 Artisans Profile
Artisans 2: PARTHO NANDI (success)
Business :Kantha embroidery
He is an entrepreneur in Bolpur who himselfprocures the raw material like Silk from Bishnupur,Bangalore Silk,&
owns a thread bank.He sells around 2000-3000 sarees in a year.

14. Costing ofa Saree :
* Whole sale rate : Rs. 3400 per piece ( approx)
 Artisans Profile
o Products :Sarees,Dupattas,Stoles , blouse pieces ,suitpieces.
MeetaDidi ( NIFT trainer) & he himselfdo the designing which is very different from the restof the market& can’t be
copied easily.The changes in design according to the marketwas seen.
o Location:His home onlyor sells itto retailers and exporters in Mumbai and Delhi.
o Other details:
o He sells per piece notbulk orders because it’s hand embroideryso same perfection will not be there in every piece.
o Minimum lead time (kanthasaree)- 5-6 months.Varies according to design details.
o His network grows by getting in touch with traders in exhibitions & melas.
o He wentto bank 4 years back for a loan of Rs. 1 lakh but for that Rs.40,000 was to be deposited as securitywhich
was very high.
 Artisans Profile
Artisans 3: Shaniyasi (Succes)
Business :Leather exporter
He owns Shantiniketan leather exports.He is only in exports.
o His annual turnover is 80 lakhs and he hasn’tdisclosed his profitmargin.
Products : Leather batik goods - bags etc.
They do block printing as buyers don’t like hand batik.
They do not repeatthe design.
Location :Shurul
Other details:
o Its involved in exhibitions through contacts.
o Lead time required is 60 days
o Under him 10-12 people work.
o Contracts are from exporters.
o Quality check of the products is done by the owner himself.
 Artisans Profile
Artisans 4: Debabratasengupta (success)
Business :Art wing – decorative items
Retail outlet as:the crafts
Has worked with many designers such as Subhyasachi,etc
Products
Items basicallycomprises oflike bags,boxes,wallets purses,keychains,mobile holders,folders,decorative items,
coin bag, etc.
Location :Shurul
Other details:
o The person has been a guestlecturer at NIFT.
o There are more than 500 such varieties available at the art wing.
o Raw materials:leather sourced from Chennai and are reprocessed from sriniketanto provide the tanned leather some
longevity.

15.  Artisans Profile
Artisans 5: MaushinaBibi
Business :Macrameartisan
She participates in manyfairs in India- Delhi trade fair, dillihaat,Kolkata SarasMela in 2006 & Abroad like Beijing,
South Africa, Dubai through NIFT.
Products
Products like macramé jewelry:10 years back sold atRs.10,now sold at
Rs.50 to 100, Necklace Rs 60, Anklets, mobile covers,Earrings Rs 30.
The raw material is sourced from Burrabazar,Kolkata & the designing partis done by herselfor people gets the
design in mobile phones & she makes it.
Location : Her home
Other details:
o She was trained by NIFT but have not received any kind of recognition for the training.
o She took a loan of 2,20,000 from Gramin Bank,7 years back
o She needs to change the designs everytime as the old designs don’twork.
 QUESTIONNAIRE ANALYSIS
 Question 1): Artisan’s age
Most of the artisans (33%) were found to be in the age group of 31 to 40 years old and leastnumber ofartisans
(17%) was found to be in the age group of 51 years old and above.
 Question 2): Artisan’s sex
The gender of artisans was found to be mainlyfemales i.e.70% of the total artisans surveyed were females and the
rest30% were males.
 Question 3):
o Among the artisans surveyed mostof them said thatall of their familymembers are dependenton them,
comprising of40% of the artisans responded.
o Leastnumber ofartisans (20%) said thathalfof their family members are dependenton them.
 Question 4):
Among the artisans responded,mostofthem were illiterate i.e. 50% and very few of them i.e. 10% have attended
education till college level.
 Question 5) a:
Most of the artisans responded (64%) said thatthe Katha craft is being pursued on piece rate system and 10 % of
them said that it is pursued on daily wage basis.
 Question 5) b:
Most of the artisans responded (70%) said thatthe Batik craft is being pursued on dailywage basis and 10 % of them
said that it is pursued on piece rate system.
 Question 6) :
Most of the artisans responded (70%) were found to be not engaged in other activity apartfrom handicrafts,and 30%
of them were found to be engaged in other activities like animal rearing,construction.
 Question 7) :
Most of the artisans surveyed (40%) were having currentmonthly income within the bracketof Rs.5,000 to 7,500 and
leastno. of them (10%) were found to be below Rs.2,500
 Question 8) :
Most of the artisans i.e.70% are not maintaining anysavings account.20% of them are maintaining itin Bank and
10% in postoffice.

16.  Question 9) :
80 % of the artisans responded have saved any amountof moneyand 20 % of them have not saved any amountof
money.
 Question 10) :
76% of the artisans surveyed were found to be above poverty line (APL) and 24% of them were below poverty line
(BPL)
 Question 11) :
93% of the artisans were found to have their own dwelling house and the remaining 7% have rented dwelli ng house
 Question 12) :
Most of the artisans i.e.40% are using their own resources and only7 % of them have taken home loan
 Question 13) :
o In the lasttwo years the items like gas connection was found to be owned by all of the artisans.
o Cattle, mobile phone and livestock were found to be owned by mostofthem. But four- wheeler and electronics were
not owned by mostofthem.
 Question 14) :
77% of the artisans are planning to put any of their children in their traditional artisan work , while the rest 23% h ave
not planned such.
 Question 15) :
83% of the artisans have extended their productline over lasttwo years in terms of color and design while 17% of
them have not extended their productline.
 Question 16) :
63 % of the artisans found new products more profitable than the old products while the rest37% have not found so.
 Question 17) :
40% of the artisans work on marketdemand design while 27% work on the traditional design.
 Question 18) :
57 % of the artisans work on design created on their own while only 13% follows the old patterns of design.
 Question 19) :
o 40% of the artisans said thatmarketing is limiting their growth,while 5% said thatdesign and 5% said that packaging
is the reason for it.
o While 20% of them believe that any other factor like lack of finances or own resources is reason for limiting growth.
 Question 20) :
17 % of the artisans surveyed said thatthey have received training from NIFT in their craft.
 Question 21) :
The artisans surveyed said thatthey have received training from NIFT in skill development,productdescription,
moneyand design.
 Question 22) :
o 93% of the artisans believe that such training is good for their work opportunities.
o While rest 7% don’t think so because they feel that such training does notbuild contact and no certificate is received
on completion ofsuch training.
 Question 23) :
o 90% of the artisans believe that they need further training,

17. o while rest10 percentwho don’t think so are not designing on their own but procuring from other agents.
 Question 24) :
32% of the artisans think thatthe main area where further training is required is marketing.
 Question 25) :
o The main factor which determine price ofthe products is said to be the raw materials by35% of the artisans,
o while the other main factor considered is trader/agents.
 Question 26) :
60% of the artisans surveyed do their raw material procurementfrom nearbymarkets and nobodyof them does from
faraway places.
 Question 27) :
80% of the artisans surveyed owned or wanted to start a unit
 Question 28) :
Minimum finance required for starting such a unit is Rs.1.5 to 2 lacks.
 Question 29) :
20 % of the artisans use bank loan as source for financial assistance,20% of the artisans use own funds while most
of the artisans i.e.60% of them use other sources like friends,family,mahajans,agents.
 Question 30) :
30% of the artisans surveyed sell their products directlyto customers and 30% ofthem sell their products in fairs and
festivals.
 Question 31) :
94% of the artisans surveyed face difficulty in marketing their products.
 Question 32) :other problems
o The other problems while selling their products are enlisted amongstthem lack ofpresence ofdomestic/local market
has highestpercentage.
o Next is the presence ofmiddlemen/agentwhich exploits the artisans. Apartfrom this they also face problem in
transportand distance ofthe market.
o Any other factors is competition
 Question 33) :
50% of the artisans said thatthey have ever participated in private fairs while 20% said that they have participated in
both of them.
 Question 34) :
o All of the artisans responded said thattheir products getbetter sales in fairs.
o Fairs like Sarasmela and fairs in pragatimaidan were considered as the major sales boosters bythe artisans for their
products.
 Question 35) :
All of the artisans responded said thatfairs help them in expanding their marketpotential.
 Question 36) :
80% of the artisans are satisfied with their currentartisan work but the rest 20% are not satisfied ,mainlydue to low
income they get there.
 Question 38) :
NIFT intervention in cluster projecthave contributed to all these five parameters equallyi.e.20%

18.  Question 39) :
NIFT intervention in cluster projecthas highly satisfied 80% ofthe artisans,15% are justsatisfied and the remaining
5% are dissatisfied.
 SUGESSIONS & RECOMENDATIONS
Marketing:
•Organize frequent meeting between buyers and sellers and develop awareness aboutnew concepts such as eco -
friendly methods,productdiversification bydint of new fibers.
• A few craft clusters maybe identified to be given sustained attention in terms ofa common facilitycentre for each
such cluster.Such a centre will facilitate provision and supplyof requisite developmental tools,implements,raw
materials,dyes/herbal finishes,testing facilities,eco-friendlyconcepts,design supportfor productand market
developmentand communication.
• The field offices of DevelopmentCommissioner (Handicrafts) in the state, need to be duly restructured and staffed
with individuals who are focused on the sector and target-driven, to help inculcate the necessaryawareness,enabling
due promotion and monitoring ofactivities in the area.
• There is a need to strengthen the National Centre for Design and ProductDevelopment(NCDPD) atthe state. It is
also essential thatentrepreneurs in close cooperation with an established NGOcarry out the managementand
operation of the centre.
 SUGESSIONS & RECOMENDATIONS
Marketing:
o Develop awareness aboutinternational standards.
o The role of intermediaries and the agents should be curtailed.
o The marketing schemes shall be aimed atachieving twin objective of creating awareness among people through fairs
of handicraftproducts and providing them with marketoutlets for direct sale.
o This marketing programme should also attemptnew destinations other than those mentioned above to explore new
and additional marketopportunities.
o Regular source oforders should be found,so that artisans have a regular source ofincome.
o Wages of artisans should be increased,so thatthey are not attracted to other jobs.
 SUGESSIONS & RECOMENDATIONS
Pricing:
o Presentlythe pricing system is totally controlled by the dealer,agents so we suggestthatthe artisans should getnot
only the labor charges on per piece system butalso get some percentage ofthe profit earned.
o The artisans should be trained in such away so that can have a fair idea of the expected selling price of the
handicrafts
o Artisan should be informed on regular basis aboutthe sales volume and value ofthe products.
Finance:
o Banks could generate awareness aboutthe scheme byparticipating in various melas and fairs where the artisans
promote and sell their products.
o Bank representatives could talk aboutthe scheme during the Panchayatmeetings held from time to time.
 SUGESSIONS & RECOMENDATIONS
Designing:
o Artisans knew that the designs theyare working on are already flooded in the market,still they were working on it.
This accounts for little design differentiation within the products oftwo different producers,which harms both ofthem.

19. o Artisans paid little emphasis on ‘packaging’;they didn’tunderstand thatif an handicraftis coming in a tasteful
packaging then it will add to the value of product and also to the consumer delight.
Technology:
o Developmentofraw materials.
o Improvements in layout.
o Upgradation oftools.
o R&D on natural dyeing/herbal finishing.
o Systematic and effective schemes to educate artisans abouttools and techniques.
 SUGESSIONS & RECOMENDATIONS
Designing:
o Artisans knew that the designs theyare working on are already flooded in the market,still they were working on it.
This accounts for little design differentiation within the products oftwo different producers,which harms both ofthem.
o Artisans paid little emphasis on ‘packaging’;they didn’tunderstand thatif an handicraftis coming in a tasteful
packaging then it will add to the value of product and also to the consumer delight.
Technology:
o Developmentofraw materials.
o Improvements in layout.
o Upgradation oftools.
o R&D on natural dyeing/herbal finishing.
o Systematic and effective schemes to educate artisans abouttools and techniques.
 Proposed Marketing plan
REGULATING AUTHORITY FOR HANDICRAFTS
 Proposed Marketing plan
REGULATING AUTHORITY FOR HANDICRAFTS
 Proposed Marketing plan
 Proposed Marketing plan
 AREAS OF DEVELOPMENT
o The primaryobjective is to create an environmentthat helps the industryto compete on the global basis.To build the
environmentthat will focus on: Wealth Creation,Infrastructure Development,Training,Technological Development,
and Poverty Alleviation etc. to enhance the sector performance.
o Awareness should be increased among craftsmen and customers through Trade Events,Seminars,CraftForums
and advertisements.
o More training centers should be opened to provide proper training to craft persons.
o Transportationinfrastructure should be improved to access the untapped marketthat would be beneficial to reduce
the transportation cost.
o Promotion ofcultural tradition and heritage.
o Promotion ofIndian Tourism to attract the foreign customers.

20.  BIBLIOGRAPHY
Web Links :
o http://www.kolkatadreams.com/2010/01/santiniketan-world-home-nest.html
o www.com/Amar_Kutir –
o www.indiawaterportal.org/post/6783
o kristenstephens.wordpress.com/
o www.epch.com/
o www.hhecworld.com/
o www.arionclubindia.com/Export_prospects-handicraft.pd
o www.indiavideo.org/malay/.../travel/rain-at-shilpa-sadan-3297.php
o http://www.alchastore.com/
o http://www.texmin.nic.in/
o http://texmin.nic.in/annualrep/AR07-08-11.pdf
o http://www.craftsinindia.com
Development of tribal communities (Rural
communities)
‘Development of IntensiveTourismcum Handicrafts Clusterin Phuldanga andBonerpukurdanga villages in Bolpur/SriniketanBlockof Birbhum
district, West Bengal under ClusterDevelopment Programme ofNABARD.'
The Project is basedon the premise that tourism growth potential canbe harnessedas a strategy forRural Development.Tourismis one of the
major earnerof foreignexchange forthe countryandRural tourismis expectedtoaddmore towhat we earn in foreign exchange. Moreover,
Rural tourism will hasten the process of development andgive a chance to thevillage communities tointeract withthe outside world. It will also
boost employment opportunities in rural areas andtheproducts ofrural artisanwill finda ready market.
The goal was to buildsustainable tourism opportunities through communityparticipation,capacitybuilding, infrastructure development,
promotionof tribal art andculture,development of linkages withgovernment & non-government agencies for theeconomic & social
development of disadvantagedtribal communities.
The beneficiaries were the tribal communities ofthe villages of Bonerpukurdanga andPhuldanga in the Birbhum District of West Bengal.
The activities under theProject in the first four years of the Project includedthe following:

21.  Aw areness generation and confidence building measures among the tribal artisans for taking up the training in order to create self
employment opportunities
 Identification of a group of 150-170 artisans/beneficiaries
 Skill development training on a variety of skills including Folk Art-wallmural, Seed and benagrass jewellery, Wood & Bamboo
craft (First leveland Advanced), Terracotta showpiece (First leveland Advanced), Leathercraft, Tribalcraft (Patochitra) and Sal
leaf, Kantha, Folk culture (dance & music), Local cuisine
 Human Resource Development w ithin community for ruraltourismthrough training of local youth in tour guide and hospitality
management
 Formation and strengthening of SHGs
 Credit Linkage w ith Banks
 Establishment of Marketing linkages
 Promotion of tourism
 Installation of 12 Solar Street lights in the village
Achievements under the Project haveincluded:
 Total Number of Artisans trained : 150
 Total no. of Groups formed : 8 (All are savings linked)
 No. of Groups taken loan fromBank : 3
 No. of Artisans who got loan fromDIC : 3
 No. of artisans who got microloan from other sources : 17
 No. of artisans who got DIC Registration : 2
 No. of artisans applied for Scheduled Tribe (ST) certification : 110
 No. of artisans applied for Artisan ID : 100
 No. of artisans who got Health Card : 11
 No. of Artisans applying for PF like benefit w ith Panchayat : 53
 Artisans actively participating in Melas, Exhibitions etc held in Bolpur, Kolkata and other places in the country.
 Linkage w ith foreign markets w ith design upgradation also established through Made By Survivors of USA.Orders placed for
Kantha scarves, leather purses, wallets.
 Increase in number of Tourists & visitors to the village including foreign tourists. Important visitors to the villages have included
British MP & former Minister Sir Ian McCartney and his w ifeLady Ann McCartney, German travelogue w riters Mr. Stefan Loose &
Mrs. Renate Loose, former US Consul General Ms. Beth Payne, NABARD MD Dr. K.G. Karmakar, MANJUSHA CMD Mr.C.
Chakraborty, etc.
 Exposure visits by schooland college students held
 Dance Group members are being invited to performat melas, exhibitions and other events besides performing for viistors &
tourists. Income from Dance performances has increased significantly.
 The arrivalof tourists also led to large number of opportunities for the cookery group to sell snacks and food cooked by them
leading to increase in income generation.
 Microenterprise in Salpata platemaking running successfully.
 The Khoai Haat or Shanibarer Haat has also become a major w eekly event for the artisans which is frequented by a large number
of tourists and visitors.

22. Activities duringthe year concentratedonstrengtheningthe credit andmarketinglinkages forthe artisans andalso promotionof tourism. Artisans
participatedin Exhibitions heldin Bhubaneshwar, Kamarpara, Baidyabati,Mumbai, Poush Mela andevents like Outreach Puja & Chaitraheldin
CTS, PwC, Unitech etc.
There has been anincrease in the number oftourists andvisitors to thevillages which has ledto anincreasingnumber of opportunities for
artisans to sell theirproducts.Besides, the arrival of tourists also ledtonumber ofopportunities forthe cookerygroup andtheDanceGroup to
earn additional income.
After installation of12 solar street lights in the village of Bonerpukurdanga , a Village Committee was formedfor maintenance ofthe solarlights.
A bank account in the nameof the Committee “Bonerpukurdanga Gram Unnayan Committee” was opened. Village communitymembers are
contributinga nominal monthlysubscriptionevery month.
Two Skill Development Initiatives (SDI) were carriedout in Wood& Bamboocraft (advanced) andTerracotta(advanced) in the two villages.
There were 10 trainees under each SDI. Under the Wood& Bamboocraft, the trainees were taught tomake attractivetrays,foldingchairs &
tables, picture frames with tribal designs paintedonit, trays made fromwoodandsitalpati, etc. Terracotta trainees learnt tomake attractive show
pieces, decoratives, penstand, tiles, etc.The trainees also learnt tomake the “clay” for terracotta products which itself has gooddemandand
market locally.
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