2012-2013
Need Assessment Survey
for
Ghurni Clay Doll
and
Terracotta Artisans
Cluster Cooperative
Industrial Society
Ltd
Design Clinic Scheme
Designer: Mahendra Pal
2
Preface
Handicrafts sector occupies an important place in the economy of West Bengal as it contributes significantly to employment
generation and export earnings. The economic importance of the sector also lies in its high employment potential, low capital
investment, high value addition and a constant, if not increasing, demand both in the domestic and overseas markets. The
sector provides employment to more than 3 lakh craft persons mostly from rural areas.
There is one name – Clay Doll of Ghurni (PS Krishnanagar, District Nadia), which seems to play an important role in the
export market of decorative products. This industry is spread all over the area, including Kalipur, Bhatjangla, Pal Para, Halder
Para, Sandhya Para etc. There are many small units which are employing the similar process of manufacturing and producing
similar products but facing similar opportunities and threats.
In West Bengal, Ghurni is not the only cluster, which is actively involved in the craft of making Clay Dolls. But in terms of
content, approach and style, it’s undoubtedly a unique of its kind. These dolls are unique in their realism and the quality of
their finish; which truly represent a breakaway from the traditional form. Fruits, fish, insects, animals, birds, and of course
the entire pantheon of gods and goddesses, and even the ubiquitous Donald Duck and other popular comic strip characters,
faithful copies of real-life, down to the minutest detail. Realistic recreations of everyday life, work, mood and character -farmers, weavers, rag pickers, basket makers, and umbrella makers -- are yet other specialties of Krishnanagar dolls.
However, today this Ghurni cluster can further be sub-divided into approx 21 individual units which employed about 100
artisans till present date.
This report is a unit level report of Interactive Study of Clay Doll Cluster of Ghurni, under the premise of MSME scheme.
3
Table of Content
Introduction
4
Geographical Location
6
Cluster Detail
7
History of the craft in the locality
26
Present Status
28
Highlighted Core Issues
30
Process and Technique
Machines and Tools
Packaging and Transportation
51
Workstation and Infrastructure
54
Merchandising and Display
56
Market Analysis
58
SWOT Analysis
59
Conclusion
63
Scope of Interventions – Summarized
Marketing Models
Existing Product Range
A future vision
4
Introduction
ABOUT THE PLACE:
Ghurni is a neighborhood of Krishnanagar in Nadia district in the state
of West Bengal. It is the centre for the production of clay dolls, often
referred to as Krishnanagar clay dolls.
CLIMATE:
The general climate of the place remains hot and humid, except the months of December and January.
WATER RESOURCES:
The Jalangi River is one of the major water resources of the area. Hough
alternative arrangements like local ponds, well, tube well etc are also
available. It is one of the wards of Krishnanagar municipality which has
started receiving piped arsenic-free water from 2006.
5
ARTS AND CRAFTS:
Making of the clay dolls of variable scale and size is the main art &
Craft of Ghurni. It’s a traditional skill that has passed down through
generations. Nowadays, based on such clay models bronze castings
are also being made and have found pride of place all around the
world.
ECONOMY:
As a whole, Krishnanagar is an agricultural distribution centre. The economy is primarily based on small- to medium-scale
agro-industries and trade.
The surrounding region produces rice, jute, ceramics, mangoes, cattle, poultry and fish. There is unrealized demand for
building large food storage, refrigeration and processing plants. There are a few sugar mills. Many expertises are to be found
in this heritage city.
Halwaikars or moyras (who prepare sweets) of Krishnagar are famous. While they produce all varieties of sweets, there are
some which bear the hallmark of the city. 'Sarbhaja' and 'Sarpuria' are inventions that mark the talent of Krishnanagar's
halwaikars. The shop of "Adhar Chandra Das" is famous for the above-mentioned sweet variants.
Despite the economic boom in India in the 21st century, so far there have been no major industrial investment proposals for
the town.
6
Geographical Location Of Cluster
Ghurni is located at 23.25°N 88.34°E on the banks of the Jalangi River.
It can be reached from Kolkata by either train (100 km) or bus (118 km).
Krishnanagar City is a part of Kolkata Suburban Railway on the Sealdah–Naihati–Ranaghat–Krishnanagar line. Journey time
is 2½ hours and one can return the same day.
Cycle rickshaws are available for travel within the city.
7
Cluster Detail
S/N Name of Units
Name of Owner
No of Artisans
Contact Detail
1
Terracotta
Kalyan Pal
3
Kalipur, 9734606207
2
Terracotta
Sanjit Pal
3
Bhajangla, 9547672097
3
Clay doll
Sanjit Pal (Ujjwal)
4
Ghurni, 9333332624
4
Clay doll
Swapan Pal
5
Ghurni, 9474136097
5
Clay doll
Pradip Pal
5
Ghurni, 8145507902
6
Clay doll
Ram Pal
3
Pal Para, 9564254285
7
Clay doll
Dilip Pal
4
Pal Para, 9733923232
8
Clay doll
Narottam Pal
4
Ghurni, 9609496259
9
Clay doll
Naresh Pal
3
Ghurni, 9800526603
10
Clay doll
Biswajit Biswas
3
Halder Para, 9232389579
11
Clay doll
Ramkrishna Pal
5
Sandhya Para, 9732726493
12
Clay doll
Biplab Das
3
Sandhya Para, 7872358102
8
13
Clay doll
Debdulal Paul
6
Ghurni, 9434956147
14
Clay doll
Tarit Paul
5
Ghurni, 9274341672
15
Clay doll
Subir Paul
7
Ghurni, 9434105339
16
Clay doll
Sanjay Sarkar
4
Ghurni, 9932227695
17
Clay doll
Mriganka Paul
7
Ghurni, 9434105395
18
Clay doll
Nirmal Paul
5
Ghurni, 9564317877
19
Clay doll
Madan Paul
4
Ghurni, 9800526603
20
Clay doll
Krishna Chandra Paul
5
Tarun Sangha
9
Name of the unit:
Clay Model
Name of the owner:
Sanjit Paul (Ujjwal)
No of artisans:
4
Contact details:
Ghurni
9333332624
Advantages:
Naturalistic skill inherited through tradition
Disadvantages:
Inadequate space
Labour problem
Lack of proper display
10
Name of the unit:
Clay Model
Name of the owner:
Swapan Pal
No of artisans:
5
Contact details:
Ghurni
9474136097
Advantages:
The only artisan, making
clay-boats
Skilled
in
figurative
compositions
Disadvantages:
Cannot employ any labour in order to save production
cost
Living in the studio-space only
Lack of proper display
11
Name of the unit:
Clay Model
Name of the owner:
Ram Paul
No of artisans:
3
Contact details:
Palpara
956425285
Advantages:
Small showroom beside
main road
Tradiionally skilled
Wide range of production
Disadvantages:
Disorganized workstation
Inadequate labour
12
Name of the unit:
Clay Model
Name of the owner:
Dilip Paul
No of artisans:
4
Contact details:
Palpara
9733923232
Advantages:
Use of advanced machineries
for cutting, packing, framing
etc
Wide range of production
Disadvantages:
Inadequate labour
Has to use family members in
production
Inadequate studio-space
13
Name of the unit:
Clay Model
Name of the owner:
Norottom Paul
No of artisans:
4
Contact details:
Ghurni
9609496259
Advantages:
Skilled in animal and insects
Colouring skills
Unique furnace and firing technique
Use of advanced machineries
Neat and clean packaging
Disadvantages:
Lack of funds
Labour problem
Clay to be brought from far
14
Name of the unit:
Clay Model
Name of the owner:
Biswajit Biswas
No of artisans:
3
Contact details:
Halderpara
9232389579
Advantages:
works
Skilled in firing
Disadvantages:
Skilled in small scale figurative
Lack of adequate space
Inadequate labour
Has to work alone
Doesn’t have machineries
15
Name of the unit:
Clay Model
Name of the owner:
Ramkrishna Paul
No of artisans:
3
Contact details:
Sandhyapara
9732726493
Advantages:
Spacious workstation
Skilled in life size figurative works
Wide range of productions
Huge stock of raw materials
Disadvantages:
Inadequate labour
Uses family members in production
Lack of adequate orders
Lack of machineries
16
Name of the unit:
Clay Model
Name of the owner:
Biplab Das
No of artisans:
3
Contact details:
Sandhyapara
7872358102
Advantages:
Skilled in large scale figures
Disadvantages:
Small workstation
17
Name of the unit:
Clay Model
Name of the owner:
Debdulal Paul
No of artisans:
6
Contact details:
Ghurni
9434956147
Advantages:
Wide range of production
Use of machineries
Disadvantages:
Disorganised workstation
Inadequate labour
Works alone
Less number of orders
18
Name of the unit:
Clay Model
Name of the owner:
Nirmal Paul
No of artisans:
5
Contact details:
Ghurni
9564317877
Advantages:
Naturalistic skill in making
dragon, horse and prawn
figures
Disadvantages:
Small workstation
Lack of capital
19
Name of the unit:
Terracotta
Name of the owner:
Kalyan Pal
No of artisans:
3
Contact details:
Kalipur
9734606207
Advantages:
Skilled
in
simplistic modern dolls, birds, animals etc
making
Lives in workstation
Doesn’t have any labour
Uses family members for production
Open air furnace
Disadvantages:
20
Name of the unit:
Terracotta
Name of the owner:
Kamal Krishna Pal
No of artisans:
4
Contact details:
Ghurni
Advantages:
dolls and animals
Skilled
Skilled
in
in
making
figurative
compositions
Disadvantages:
small
Lack of space
Lives in workstation
No showroom
21
Name of the unit:
Clay model
Name of the owner:
Mriganka Pal
No of artisans:
7
Contact details:
Ghurni
9434105395
Advantages:
Huge workstation
Use
of
modern
machineries
Skilled in large scale
figures
Labour strength
Disadvantages:
Lack of innovative ideas
22
Name of he unit:
Clay model
Name of the owner:
Sanjay Sarkar
No of artisans:
4
Contact details:
Ghurni
9932227695
Advantages:
Widerange of production
Well
furnished
showroom
Skilled in large scale
works
Disadvantages:
Lack of innovative ideas
23
Name of the unit:
Clay model
Name of the owner:
Sanjit Pal
No of artisans:
4
Contact details:
Bhatjangla
9547672097
Advantages:
Skilled in relief works
Wide range of production
Disadvantages:
workstation
Inadequate
space
in
24
Name of the unit:
Clay model
Name of the owner:
Subir Pal
No of artisans:
7
Contact details:
Ghurni
9434105339
Advantages:
Skilled in large scale works
Wide
range
of
production
Labour strength
Well
furnished
showroom
Disadvantages:
Inadequate
work
space
for
25
Name of the unit:
Clay model
Name of the owner:
Tarit Paul
No of artisans:
7
Contact details:
Ghurni
9274341672
Advantages:
Wide
range
of
production
Well
furnished
showroom
Disadvantages:
Inadequate space
workstation
in
26
History of the craft in the locality
The old name of Krishnanagar was Rewe. In the early 17th century Bhabananda Majumdar founded the royal family of Nadia.
Later, Maharaja Rudra changed the name to Krishnnaagar.
In 1757, Maharaja Krishnachandra (1710–1783) helped the British East India Company against Siraj ud-Daulah in the Battle
of Plassey. He was a patron of the arts, including literature and music, and supported the production of clay dolls. In 1728 he
brought families of potters from Dhaka and Natore and settled them in Ghurni, then a village.
27
This pottery is very popular and in most of the international exhibitions held since 1851 -- in London, Paris and Boston -Krishnanagar clay dolls have won medals and certificates and also great admiration from the Europeans. The exquisite
craftsmanship of these artisans have earned them laurels and accolades from the British royalty like Queen Victoria as well
as other important people of the British Raj and Catholic Popes in recent times.
The first rewarded artist was Sri Ram Paul (1819-1885). Presently
the eminent artists are Sri Biren Paul, Goutam Paul, Ganesh Paul
etc. Many artists of this region went abroad and engaged as an
engraver to create temple image mosque, monuments etc.
As late as 1990, when the Government of Russia wanted a bronze
figurine of Rabindranath Tagore for display in one of their national
parks, they sought the help of master craftsman Kartick Chandra
Pal to give them a clay model. Paul provided it and later
converted it into a bronze sculpture.
The Pal families are inseparable from the history of the clay dolls
of Krishnanagar. At present there are about 100 old families at
Ghurni area, belonging to the Pal family, who are actively
engaged in clay modeling.
28
Present Status
The clay modelers of Krishnanagar have now fallen on bad days.
Recently the artists who are involving such activities faced with great
difficulties. Gradually decreasing the demand of good buyer, and also
capturing market by cheapest non–breakable item throwing the clay
model artists into poverty and unwillingness.
Most of the young generations are inclined to service or other business
leaving their heredity artistic works.
The number of master craftsmen is decreasing as members of the
younger generation are switching over to more lucrative trades or more
paying professions. In 2007, the number of master craftsmen staying at
Ghurni dwindled to 10, most of them aged. A few those have money
engaging with stone sculpture, fiberglass models, although they lack the
infrastructure for making fibre glass models. Fiberglass is more durable
and easy to mould.
The petering out of the Zamindar-culture brought with it days of gloom
for the modeling artistes and they witness continuous erosion of
patronage.
Tastes are also changing. Even ten years ago, the demand was for clay
models of the great poets and traditional icons such as Rabindranath
Tagore and Kazi Nazrul Islam. Now, they are losing out. The demand
has shifted and so have the artists to the ‘hottest pin-up idols of
cricket’, Sourav Ganguly, Sachin Tendulkar and Rahul Dravid. Even
saints and religious leaders like Ramkrishna Paramhansa, Baba
Loknath, and Sai Baba, have lost out in popularity to these cricketers.
29
Now, NRIs have shown some interest in acquiring collections of the Krishnanagar clay dolls and the resultant demand has
made the market better for this craft. Govt. also pledged to arrange loan as their necessity and encouraged the artists as
inter-state competition and rewarded them.
After all we can say only govt. grant can help to survive
clay work of Krishnanagar and the artists who are still
struggling with their heritable creation. There is an urgent
requirement of interventions at every level from production
to end user. In this report we have tried to mention all the
possible sites which require incentive to revitalize this craft
which seems to prove as a promising field for handicrafts
export.
30
Highlighted Core Issues
The fields mentioned below have been discussed in his report which are required attention and have been affecting the
overall development of the Ghurni cluster. These include:
•
•
•
•
•
•
•
•
Raw Materials
Process and Techniques
Firing
Machines and Tools
Packaging and Transportation
Workstation and Infrastructure
Market, Merchandising and Display
Earlier Design Interventions and Workshops
Raw Materials
►
►
►
►
►
►
Clay
Water
Fuel for furnace
Paint
Clothes
Jute or other fibre
31
Storage availability of the Raw Materials
Issues:
•
Most of the units purchase raw materials from the same local market of Krishnanagar.
Most of the artisans do not have sufficient space for storage and those who have so, place them carelessly in open
area or scattered together.
Due to the effect of temperature, and mixture of polluting elements like plastic etc, which are not been taken care of - the raw materials, especially clay, get contaminated by the external impurities which come with air, water, dust etc.
It is a slow process which does not come to notice but there is always a high chance of it showing bad effect after
firing.
32
33
•
Because of the inconsistency in raw material, the outcome also gets affected. Due to this sometime a part or the
whole lot of production has to be rejected.
Recommendation:
•
Common Research and testing lab centres with experts who can check the actual troubling impurities in composition
and can suggest improvements.
•
Standardized method and equipments should be developed so that artisan himself can check the raw material before
purchase or store.
34
•
There should a provision of common facility center which can provide raw material to the artisans who do not have
enough space of storage.
•
The Units should have covered storage to ensure the consistency of raw material.
Process and Technique
As it is mainly a family oriented art, most of the household members are involved with clay doll making at Ghurni.
The process involves various activities, but it is formulated mainly in three prominent steps:
I]
Preparation of clay and Moulding:
This process starts with preparation of collected clay for modeling. At
first, a moulder prepares the clay wet and processes it as it is to be
desired and dump it for at least one night.
35
Issues:
•
Use of measuring equipment is not standardized.
•
No fixed trend to record the quantity of materials at every time they mixed, so that one can register the false step.
•
The addition of water in clay composition is based on approximation. No fixed measuring equipment is used.
•
There is an important issue which has been highlighted during the interaction with artisans was their earlier method of
preparation clay. It was prepared with manual beating of clay with the sprinkle of water. This clay contains more
plasticity, which can be helpful in reducing breakage and cracks. The old artisans recommend this method but because
of its laborious nature they use the regular method of clay preparation.
Recommendation:
•
Workshop should be conducted for the artisans to demonstrate the use and make them realize the importance of using
standardized measuring equipments for better results.
•
Need to conduct workshops to educate artisans to maintain regular records of every material in composition which
help them to reduce errors happened due to approximation.
•
A machine can be designed to resolve the issue of clay preparation according to the earlier traditional method, which
require less water and give more plasticity and can prove production friendly.
36
Next, an artisan gives shape of a specific
model with the help of moulded clay.
At first a wire structure is made on which the intended doll is given shape with clay.
These dolls can be fully handmade or made with the help of moulds. The moulds are made of Dental Plaster for better
strength and durability.
In case of the moulding, the dolls are made of separate body parts, which are finally joined by the extended piece of wire
from each of them. Finally the joints are covered with another thin layer of clay.
37
38
Issues:
•
No organized space to store ready clay.
•
Left it casually in a space where people come with slippers and shoes which have impurities.
•
Usually the work station is congested and doesn’t have enough space to for taking the moulds neatly.
•
Clay which is left extra during casting, reduces its plasticity if it is kneaded again and again to reuse for the other
product.
•
The prepared clay and the moulds are kept in open area, where soil can easily be mixed which is full of unknown
impurities.
Recommendations:
•
Every unit should have an organized covered space to store prepared clay to prevent it to mix with other external
impurities.
•
An organized workstation should be developed, above from the ground and in a covered dry place.
•
Design intervention required in tool development.
•
Required to design a cover space where it could safely stored.
39
II]
Drying:
Next important step is drying of the models.
Firstly, dolls are dried on sunlight.
Sometimes hand blower is also used for the same.
40
Issues:
•
Totally depend on Sun for drying.
•
Artisan faces problem during rainy and winter season for drying.
•
Some of the units do not have cemented or solid floor space to place product.
•
Tools have been prepared by the artisans by the locally available material like grass and iron scrap.
•
Self made Iron plates used as a tool for measuring tiles.
•
Use concrete or rough stone slab for leveling and sandpaper of different grade also used for finishing.
Recommendation:
•
Need to design an alternate drying or hot chamber which will be helpful during rains and winters.
•
Design Intervention required to develop standardized tools for cleaning and applying fine coating
for finishing.
•
Scope to design a proper workstation for finishing and levelling.
III] Firing:
Once the clay dolls are fully dried, they are placed within a furnace. The furnace or fire place is called ‘Poan’ in local
language.
41
Here models are kept for 4-5 hours at 500C. After the firing, once the dolls are brought out of the ‘Poan’, they become ready
for decoration.
42
Issues:
•
Breakage and cracks in articles- is happened due to unnecessary moisture content in the body or mishandling of the
article at the time finishing or loading.
•
Cracks usually appear due to sudden change in temperature or when hot article taken out of the furnace in hurry
without getting it cool up to the moderate temperature.
Recommondation:
•
Common Research and testing lab centres with experts who can check the actual troubling impurities in composition
and problems during process and firing and can suggest improvements.
43
IV] Painting and Decorating:
The immediate step is coloring of the dolls which depends upon the aesthetic view of the artists, which is the most vital thing
in giving the eyes and facial expressions of the models which makes it lifelike. Unique coloring pattern of Krishnanagar clay
dolls deserves crown in the world of dolls.
They have their own special technique in the traditional use of glue and in bringing brightness to the dolls which actually help
them to achieve fame and awards on state, national as well as international level.
During preparation of glue, tamarind seeds are used to increase the longevity of the colour fried in dry condition their shells
are separated. Then, cotyledons of the seeds (white portion) are grinded and boiled in water. After boiling, the mixture is
cooled and mixed with the colour.
44
To increase glossiness in colour, a brushing treatment of arrowroot (plant from which a nutritious starch is prepared) powder
mixture is used on the colour coating. After that kerosene oil added to burnish is used to increase the kerosene oil added to
burnish is used to increase the brightness.
But, now-a-days, the artisans mostly use readymade colours and glues available in the local market.
In case of the human figures, dresses are made of cut pieces available from the local tailors or other waste clothes collected
from various sources. These clothes are wrapped on and fixed with glue to the bare bodies of the dolls.
45
Finally, hair is added to those human figures with painted jute or other similar fibre.
46
47
Issues:
•
Most of the units use colors available in the local market, which is not always up to the standard of international, even
national, market.
•
Gradual degradation of the quality of painting. The painters are paid on piece bases. That’s why they work with an
intention to complete maximum number of pieces in a day and ignore the quality of artwork.
•
Often the artisans are bored of reproducing the same content and form which gets reflected in their lack of
involvement in the works they do.
•
Because of low quality in painting buyer don’t take it as value for money.
•
Artisans are showing less sensitivity toward the color combination and pattern making.
•
Most of the units have the same color palette. They usually depend on various resource people, exporters and clients
for new subjects and designs. Most of the units follow the same designs and patterns. The artists copy each other and
make similar patterns and motifs.
•
Now-a-days many of the clay doll artists are inclined towards works in glass fibre which may cause harm for the
existence Ghurni clay doll patterns.
Recommendation:
•
Scope to make quality colors available locally.
•
Quality of painting can be improved.
•
Conduct workshops with skilled artists who can make and train others to develop new content and patterns.
•
Artists need to suggest and train in terms of color combination and develop designs in series or family according
to market trend.
48
Machines and Tools
The artisans of Ghurni cluster mostly use easily available tools
like:
Spade, wooden spatula, chisel, wooden piece, pliers’, scissors,
screw driver, hammer, hand drill, water pot, bucket, mug,
brush, water sprayer, palate, hand saw, coconut shell,
biological tools etc.
49
But, in certain cases, they also use semi-heavy and heavy machineries as well. Like blow lamp, grinder, spray gun, driller,
punching cutter, punching machine, board cutter etc.
Recommendation:
•
Scope of design intervention in tool development at every level of process to make the process fast and would be
helpful in manufacturing fine and quality product.
50
51
Packaging and Transportation
Usually the packaging of these dolls are done in two different ways:
►
glass box for the costlier items
►
plastic packet for the cheaper ones.
52
In certain cases, dolls are also made in high relief, which are framed with wood and glass. In recent times, frames made of
fibre are also being used.
The finished products are sent to the destinations by various modes of transport like rickshaw, van rickshaw, matador, bus,
train etc. They are even sent by air in case of orders from far away cities in India and abroad.
Finally, the dolls reach in various corners of the country and abroad to be sold in fairs, craft showroom, puja pandals,
personal collection etc. Representative samples are sold from the local counters at Ghurni and Krishnanagar as well both by
the artisan or their relatives.
53
Issues:
•
Most of the units does not have approach directly to market. They deliver their products to local dealer and exporter.
Use only Plastic and newspaper for wrapping and put them in corrugated box which are locally available. But some of
them use thermocol and bubble sheet for inter-state or international delivery of their products.
Recommendation:
Required interventions for cheap, affordable and hygienic packaging.
54
Workstation and Infrastructure
55
Issues:
Most of the units do not have any systemized infrastructure throughout manufacturing process.
They lack enough space to arrange the materials in order for the smooth running of a professional unit.
Most of the artisans are unable to organize their workstation for a healthy and generative atmosphere.
Recommendation:
Need to design an infrastructure.
56
Merchandising and Display
57
Issues:
•
Very few units have a proper display area/ showroom.
•
The dolls displayed in a very random way which confuses the buyer instead of impressing him/her.
•
Artisans and even entrepreneurs find difficulty in communication especially during the fairs and exhibitions. It is
because most of the people involved in this trade are uneducated or unaware.
•
No brochure, leaflet or tag is being used.
Recommendation:
•
Need a good display design and brochure which would help in expanding and communicating to target market.
•
Product should be designed and displayed in a series, so that they can be arranged as a story of content, pattern or
color. This would make the buyers to appreciate and purchase the products.
•
Utilitarian products should be developed so that clay doll of Ghurni would reach to maximum number of people.
•
Make awareness about GI (Geographical Identification) mark for their products in fairs and exhibitions which would
help them to show their identity.
58
Market Analysis
Present Marketing Scenario and competition:
•
Artisans are mostly dependent on mediators, traders and exporters for the marketing of the product.
•
Almost all the units have their own local outlets, which do not fulfill their needs. On the other hand, most of them do
not have direct linkages to the larger market for the sale of their products.
•
The use of inferior quality local paint and other materials makes it difficult to be sold in todays International Market,
which has turned absolutely corporate in nature.
•
Clay dolls are facing unhealthy competition from products made of plastic and fibre glass.
•
There is no proper costing procedure.
•
Role of mediators is not decided.
Buyer’s Behavior:
•
Customers value handicraft products and appreciate the uniqueness of the product.
•
The most valued features are ethnicity and authenticity.
•
Future Demands -- good quality and new range of products.
•
More inclination towards traditional designs and patterns.
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SWOT Analysis
Strength
•
Low investment infrastructure.
•
It is a symbol of Craft Heritage.
•
Scope of blending clay doll with other crafts of utilitarian pottery etc.
•
Traditional design, style and motifs, which are the most important elements of this craft, add a lot of value to this
craft.
•
Raw material is available at low cost.
Weaknesses
•
Regular degradation in the quality of design and painting at production level.
•
Completion of orders not on time due to laborious and time taking process.
•
Presence of moisture absorbing component in body.
•
There is no protocol to check the quality of the products and process at various level.
•
Fragileness of products creates difficulty in transportation.
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•
Lack of infrastructure for storage of raw material, dried models, fired products and finished ones.
•
No testing lab for research and technical suggestion.
•
Appropriate process of costing is not followed by some artisans. No costing idea about the product. Sudden changes in
prices.
•
Artisans are mostly dependent on mediators and exporters for marketing of the product.
•
The units do not have marketing arrangement for a larger direct sale of goods.
•
Due to illiteracy and unawareness they are less capable in communication and not able to avail the benefits of
government policies.
Opportunity
•
There is an urgent requirement of new design interventions in the field of content, body composition, tools, and
machines.
•
Scope to develop new design patterns according to the need of the current market.
•
More scope in handicraft export market.
•
Easy availability of raw material.
•
Provision of loan and profitable policies for small units.
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•
There is an opportunity to employ more women in this sector, as they can work in various stages of the process. It is
also possible to continue with the production process in small groups.
•
More scope of employment by involving other correlated crafts in clay dolls.
•
Vocational training of making small utility products like potteries, jewelleries and lifestyle accessories could be helpful
to provide employment during throughout the year.
•
Common facility center for raw material could be developed. Standard quality of raw materials can be provided to
artisans and manufacturer through those common centers.
•
Training program should be arranged. It should look into the raw material and the products in various levels of
production procedure. So the quality of the products can be improved.
•
Awareness program for craft identity should be held to common people to make them aware about the identity and
value of this craft. It can be done in the exhibitions and fairs.
Threats
•
Lack of Unity.
•
Due to the gradual degradation of quality, there is a large rejection in the exports. Finally, it reduces the possibilities
in the international market.
•
Unhealthy competition with cheaper dolls made of plastic and glass fibre. Similar looking products – made in other
mediums – are available in market.
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•
Young generation not interested in taking this craft as their profession.
•
No scope to regulate and judge the reasons, if there is sudden increase in the of breakage and defects occur during
the firing process.
•
Due to no reasonable wages, laborious work, and regular job – artisans are migrating to other regular jobs in near by
constructive cities like Baharampore, Bardhaman and Kolkata.
•
Because of less education the craft people will not be able to follow the proper process of costing and to deal with a
buyer. So sometimes they have to sell their products in minimum margin or at the cost rate only.
•
Artisans are not able to communicate to buyers about their craft.
•
New trend of producing cheaper dolls, realistic in approach and finish, are visible in the open market.
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Conclusion
Scope of Interventions – Summarized
Raw material:
need interventions in raw material to reduce porosity.
Clay processing:
need equipments for even mixing of all raw materials.
need to research some of traditional methods of preparing clay.
Mould making:
training for making better moulds.
need to design a system of numbering and record.
Mould casting:
design the space and infrastructure from the production point of view.
Drying:
need to design insulating and heating chamber to prevent unfired products from moisture.
Finishing:
scope to develop new and better tools for finishing.
Checking:
scope to develop some technique or some solution to check the articles for cracks & defects
before forwarding them for firing.
Loading into the furnace:
need to design the furnace for even firing and equipments to control and regulate
temperature.
Firing:
scope to design a furnace substitute of wood and coal kiln, more efficient and eco-friendly.
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Unloading:
need a research lab which can analyze the problems and defects, sees only after firing,
suggest the required solutions.
Painting and decorating:
develop new content, designs and patterns according to the target market.
reduce dependency on exporters for designs.
Packaging :
required interventions for cheap and organized packaging.
need to realize the value to use the GI mark for identification on packaging and exhibitions.
Display/merchandizing:
better display and retail outlets.
website, package graphics, brochures and branding may help.
End buyer:
develop new product range according to target market in or outside country.
quality control is a must.
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Marketing Models
Existing Marketing Model
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Suggested Marketing Model
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Existing Product Range
Mainly clay/earthen dolls are manufactured by the people of this sector though nowadays wax or fiber dolls are also
produced. The rate of clay dolls (generally human figures) various according to their artistic fineness. Cost of a 2’’ costs
about Rs. 150.00-200.00. The height of models of human figures varies from 2``to 1`.
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A future vision
For Sustainable Market
Improved Quality
NGO’s, SHG’s, other social and
Government Organizations
Required interventions
Designers and technical
People involved.
Improved Raw Material
Supply of tested and
Standardized raw material
Sustain long term market.
Regulate the customize costing
More scope to expand
Market
Healthy market
Design consultancy
Competition at the level of quality
and new designs
Research
Merchandising
Increases quality market
Product packaging
New interventions
In tools and techniques
Scope for more employment
Packaging
Involvement of other crafts.
Workshops for different
Level.
Branding
New designs and product
Handicraft Expo.
Skill up-gradation and
Training programmes
Increase in number of
Skilled artisans
Reduced human errors
Precision- Quality Production
Research and Documentation
Research Labs
Increases market
International market
National