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Cluster presentation

  1. 1. Crafts of Birbhum ClusterWest Bengal<br />Fashion Industry Market Survey<br />
  2. 2. FLOW OF PRESENTATION<br />
  3. 3. OBJECTIVE<br />Primary objective: <br />To develop a marketing model to enhance sales for the handicrafts products of Birbhum District of West Bengal<br />To explore newer markets and lifestyles by developing value added solutions.<br />
  4. 4. OBJECTIVE<br />Secondary objective: <br />Understanding the problems especially related to marketing being faced by the artisans<br />Finding out the extent to which NIFT intervention has helped the artisans<br />Exploring new opportunities and finding newer ways by which NIFT can extend its support to them <br />Defining feasible solutions in the problem areas concerning the local artisans<br />
  5. 5. RESEARCH METHODOLOGY<br />EXPLORATORY RESEARCH:<br />To clarify thoughts and opinions about the research problem of the respondent population<br />CONCLUSIVE RESEARCH: <br />Through structured, non-disguised questionnaire.<br />
  6. 6. DATA COLLECTION <br />Primary data collection <br />Obtained by survey conducted by filling up of the questionnaire. <br />Recording the conversation of the artisans and observing.<br />Secondary data collection <br />Internet, journals, articles and referring to books and magazines <br />
  7. 7. SAMPLING<br />
  8. 8. HANDICRAFTS IN INDIA<br /><ul><li>India is one of the biggest suppliers of handicrafts to the world market
  9. 9. Highly labor intensive, cottage based and decentralized
  10. 10. Employment to over six million artisans
  11. 11. World imports is miniscule
  12. 12. Importance of handicrafts is two dimensional :
  13. 13. Cultural Importance
  14. 14. Economic Importance</li></li></ul><li>FAMOUS CRAFTS OF INDIA<br />
  15. 15. EXPORT OF HANDICRAFTS <br />
  16. 16. EXPORT OF HANDICRAFTS <br />
  17. 17. EXPORT OF HANDICRAFTS <br />
  18. 18. BRANDING & PROMOTION<br /><ul><li>First Step : Create awareness about its products in the market (through Print Media, Interactive Media and Trade fairs or Exhibitions)
  19. 19. Next Step: To build the brand value.
  20. 20. Customer categories:</li></ul> Institutional Customers – As institutions, be an office or hotel.<br /> This segment of customer is price sensitive. Therefore, any player wanting to focus in this category, should position as a well-known brand available at optimum value for money. <br /> <br />Individual Customers – This segment of customers is also price sensitive, but quality and reliability factors play more important role as compared to price. Brand names are looked up to in this category as well to ensure Quality, Durability and Trustworthiness. <br /> <br />
  21. 21. Training<br /><ul><li>Upgradationof skills of the existing craft persons.
  22. 22. Imparting skills to new craft person.
  23. 23. Implementation by the Non-Governmental organizations and </li></ul>State level Handicrafts Corporation-/Cooperative societies. <br /><ul><li>Through reputed institutions like NIFT
  24. 24. Training programmes by Handicrafts Development Corporations.</li></li></ul><li>Design and technical development<br /><ul><li>The Five Regional Design and Technical Development Centres (RD&TDCs) located in Guwahati, Bangalore, Bhopal, Calcutta and Delhi undertake development of new designs and improvement of tools and equipment
  25. 25. Assistance is being extended to Central and State Corporations/ Cooperatives/ Voluntary organisations to engage design consultants. Great emphasis is been laid on improvement of design and technology upgradation.
  26. 26. Upgrade the Regional Design & Technical Development Centre.</li></li></ul><li>Marketing and market development support<br /><ul><li>To develop, expand and sustain marketing of handicrafts with the objective of augmenting the employment and income of craft persons. </li></ul> <br /><ul><li>There are 47 Marketing & Service Extension Centres set up throughout the country to cater to the various needs of the craftsmen. Assistance for marketing, raw-material, credit, design development etc. is being rendered through these centres.
  27. 27. Setting up of urban crafts haats such as the ‘DilliHaat’ has provided immense direct opportunities to craftpersons in marketing handicrafts objects on sustained basis.
  28. 28. It is now proposed to organise these programmes at Rural Metals like the KumbhaMela, PushkarMela or the KurukshetraMela etc which enjoy significant but local interest.
  29. 29. Financial assistance is provided to organisationsfor renovation/opening/expansion of handicrafts emporia</li></li></ul><li>EXHIBITION AND PUBLICITY<br /><ul><li>Very effective instrument in Marketing of handicrafts by bringing the goods to the thresholds of consumers.
  30. 30. Project India’s Cultural Heritage in a more professional and effective manner for the purpose of commercial promotion of Indian handicrafts.</li></li></ul><li>SWOT ANALYSIS<br />
  31. 31. HANDICRAFTS IN WEST BENGAL<br />
  32. 32. Clusters<br /><ul><li>A cluster is defined as a geographic concentration of units producing near similar products and facing common opportunities and threats.
  33. 33. The producers often belong to a traditional community, producing the long-established products for generations.</li></ul>Some facts:<br /><ul><li>To promote local production, innovation and collective learning.
  34. 34. It is estimated that 400 modern SSE and 2000 rural and artisan based</li></ul>clusters exist in India. <br /><ul><li>These contribute upto 60 percent of India's manufactured exports.
  35. 35. The SSE clusters in India are estimated to have a significantly high share</li></ul>in employment generation<br />
  36. 36. Cluster development steps<br /><ul><li>Selection of the cluster
  37. 37. Selection of a cluster Development Agent
  38. 38. Diagnostic Study
  39. 39. Preparation of Action Plan for intervention.
  40. 40. Approval of the project and release of the funds.
  41. 41. Implementation of Trust Building between Cluster Actors and </li></ul>Cluster Development agent <br /><ul><li>Monitoring and Evaluation
  42. 42. Self Management Phase </li></li></ul><li>List of Indian clusters<br />
  43. 43. BIRBHUM CLUSTER<br /><ul><li>Birbhum is a district in West Bengal.
  44. 44. The name Birbhum comes probably from the Land ("Bhumi") </li></ul>of the Brave ("Bir") .<br /><ul><li> Is famous for its topography and cultural heritage .
  45. 45. VisvaBharati University at Santiniketan, established by </li></ul>RabindranathTagore, is one of the places Birbhum is internationally<br />renowned for. <br />
  46. 46. Birbhum<br />Geographical Area: 4550 sq. k.m. <br />Total Population (2001 Census): 3012546 <br />Forest Area: 15966 hectares. <br />Net Area Available for Cultivation: 531463 hectares. <br />Resources: Livestock. <br />Minerals: China Clay, Fire Clay, Black Stone and <br /> Crude Clay <br />Agricultural produce: Paddy, Wheat, Potato and Sugarcane. <br />No. of Registered SSI Units: 3624 <br />No. of Large/Medium Units: 4 <br />Banks & Branches Commercial Banks -  109<br /> Rural Bank - 65 <br /> Co-operative Bank - 18 <br />
  47. 47. BANKS VISITED<br />State Bank of India <br /><ul><li>Location : Sriniketan Branch
  48. 48. 5 Groups of artisans were given loan from </li></ul>the branch.<br /><ul><li>Interest: 11% (half yearly compounded)
  49. 49. Scheme –SHG
  50. 50. Loan a/c is opened and loan is given
  51. 51. 4 times the saved money in 1 year.</li></ul>UCO BANK<br /><ul><li>Location : Bolpur
  52. 52. Rate of Interest: 11% per annum
  53. 53. No of group under this branch: 10
  54. 54. Criteria of selection: corpus fund, subsidy, operation.
  55. 55. DOCUMENT REQUIRED:
  56. 56. Demand Promissory Note, Letter of Weavers.
  57. 57. Processing time: 15 Days.</li></ul> <br /> <br />PASCHIM BANGA GRAMIN BANK<br /><ul><li>Location : Sriniketan Branch
  58. 58. Loan amount: Minimum 2500,
  59. 59. maximum 2, 50,000 per group
  60. 60. The bank gives short term loan of amount </li></ul> maximum of Rs.25, 000 which they have<br /> to return in 12 months.<br /><ul><li>Interest rate: 11% annually
  61. 61. No. Of SHGs under this branch: 350
  62. 62. The loan amount sanctioned is 4 times the amount of saving done by group done last year. The sanction of loan and processing takes about 10 days.</li></li></ul><li>CRAFTS IN BIRBHUM<br /><ul><li>Shola-pith. 
  63. 63. Artistic Leather Goods. 
  64. 64. Macramé Ornaments.
  65. 65. Suri Bowls are symbols of excellence of Bengal Art
  66. 66. Silk Weaving.
  67. 67. Katha</li></ul>Handicraft concentration<br />
  68. 68. KANTHA<br /><ul><li>Traditional form of embroidery of West Bengal.
  69. 69. Running style of stitch.
  70. 70. Done on quilts, bedsheets, blankets, saris, salwar suits, stoles, napkins, etc.
  71. 71. It is also known as ‘Dorukha’.
  72. 72. Means making worn out garments into beautiful garments. Therefore is also</li></ul>known as recycling art.<br /><ul><li>Origin lies during the era of Lord Buddha.
  73. 73. Quite closely spaced stitches, often in brightly coloured blocks of pattern </li></ul>which denotes specific symbols and produces a rippled effect upon the fabric.<br />
  74. 74. KANTHA<br />Different types of kantha<br /><ul><li>Sujanikantha
  75. 75. Durjanikantha
  76. 76. Lepkantha
  77. 77. Archilatakantha
  78. 78. Rumalkantha
  79. 79. Oaarkantha</li></ul>Different types of patterns<br /><ul><li>Jaal
  80. 80. Folk life designs
  81. 81. Dhanchori</li></li></ul><li>KANTHA<br />Product: Items basically comprises of sarees, Punjabi suits, dupatta, sotles, shawls, bags, etc.<br /> Commonly used fabrics is tusaar silk, Bangalore silk, cotton, etc.<br />Price: Product type.<br /> Fabric and raw material.<br /> Intricacy of design made on fabrics.<br />Promotion: Fairs: EPCH fairs, Sarasmela<br /> Retail Outlets: AmarKutir, Swabhumi, Manjusha,<br />Basundhara, Alcha.<br /> NGO’s: Sasha, amarkutir, Kolkata socio cultural society,<br />aid to artisans.<br /> Word of mouth publicity.<br />Distribution : The distribution channel is unstructured.<br />Channel Product reaches the final consumers through intermediaries.<br /> The local markets and retail outlets help increase the <br /> product visibility and product accessibility.<br />
  82. 82. KANTHA<br />Packaging: Artisans not concerned about packaging.<br /> Packaging is handled by retailer and NGO’s who stock and sell it.<br />Segmentation: People who value the art and craftsmanship involved.<br />Of the market Tourists and foreigners<br />Demand: Period of durgapuja is the highest selling period.<br /> The month of October to march are the months <br /> experiencing the highest sale.<br /> <br />Supply: Plain sarees and dress materials are procured from adjacent districts at a price range of about Rs.500- 700.<br /> Raw materials like thread are about from local markets.<br /> Consumer buying pattern and expectations: <br /> All the products have different demand patterns.<br />Sareesand dupattas have highest demand.<br />
  83. 83. PROBLEMS<br /><ul><li>It is pursued as a hobby, rather than a profession, no motivation
  84. 84. Most of the work is done on contract basis
  85. 85. Lack of awareness about market, selling price, backward linkage etc.
  86. 86. Hesitant to go out of the district because of language problem
  87. 87. Hesitant to take risks on their own
  88. 88. Lack of finance to start their own work
  89. 89. Loans if taken are utilized for household works
  90. 90. Lack of regular orders
  91. 91. No united decision among the artisans regarding the prices</li></li></ul><li>Suggestions<br /><ul><li>Regular source of orders should be found ,so that artisans have a regular source of income.
  92. 92. Wages of artisans should be increased, so that they are not attracted to other jobs. </li></li></ul><li>BATIK<br /><ul><li>Word batik actually means 'wax writing'
  93. 93. Process of waxing and dyeing
  94. 94. No artistic skill is needed
  95. 95. Batik fabric is popular for its durability
  96. 96. The colors in Batik are much more resistant to wear than those of painted or printed fabrics
  97. 97. craft of Batik is easier to learn and perform
  98. 98. Lack of trained people
  99. 99. Training of 15 days is not enough</li></li></ul><li>BATIK<br />Product: Items basically comprises of sarees, stole, tops, kurtis, lungi, dupatta, bags painting, wallets, purses and bed sheet with batik.<br />Price: Product type.<br /> Fabric and raw material.<br /> Intricacy of design made on fabrics.<br />Promotion: Fairs: EPCH fairs, Sarasmela<br /> Retail Outlets: AmarKutir, Swabhumi, Manjusha,<br />Basundhara, Alcha.<br /> NGO’s: Sasha, amarkutir, Kolkata socio cultural society,<br /> aid to artisans.<br /> Word of mouth publicity.<br />Distribution : The distribution channel is unstructured.<br />Channel Product reaches the final consumers through intermediaries.<br /> The local markets and retail outlets help increase the <br /> product visibility and product accessibility.<br />
  100. 100. BATIK<br />Packaging: Artisans not concerned about packaging.<br /> Packaging is handled by retailer and NGO’s who stock and sell it.<br />Demand: Period of durgapuja is the highest selling period.<br /> <br />Supply: Raw materials like fabric, dyes and colors are procured from local markets, the bolpurdistric, and Kolkata.<br /> Consumer buying pattern and expectations: <br /> Products which are in high in demand are kurtis and tops.<br /> These products takes lesser time to be made.<br /> Consumers expect that the colors should neither bleed nor fade away.<br /> Demand for better and different designs made on brighter colors.<br />
  101. 101. PROBLEMS<br /><ul><li>Lack of trained people
  102. 102. Training of 15 days is not enough
  103. 103. People trained for batik are already doing kantha work
  104. 104. Trained people don’t have sufficient capital to start their own work
  105. 105. Lack of knowledge about colors, dyes and safety measures
  106. 106. Purpose of going to workshops is not to learn, but to get the money
  107. 107. People stop practicing after the training is over
  108. 108. Trained people also unwilling to train others because of money constraint</li></li></ul><li>Suggestions<br /><ul><li>More training required from NIFT.
  109. 109. Marketing </li></li></ul><li>LEATHER<br /><ul><li>The craft of leather embossing with hand painting is native to West Bengal.
  110. 110. Was first introduced in Sriniketan in the 1927.
  111. 111. In the 1960s a group of 65 people were trained in this craft.
  112. 112. But the unit declined because of a lack of proper marketing effort.
  113. 113. In 1978, Sasha revived this unit with design and development work which soon lead to orders from overseas clients.
  114. 114. Leather works are a special identity of this district predominant in Surul under Bolpur - Sriniketan block .
  115. 115. Santiniketan style leather, fancy bags of assorted shape and size and other products has earned a good fame in national and international market with its specialty in vegetable tanning and vegetable dyeing</li></li></ul><li>LEATHER<br />Product: Items basically comprises of like bags, boxes, wallets purses, keychains, mobile holders, folders, decorative items, coin bag, etc.<br />Raw materials: Leather sourced from Chennai and are reprocessed from sriniketan<br /> to provide the tanned leather some longevity.<br />Price: Product type.<br /> Fabric and raw material.<br /> Intricacy of design made on fabrics.<br />Promotion: Fairs: EPCH fairs, Sarasmela<br /> Retail Outlets: AmarKutir, Swabhumi, Manjusha,<br />Basundhara, Alcha.<br /> NGO’s: Sasha, amarkutir, Kolkata socio cultural society,<br /> aid to artisans.<br /> Word of mouth publicity.<br />Distribution : For raw materials, leather is sourced directly from the tannery in<br />Channel Chennai and the medium used for transportation is truck and train.<br />Therraw materials are bought from Kolkata.<br /> exported through Forgeign trade (FT) organization and in india to : Wholesalers, central cottage, different handicrafts retail outlets.<br />
  116. 116. LEATHER<br />Packaging: Artisans not concerned about packaging.<br /> Packaging is handled by retailer and NGO’s who stock and sell it.<br />Segmentation Two major segments:<br />of the market: First is the foreign clients who import these products<br /> Second is the domestic buyer belonging to Kolkata & other parts of west Bengal,guwahati, Chennai & Mumbai etc.<br /> Focuses on the niche segment & hence the impetus is on quality<br />Demand: The domestic demand for leather craft increases during the festive season i.e October to feb<br /> Demand throughout the year<br /> <br />Supply: The raw material has to be purchased & processing is done at shantiniketan& then sold outside.<br /> Many a times he does not have the adequate capital to invest in raw material<br />
  117. 117. PROBLEMS<br /><ul><li>Lack of skilled workers
  118. 118. Lack of professional attitude among the artisans
  119. 119. Artisans are not concerned about maintaining proper quality levels
  120. 120. Hesitant to go out due to language problems
  121. 121. Family – owned units, unwilling to take initiatives for changes
  122. 122. No proper pre set up channel for the raw materials to reach the artisans. Institutions have an upper hand</li></li></ul><li>Suggestions<br /><ul><li>Provide on the job training to workers to develop professional attitude among workers
  123. 123. Quality standards can be maintained by the firm
  124. 124. More NGO’s should be encouraged and open factories
  125. 125. Should focus on domestic markets due to better prices.
  126. 126. The information about availability of loans, as well as directions to avail financial benefits should be given to them.</li></li></ul><li>MACRAME<br /><ul><li>Very less growth & income opportunity
  127. 127. Lack of skilled workers
  128. 128. Lack of professional attitude among the artisans
  129. 129. Artisans are not concerned about maintaining proper quality levels
  130. 130. Hesitant to go out due to language problems
  131. 131. No proper pre set up channel for the raw materials to reach the artisans. Institutions have an upper hand</li></li></ul><li>PROBLEMS<br /><ul><li>Stagnation and complacency with regard to general living conditions.
  132. 132. The working culture is totally unorganised.
  133. 133. Lack of education and pragmatic unawareness among the artisans.
  134. 134. Language problems and general personality traits such as being overtly humble and shy is another hindrance to progress.
  135. 135. Lack of sufficient information regarding marketing and organisational structure.
  136. 136. Artisans harassed by middle men.
  137. 137. Lack of interactions with NGOs.</li></li></ul><li>Suggestions<br /><ul><li>The information about availability of loans, as well as directions to avail financial benefits should be given.
  138. 138. Training should be given in priority to those artisans who have been associated with the art form.
  139. 139. Training should be given in the condition that the artisans use what has been taught.
  140. 140. More NGO’s should be encouraged and open factories.
  141. 141. There can be product extension: diversifying into products which require lesser time - dupattas, scarves etc.</li></li></ul><li>RETAIL OUTLETS<br /><ul><li>ALCHA
  142. 142. AMAR KUTIR
  143. 143. BASUNDHRA
  144. 144. VANALAXMI UNIUN SAMITI
  145. 145. SHILPA SADAN</li></li></ul><li>ALCHA<br /><ul><li>Alcha Store in Santiniketan stocks things designed and made primarily in Santiniketan under the “Abakash” label.
  146. 146. It was started in 2003 by Ms.KiaSarkar, Ms. Lipi Bose, Ms. BiruSarkar.</li></ul>Location <br />Non-commercial area of the town surrounded by greenery. <br />Alchaalso runs a cafe (next door) also has a tiny bookstore.<br />Target Segment <br />Tourists and foreigners.<br />Store Environment - <br /> Creative presentation of merchandise designed very aesthetically. <br />The walls are made up of the mud highlighting the rural look. <br /> <br />
  147. 147. Merchandise Assortment <br /> Less SKUs to avoid the cluttered look. <br />More styles and designs rather than on the product depth. <br /> Bags, kurtas, sarees, leather accessories, light Jewelry, organic food, organic cosmetics, upholstery etc. <br /> Weaving, dyeing, batik, iron and bronze work, leather, wood and bamboo work and terracotta. To make: Clothes, Accessories, Linen, Home embellishments<br />Price <br /> High priced .<br />The psychological pricing strategy has been followed here which implies higher the price better the quality.<br />Service <br /> Five sales persons are always there. <br /> Extended in to a library and a small restaurant for their refreshment. <br />Promotion <br /> Word of mouth promotion and few hoardings.<br />
  148. 148. AMARKUTIR<br /><ul><li>A retail store opened at bolpur by the Amarkutir society.
  149. 149. It is an NGO firm that started in 1922.
  150. 150. It is aimed at the rural development and promoting village arts and crafts.</li></ul>Location <br /> At a commercial street of the town. <br />Other small shops having similar merchandise are also there. <br />Target Segment<br /> Mainly tourists from kolkata and foreigners. <br />Store Environment <br />Bigger in comparison to Alcha(area approximately 700sq.ft) is smaller than that of Vasundhra.<br /> No props are used to display merchandise. <br />The merchandise is displayed mainly on the walls and in the small display windows.<br /> <br />
  151. 151. Merchandise Assortment <br /> Manufactures all the products and retails them through their own outlets. Have their own set of artisans who make the products & sell at their outlets. Sarees, kurtas, leather accessories etc. <br /> Large variety of merchandise is the USP of store.<br />Price <br /> Medium priced. <br />20% of the MRP is paid as the making charge to the artisans.<br />Service <br /> Artisans Co-operative Society” is the controlling unit. <br />4-5 people to assist customers on the floor<br /> About 65 expert leather craftsmen are engaged at their wares in AamarKutir<br />Promotion <br /> Same as it is in Alcha and Vasundhra. <br />* 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. <br />
  152. 152. VASUNDHRA<br /><ul><li>Products are procured on a consignment basis and the artisans gain after the sales are made.
  153. 153. Various handicrafts are sold here too.</li></ul>Location <br />Like Alcha, the store is located at a non-commercial area of the town. <br />A beautiful garden and a nursery surrounding the store. <br />Target Segment <br /> Mainly tourists and foreigners. <br />Store Environment<br /> Bigger area. <br />Keep similar merchandise together, no extra creativity can be seen. <br />Typical conventional shop with a wooden counter <br />Use of big iron and wooden racks for the display of the merchandise.<br /> <br />
  154. 154. Merchandise Assortment <br /> Sources the products from Bolpur and from the nearby villages <br /> Number of SKUs at the store is very high both in product depth and width. <br /> Product categories like sarees, fabric, kurtas, leather bags, leather footwear, accessories, leather wallets, wooden dolls, dhokra items etc. <br /> USP- Large number of SKUs<br />Price <br />low priced in comparison to Alcha. <br /> Moderately priced.<br />Service <br /> Seven to ten sales persons are there on the floor.<br /> These people make sure that the customer (foreigner or a tourist) understands the craft and its intricacies. <br />Promotion <br /> Like Alcha, Vasundhra is also dependent on word of mouth promotion and on hoardings, which help in attracting foreigners and tourists<br /> <br />
  155. 155. VANALAKSHMI UNMESH SAMITI<br /><ul><li>Aims at create an ideal model of sustainable development using Nature in a symbiotic relationship with growth.
  156. 156. To reach out to the rural population around them and help improve the village economy by working with Nature. </li></ul>Location:<br />Located where the Forest ends.<br />A Banyan tree, seven centuries old, stands guard at the entrance. <br />Target segment: They are mainly tourists and foreigners <br /> <br /> Store environment: <br /> The space for retail is less. <br />This space has been used for displaying garments, bags, farm products.<br />Very less space has been given to sell variety of products. <br />
  157. 157. Merchandise assortment<br />Farm produce: For selling farm produce such as rice, mustard, ghee, jams, jellies, squashes, pickles, murabbas, toffees, aampapads, and traditional Bengali sweets such as coconut roundels (naroos), pithas and patishaptas. <br />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 without embroidery. <br />Price<br /> Medium priced.<br />Service<br /> Three sales persons are always there on the floor.<br />A library and a small restaurant as a part of extended serrvices. <br />Promotion:<br /> e-marketing, satellite linkages. <br />Direct marketing through word of mouth is done. <br />
  158. 158. SHILPA SADAN<br /><ul><li>Reputed Institute of VisvaBharati engaged in promoting Crafts and Design education which was setup by GurudevRabindranath Tagore in 1922.
  159. 159. To uplift craft and Craftsmen and thereby improving the rural economy.</li></ul>Location<br />In the campus of visvabharti university.<br />Target market<br />Tourists and students along with foreigners.<br />Store environment<br />Not very well organized. <br />Staff has not taken enough care for the outlet. <br />Products can be displayed in a better way.<br />
  160. 160. Merchandise assortment<br /> Very less variety of products were displayed. <br />All products were manufactured by the students involved in the program. Products include file covers, wallets, bags, files, clutch, printed bedcovers, printed diaries, trey, tea pots. Crockery, fabric, etc<br /> <br />Price<br />I Not very highly priced. <br /> Prices are low. <br />Price of various items range from Rs.25- Rs. 600<br />Service<br />Two sales staff was present to entertain customers. <br />2 accountants were there for accounting and billing. <br />Service was slow.<br />Promotion<br />No measures for promotion is taken except for word of mouth. <br />
  161. 161. Artisans Profile<br />Artisans 1: : RabiaBibi ( Success)<br />Business : Kantha embroidery<br /> She has established herself as a successful entrepreneur, with 6 to 7 number of artisans working under her. <br />Costing of a Saree : <br />
  162. 162. Artisans Profile<br /><ul><li>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 .
  163. 163. Other professions : Animal rearing & farming.
  164. 164. Location: Her home only or sells it to a shop in Ilaam Bazaar
  165. 165. Other details:
  166. 166. Participate in various Melas like Saturday mela, Poushmela, they sell the basic saree for Rs.3000
  167. 167. 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.
  168. 168. No bank Loan , No bank account, only a ration card holder.
  169. 169. Interested in opening a business & grow, move to kolkata but due to financial constraints cant explore the market opportunities.
  170. 170. Need help from co-operative societies.</li></li></ul><li>Artisans Profile<br />Artisans 2: PARTHO NANDI (success)<br />Business : Kantha embroidery<br />He is an entrepreneur in Bolpur who himself procures the raw material like Silk from Bishnupur, Bangalore Silk, & owns a thread bank. He sells around 2000-3000 sarees in a year.<br />Costing of a Saree : <br />* Whole sale rate : Rs. 3400 per piece ( approx)<br />
  171. 171. Artisans Profile<br /><ul><li>Products :Sarees, Dupattas, Stoles , blouse pieces , suit pieces. </li></ul>MeetaDidi ( NIFT trainer) & he himself do the designing which is very different from the rest of the market & can’t be copied easily. The changes in design according to the market was seen.<br /><ul><li>Location: His home only or sells it to retailers and exporters in Mumbai and Delhi.
  172. 172. Other details:
  173. 173. He sells per piece not bulk orders because it’s hand embroidery so same perfection will not be there in every piece.
  174. 174. Minimum lead time (kanthasaree)- 5-6 months. Varies according to design details.
  175. 175. His network grows by getting in touch with traders in exhibitions & melas.
  176. 176. He went to bank 4 years back for a loan of Rs. 1 lakh but for that Rs.40,000 was to be deposited as security which was very high.</li></li></ul><li>Artisans Profile<br />Artisans 3: Shaniyasi (Succes)<br />Business : Leather exporter <br />He owns Shantiniketan leather exports. He is only in exports.<br /><ul><li>His annual turnover is 80 lakhs and he hasn’t disclosed his profit margin.</li></ul>Products : Leather batik goods - bags etc.<br /> They do block printing as buyers don’t like hand batik.<br /> They do not repeat the design.<br />Location :Shurul<br />Other details:<br /><ul><li>Its involved in exhibitions through contacts.
  177. 177. Lead time required is 60 days
  178. 178. Under him 10-12 people work.
  179. 179. Contracts are from exporters.
  180. 180. Quality check of the products is done by the owner himself.</li></li></ul><li>Artisans Profile<br />Artisans 4: Debabratasengupta (success)<br />Business : Art wing – decorative items<br /> Retail outlet as: the crafts<br /> Has worked with many designers such as Subhyasachi, etc <br />Products <br />Items basically comprises of like bags, boxes, wallets purses, keychains, mobile holders, folders, decorative items, coin bag, etc.<br />Location :Shurul<br />Other details:<br /><ul><li>The person has been a guest lecturer at NIFT.
  181. 181. There are more than 500 such varieties available at the art wing.
  182. 182. Raw materials: leather sourced from Chennai and are reprocessed from sriniketanto provide the tanned leather some longevity.</li></li></ul><li>Artisans Profile<br />Artisans 5: MaushinaBibi<br />Business : Macrameartisan<br /> She participates in many fairs in India- Delhi trade fair, dillihaat, Kolkata SarasMela in 2006 & Abroad like Beijing, South Africa, Dubai through NIFT.<br />Products <br /> Products like macramé jewelry: 10 years back sold at Rs.10, now sold at <br />Rs. 50 to 100, Necklace Rs 60, Anklets, mobile covers, Earrings Rs 30.<br /> The raw material is sourced from Burrabazar, Kolkata & the designing part is done by herself or people gets the design in mobile phones & she makes it.<br />Location : Her home<br />Other details:<br /><ul><li>She was trained by NIFT but have not received any kind of recognition for the training.
  183. 183. She took a loan of 2,20,000 from Gramin Bank, 7 years back
  184. 184. She needs to change the designs every time as the old designs don’t work.</li></li></ul><li>QUESTIONNAIRE ANALYSIS<br />
  185. 185. Question 1): Artisan’s age<br />Most of the artisans (33%) were found to be in the age group of 31 to 40 years old and least number of artisans (17%) was found to be in the age group of 51 years old and above.<br />
  186. 186. Question 2): Artisan’s sex<br />The gender of artisans was found to be mainly females i.e. 70% of the total artisans surveyed were females and the rest 30% were males.<br />
  187. 187. Question 3):<br /><ul><li>Among the artisans surveyed most of them said that all of their family members are dependent on them, </li></ul>comprising of 40% of the artisans responded.<br /><ul><li>Least number of artisans (20%) said that half of their family members are dependent on them.</li></li></ul><li>Question 4):<br />Among the artisans responded, most of them were illiterate i.e. 50% and very few of them i.e. 10% have attended education till college level.<br />
  188. 188. Question 5) a:<br />Most of the artisans responded (64%) said that the Katha craft is being pursued on piece rate system and 10 % of them said that it is pursued on daily wage basis.<br />
  189. 189. Question 5) b:<br />Most of the artisans responded (70%) said that the Batik craft is being pursued on daily wage basis and 10 % of them said that it is pursued on piece rate system.<br />
  190. 190. Question 6) :<br />Most of the artisans responded (70%) were found to be not engaged in other activity apart from handicrafts, and 30% of them were found to be engaged in other activities like animal rearing, construction.<br />
  191. 191. Question 7) :<br />Most of the artisans surveyed (40%) were having current monthly income within the bracket of Rs. 5,000 to 7,500 and least no. of them (10%) were found to be below Rs. 2,500<br />
  192. 192. Question 8) :<br />Most of the artisans i.e. 70% are not maintaining any savings account. 20% of them are maintaining it in Bank and 10% in post office.<br />
  193. 193. Question 9) :<br />80 % of the artisans responded have saved any amount of money and 20 % of them have not saved any amount of money.<br />
  194. 194. Question 10) :<br />76% of the artisans surveyed were found to be above poverty line (APL) and 24% of them were below poverty line (BPL)<br />
  195. 195. Question 11) :<br />93% of the artisans were found to have their own dwelling house and the remaining 7% have rented dwelling house<br />
  196. 196. Question 12) :<br />Most of the artisans i.e.40% are using their own resources and only 7 % of them have taken home loan<br />
  197. 197. Question 13) :<br /><ul><li>In the last two years the items like gas connection was found to be owned by all of the artisans.
  198. 198. Cattle, mobile phone and livestock were found to be owned by most of them. But four- wheeler and electronics were not owned by most of them.</li></li></ul><li>Question 14) :<br />77% of the artisans are planning to put any of their children in their traditional artisan work , while the rest 23% have not planned such.<br />
  199. 199. Question 15) :<br />83% of the artisans have extended their product line over last two years in terms of color and design while 17% of them have not extended their product line.<br />
  200. 200. Question 16) :<br />63 % of the artisans found new products more profitable than the old products while the rest 37% have not found so.<br />
  201. 201. Question 17) :<br />40% of the artisans work on market demand design while 27% work on the traditional design.<br />
  202. 202. Question 18) :<br />57 % of the artisans work on design created on their own while only 13% follows the old patterns of design.<br />
  203. 203. Question 19) :<br /><ul><li>40% of the artisans said that marketing is limiting their growth, while 5% said that design and 5% said that packaging is the reason for it.
  204. 204. While 20% of them believe that any other factor like lack of finances or own resources is reason for limiting growth.</li></li></ul><li>Question 20) :<br />17 % of the artisans surveyed said that they have received training from NIFT in their craft.<br />
  205. 205. Question 21) :<br />The artisans surveyed said that they have received training from NIFT in skill development, product description, money and design.<br />
  206. 206. Question 22) :<br /><ul><li>93% of the artisans believe that such training is good for their work opportunities.
  207. 207. While rest 7% don’t think so because they feel that such training does not build contact and no certificate is received on completion of such training.</li></li></ul><li>Question 23) :<br /><ul><li>90% of the artisans believe that they need further training,
  208. 208. while rest 10 percent who don’t think so are not designing on their own but procuring from other agents.</li></li></ul><li>Question 24) :<br />32% of the artisans think that the main area where further training is required is marketing.<br />
  209. 209. Question 25) :<br /><ul><li>The main factor which determine price of the products is said to be the raw materials by 35% of the artisans,
  210. 210. while the other main factor considered is trader/agents.</li></li></ul><li>Question 26) :<br />60% of the artisans surveyed do their raw material procurement from nearby markets and nobody of them does from faraway places.<br />
  211. 211. Question 27) :<br />80% of the artisans surveyed owned or wanted to start a unit<br />
  212. 212. Question 28) :<br />Minimum finance required for starting such a unit is Rs. 1.5 to 2 lacks.<br />
  213. 213. Question 29) :<br />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.<br />
  214. 214. Question 30) :<br />30% of the artisans surveyed sell their products directly to customers and 30% of them sell their products in fairs and festivals.<br />
  215. 215. Question 31) :<br />94% of the artisans surveyed face difficulty in marketing their products.<br />
  216. 216. Question 32) :other problems <br /><ul><li>The other problems while selling their products are enlisted amongst them lack of presence of domestic/local market has highest percentage.
  217. 217. Next is the presence of middlemen/agent which exploits the artisans. Apart from this they also face problem in transport and distance of the market.
  218. 218. Any other factors is competition</li></li></ul><li>Question 33) :<br />50% of the artisans said that they have ever participated in private fairs while 20% said that they have participated in both of them.<br />
  219. 219. Question 34) :<br /><ul><li>All of the artisans responded said that their products get better sales in fairs.
  220. 220. Fairs like Sarasmela and fairs in pragatimaidan were considered as the major sales boosters by the artisans for their products.</li></li></ul><li>Question 35) :<br />All of the artisans responded said that fairs help them in expanding their market potential.<br />
  221. 221. Question 36) :<br />80% of the artisans are satisfied with their current artisan work but the rest 20% are not satisfied , mainly due to low income they get there.<br />
  222. 222. Question 38) :<br />NIFT intervention in cluster project have contributed to all these five parameters equally i.e. 20%<br />
  223. 223. Question 39) :<br />NIFT intervention in cluster project has highly satisfied 80% of the artisans, 15% are just satisfied and the remaining 5% are dissatisfied.<br />
  224. 224. SUGESSIONS & RECOMENDATIONS<br />Marketing:<br />•Organize frequent meeting between buyers and sellers and develop awareness about new concepts such as eco-friendly methods, product diversification by dint of new fibers.<br />• A few craft clusters may be identified to be given sustained attention in terms of a common facility centre for each such cluster. Such a centre will facilitate provision and supply of requisite developmental tools, implements, raw materials, dyes/herbal finishes, testing facilities, eco-friendly concepts, design support for product and market development and communication.<br />• The field offices of Development Commissioner (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 necessary awareness, enabling due promotion and monitoring of activities in the area.<br />• There is a need to strengthen the National Centre for Design and Product Development (NCDPD) at the state. It is also essential that entrepreneurs in close cooperation with an established NGO carry out the management and operation of the centre.<br />
  225. 225. SUGESSIONS & RECOMENDATIONS<br />Marketing:<br /><ul><li> Develop awareness about international standards.
  226. 226. The role of intermediaries and the agents should be curtailed.
  227. 227. The marketing schemes shall be aimed at achieving twin objective of creating awareness among people through fairs of handicraft products and providing them with market outlets for direct sale.
  228. 228. This marketing programme should also attempt new destinations other than those mentioned above to explore new and additional market opportunities.</li></ul> <br /><ul><li>Regular source of orders should be found, so that artisans have a regular source of income.</li></ul> <br /><ul><li>Wages of artisans should be increased, so that they are not attracted to other jobs.</li></li></ul><li>SUGESSIONS & RECOMENDATIONS<br />Pricing:<br /><ul><li>Presently the pricing system is totally controlled by the dealer, agents so we suggest that the artisans should get not only the labor charges on per piece system but also get some percentage of the profit earned.
  229. 229. The artisans should be trained in such away so that can have a fair idea of the expected selling price of the handicrafts
  230. 230. Artisan should be informed on regular basis about the sales volume and value of the products.</li></ul>Finance:<br /><ul><li> Banks could generate awareness about the scheme by participating in various melas and fairs where the artisans promote and sell their products.</li></ul> <br /><ul><li> Bank representatives could talk about the scheme during the Panchayat meetings held from time to time.</li></li></ul><li>SUGESSIONS & RECOMENDATIONS<br />Designing:<br /><ul><li>Artisans knew that the designs they are working on are already flooded in the market, still they were working on it. This accounts for little design differentiation within the products of two different producers, which harms both of them.
  231. 231. Artisans paid little emphasis on ‘packaging’; they didn’t understand that if an handicraft is coming in a tasteful packaging then it will add to the value of product and also to the consumer delight. </li></ul> <br />Technology:<br /><ul><li>Development of raw materials.
  232. 232. Improvements in layout.
  233. 233. Upgradation of tools.
  234. 234. R&D on natural dyeing/herbal finishing.
  235. 235. Systematic and effective schemes to educate artisans about tools and techniques.</li></li></ul><li>SUGESSIONS & RECOMENDATIONS<br />Designing:<br /><ul><li>Artisans knew that the designs they are working on are already flooded in the market, still they were working on it. This accounts for little design differentiation within the products of two different producers, which harms both of them.
  236. 236. Artisans paid little emphasis on ‘packaging’; they didn’t understand that if an handicraft is coming in a tasteful packaging then it will add to the value of product and also to the consumer delight. </li></ul> <br />Technology:<br /><ul><li>Development of raw materials.
  237. 237. Improvements in layout.
  238. 238. Upgradation of tools.
  239. 239. R&D on natural dyeing/herbal finishing.
  240. 240. Systematic and effective schemes to educate artisans about tools and techniques.</li></li></ul><li>Proposed Marketing plan<br />REGULATING AUTHORITY FOR HANDICRAFTS<br />
  241. 241. Proposed Marketing plan<br />REGULATING AUTHORITY FOR HANDICRAFTS<br />
  242. 242. Proposed Marketing plan<br />
  243. 243. Proposed Marketing plan<br />
  244. 244. AREAS OF DEVELOPMENT<br /><ul><li>The primary objective is to create an environment that helps the industry to compete on the global basis. To build the environment that will focus on: Wealth Creation, Infrastructure Development, Training, Technological Development, and Poverty Alleviation etc. to enhance the sector performance.
  245. 245. Awareness should be increased among craftsmen and customers through Trade Events, Seminars, Craft Forums and advertisements.
  246. 246. More training centers should be opened to provide proper training to craft persons.
  247. 247. Transportationinfrastructure should be improved to access the untapped market that would be beneficial to reduce the transportation cost.
  248. 248. Promotion of cultural tradition and heritage.
  249. 249. Promotion of Indian Tourism to attract the foreign customers.</li></li></ul><li>BIBLIOGRAPHY<br />Web Links :<br /><ul><li>http://www.kolkatadreams.com/2010/01/santiniketan-world-home-nest.html
  250. 250. www.com/Amar_Kutir –
  251. 251. www.indiawaterportal.org/post/6783
  252. 252. kristenstephens.wordpress.com/
  253. 253. www.epch.com/ 
  254. 254. www.hhecworld.com/
  255. 255. www.arionclubindia.com/Export_prospects-handicraft.pd
  256. 256. www.indiavideo.org/malay/.../travel/rain-at-shilpa-sadan-3297.php
  257. 257. http://www.alchastore.com/
  258. 258. http://www.texmin.nic.in/
  259. 259. http://texmin.nic.in/annualrep/AR07-08-11.pdf
  260. 260. http://www.craftsinindia.com</li></li></ul><li>THANK YOU…<br />By :<br /><ul><li>Ankita Srivastava
  261. 261. SakshiBhargava
  262. 262. DevikaKaushik
  263. 263. SunkalpRatan
  264. 264. AlipHalder</li>

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