1
Artistic Textiles of Nagaland – Diagnostic study and Business
Development Plan
Table of Contents
I.
Methodology for Diagnostic Study ........................................................................................................3
II.
Location of Artistic Textile clusters in Nagaland ...................................................................................5
III. Introduction – Artistic Textiles of Nagaland ..........................................................................................6
IV. Artistic Textiles of Nagaland: Craft Production Process ........................................................................8
Raw material.............................................................................................................................................. 8
Tools .......................................................................................................................................................... 9
Process....................................................................................................................................................... 9
Product Range ......................................................................................................................................... 10
Current Scenario ...................................................................................................................................... 10
Product Pricing ........................................................................................................................................ 13
Bibliography............................................................................................................................................. 13
V.
Product Review................................................................................................................................... 14
VI. Value Chain Analysis of the Artistic Textile Weaving of Nagaland ..................................................... 17
a.
Institutional mapping ...................................................................................................................... 17
b.
Value chain mapping ....................................................................................................................... 21
c.
Description of the value chain ......................................................................................................... 21
d.
Analyzing the value chain ................................................................................................................ 22
e.
Potential changes in the Value chain .............................................................................................. 24
VII. Nagaland Handloom Business Development Plan ............................................................................. 26
1.
Objectives of Intervention ............................................................................................................... 26
2.
Intervention Strategies .................................................................................................................... 27
3.
Interventions under AHVY scheme ................................................................................................. 27
4.
Project Output Targets .................................................................................................................... 29
5.
Project Budget ................................................................................................................................. 29
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I.
Methodology for Diagnostic Study
A detailed methodology was followed to gather information on the cluster, identify the
main actors and collect trade and business data from them. A range of tools including
one-on-one interviews, focus groups and surveys were used to collect the required
information. The following is a break-up of the methodology used:
I. Desk research and Set-up of first field visit
o Gathered information on cluster actors and contacts through interactions with
a range of institutions including Crafts Council India, Dastkar, Crafts Revival
Trust, Dastkari Haat Samiti, Fabindia, NID, NIFT and Asian Heritage
Foundation.
o Identified and contacted NGOs, individual artisans, master crafts persons and
entrepreneurs working in the area to explore as potential local project partners
and resources. Also scanned for existing government schemes in the area.
o Identified design and other professionals with previous work experience
[through steps A and B above] relevant to the cluster and initiated discussions
to explore their use as project consultants and resources.
o Scanned books, documents and other reading material for initial archival
material on crafts process, design repertoire, local dynamics and existing
linkages to markets.
II. Initial field scan, field visit and local hires
o Initial field visit for 7-10 days to meet the artisans, groups and the
organizations working in the area.
o Identified and interview local staff to carry out the survey of the artisans in the
area.
o Second field visit to oversee survey.
III. Existing Product Profile
o Collected samples to from cluster to review for design, quality of product and
marketability. The samples were review by a panel of experts assembled by
AIACA.
o Reviewed the costing process and the marketability of the product in that cost.
o Reviewed appropriateness of production methods, raw materials and tools
used.
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IV. Craft Production Process Documentation
o A detailed documentation of the craft production process was carried out.
Ascertained original higher-skill techniques that were being used and how the
process has changed over time.
V. Survey of Artisans
o Demographic profiles of artisans and ancillary workers, including geographic
locations; selection and survey of 1000 artisans carried out. The data was then
entered into a computerized format to get aggregate statistics from survey
forms.
VI. Value Chain Mapping
o A detailed mapping of the Artistic Textiles of Nagaland value chain was
carried out. The mapping identified actors in the cluster involved in the
business of crafts production and sales including raw material suppliers,
master craftsmen, traders and other marketing intermediaries.
o Conducted detailed analysis of existing commerce in the cluster including
current sources of credit accessed by artisans and traders.
VII. Business Development Plan
o Based on the information collected through the steps above, analysis by
professional staff of Access and AIACA, and interactions with a range of
stakeholders in the crafts sector, a detailed Business Development Plan (BDP)
that clearly lists objective, strategies and targets for needed interventions were
developed.
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II.
Location of Artistic Textile clusters in Nagaland
Nagaland is a hill state located in the extreme north eastern end of India, bounded
by Myanmar in the East; Assam in the West; Arunachal Pradesh in the north and
Manipur in the south. Nagaland consists of seven administrative districts, inhabited by 16
major tribes along with other sub-tribes. According to the 2001 Census population of
Nagaland is 1,990,036. Of these, 1,774,026 are Scheduled Tribes (STs) constituting 89.1
per cent of the total population of the state.1 Each tribe is distinct in its character from the
other in terms of customs, language and dress. There are various art and crafts that are
known to the Naga tribals since early days include weaving, basketry, wood carving,
pottery, metal craft, jewellery and beadwork.
Dimapur is the largest and the most accessible city of Nagaland. The city is well linked
by air, rail and road. The airport connects with major Indian cities via Guwahati or
Kolkata, whereas the only rail link is through Guwahati. Dimapur can be reached in 6
hours by air from Delhi via Kolkata. A good road network covers the state linking
Kohima and Dimapur to Shillong and Guwahati. Most of the clusters are easily accessible
from Dimapur and Kohima by well connected network of state and national highways. It
takes approximately 5 to 6 hours to reach the clusters from Dimapur and Nagaland.
1
Ref: NAGALAND DATA HIGHLIGHTS : THE SCHEDULED TRIBES Census of India 2001, [Online], Available:
http://censusindia.gov.in/Tables_Published/SCST/dh_st_nagaland.pdf
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III.
Introduction – Artistic Textiles of Nagaland
The inhabitants of the state are mostly Naga tribes. Nagas have a rich tradition of art and
craft rooted in a lifestyle that has always been in harmony with the environment they live
in. Skilled tribal artisans have always been the pillars of a tribal society that had, for
many centuries, been self-sufficient. They lent their skills to creating items of utility as
well those with ritualistic and aesthetic value. The Nagas are versatile artisans and they
leave an impression of ethnicity on most of their objects of everyday usage.
There are 16 major tribes in Nagaland. These are Angami, Ao, Chakhesang,Chang,
Khiamniungan, Konyak, Lotha, Phom, Pochury,Rengma, Sangtam, Sumi, Yimchungru,
and Zeliang, of which the Angamis, Aos, Chakhesang, Lothas, and Sumis are the largest
Naga tribes.2 Tribe and clan traditions and loyalties play an important part in the life of
Nagas. Weaving is a traditional art handed down through generations in Nagaland. Each
of the major tribes has its own unique designs and colors, producing shawls, shoulder
bags, decorative spears, table mats, wood carvings, cane and bamboo work.
Naga shawls
Naga Shawls are hand woven in traditional black, red and white, in combination with
other color such as green yellow, blue varying from tribe to tribe. The color combination,
design and pattern symbolize a specific tribe and the wearer’s status in the society. Each
Naga tribe has its own signature shawl. The Naga designs vary from a formal
arrangement of lines to elaborate patterns of diamonds and lozenge shape. Simple straight
lines, stripes, squares and bands, varying in width, color and arrangement are the most
traditional design and motifs. One of the common feature of Naga shawls is that three
fabric pieces are woven separately and stitched together. The central stripe is more
decorated than the other two, which generally is hand embroidered with traditional motifs
and patterns.
2
Ref: NAGALAND DATA HIGHLIGHTS : THE SCHEDULED TRIBES Census of India 2001, [Online], Available:
http://censusindia.gov.in/Tables_Published/SCST/dh_st_nagaland.pdf
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Traditionally every Naga woman is supposed to weave the clothes of her family. Until
recently, it was essential that every marriageable girl should know how to spin and
weave. Tiny girls can often be seen with little toy looms experimenting with weaving.
Women perform all kind of weaving related activities like spinning, dyeing and weaving
along with the daily household chores.
Naga woman weaving mekhela
Different tribes in Nagaland weave and wear different types of shawls. Thus Naga shawls
widely vary on the basis of the design and the tribes using them. Some of the popular
types of Naga shawls are:
 Tsungkotepsu Shawl: This is an exclusive male shawl and is one of the most
characteristic textiles of Ao tribe. The shawl is woven on a general dark base. The
cloth has a median white band and on either side of it, there are horizontal bands
of contrasting colors like red, black and white. The median band is painted with a
pattern in black, which includes various symbolic figures.
 Rongsu Shawl: It is one of the most decorative shawls worn by the men-folk of
the Ao tribe.
 Angami Naga Shawl: This is a black shawl with thick bold embroidered animal
motifs. These shawls were worn by warriors of Angami tribe. The shawl carries
an entire range of wild animals against a black background divided into horizontal
panels by woven bands of color.
 Supong: It is a typical Naga shawl worn by the Sangtam tribe. This is supposed to
be used by rich people. The shawl on a black base has four grey bands at the top
and another four bands of the same color at the bottom.
 Rongkhim: It is one of the most attractive shawls worn by Yimchunger Naga tribe.
The shawl is in red and black with narrow grey bands at the two edges. This
shawl is mainly worn by warrior of great renown.
 Tsungrem Khim: It is an exclusive female shawl of the Yimchunger tribe.
 Lotha Shawls: This a typical Naga shawl worn by Lotha tribe. The shawls have
several patterns and indicate the number of feast of merit, which was a
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demonstration of an individual’s level of prosperity and servitude to the
community, performed by the weaver. Another common Lotha shawl is known as
Sutam, which is a white coloured shawl with broad dark blue horizontal strips.3
IV.
Artistic Textiles of Nagaland: Craft Production Process
Out of the total state population approx. 90% is tribal. Weaving is a part of socio-cultural
structure of the tribals. The tribal women weave clothes for their family, a tradition that
has been carried down through generations. Weaving is done on loin looms or back-strap
looms. Most of the weaving is done for the domestic consumption, but now some
production is being done for commercial purpose.
The tribal textile clusters are spread all across the state- Dimapur, Kohima, Phek,
Mokokchung and Wokha districts of Nagaland. The handloom items include shawls,
jackets, mufflers, cushions, runners and other made-ups with traditional tribal patterns
and motifs peculiar to the Naga tribes. It has a rich heritage in designs that differ from
tribe to tribe.
Raw material
The basic raw material used is acrylic (also popularly known as Thai yarn), cotton,
polyester, rayon and wool. Cotton cultivation, yarn spinning and dyeing was traditionally
practiced by the tribals, but gradually the weavers discontinued these activities due
various reasons like migration, employment shifts and the availability of cheaper options
in mill made dyed yarns. It has been a decade that the weavers have gradually shifted
from cotton to acrylic yarns. This shift is due to various factors such as non-availability
of good quality cotton, durability, weaver friendliness and 100% wash fastness of the
acrylic yarns, which has made it the preferable yarn type.
3
Ref: Nagaland Shwals, [Online], Available: http://www.shawlstrade.com/nagaland-shawls.html
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Yarn winding on bobbins
Most of the yarn is procured from local markets or from traders in Dimapur, which is
mostly sourced from Delhi, Kolkata and Guwahati, and also Yarn Sales Depot which
sources from NHDC (National Handloom Development Corp.), which provides the yarns
at mill gate price.
Tools
The tools necessary for weaving consists of yarns (acrylic, cotton, polyester or wool),
spindle, spinning machine, warp drum or pegs and a loom (loin or fly-shuttle).
Making the warp on warp pegs
Most of these tools are either made of bamboo and sometimes of wood.
Process
The tribal women weavers use both loin looms and now are being introduced to flyshuttle (frame) looms. The process on the looms can be summed ups a follows:
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Loin loom
A common Loin loom consists of:
 Front bar- The front bar is a circular wooden bar put in between two loops fixed
with the wall of the house.
 Breast bar- The warp is fixed between the front and the breast bar. The breast bar is
also a circular wooden bar.
 Sword- The sword is a flat wood piece and rests in front warp, one end of this
sword is blunt and the other end is pointed.
 Heald bar- It is made of bamboo and circular in shape
 Circular bamboo bar- This is another circular bamboo bar but little longer than the
former and is placed after the heald-bar.
 Lease rod- It is a rod or a bar positioned between front bar and circular bar,
separating the warp in two sets.
 Back strap- This is made either of leather or cloth. There are two loops at the ends
of the back strap, which are attached to the notches of the front warp bar.
Nearly all types of weaves can be woven in the Loin Loom. The possibilities of weaving
pattern in a Loin Loom are unlimited. The weaver sits with a loom fixing the back strap,
keeps her legs against the footrest, which is adjustable for keeping the loom in tension.
The weaving in the loin loom is governed by the shedding motion, the picking motion
and the beating motion. The heald bar is lifted up with the left hand and the circular
bamboo bar is presses down by right hand simultaneously. Sword is then placed in the
shed and kept vertical and the weft is passed from the right side by the right hand by
means of the shuttle and picked up by left hand. The weft is then beaten up by the sword.
The sword is then taken out and the center shed is produced through which the shuttle is
passed by the left hand and is picked up by the right hand. The sword is then again placed
to beat the weft. The process is repeated. When the weaving just begins, the two-bamboo
splits work as the first weft. This is the technique of plain weave of one up and one down
and the process is continued until any pattern is woven.4
Product Range
The product range of the artistic textiles of Nagaland includes the traditional costumes,
mekhelas, shawls, jackets, ties, mufflers, cushions and yardage fabric for other made-ups.
Current Scenario
Weaving as an activity in Nagaland follows a seasonal pattern. The weaving activity
reduces its pace or almost stops during June till August which are the harvesting months
and then again in winter months when the festive season starts. The months in between
these two lean periods are the most hectic as the major production is to be stocked for the
festival season when the demand and sales are high.
4
Ref: Crafts of North-East: Types of looms, [Online], Available: http://ignca.nic.in/craft258.htm
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Mekhela in making
The problems faced by the artisans can be summed up as follows:
 Non-availability of raw materials: The yarns, both acrylic and cotton is either
being procured from southern India, Delhi or West Bengal, except these there are
one or two yarn depot which caters to govt. demand as well as to individual
weavers. The number and the network of these banks need to be increased to the
optimum scale. The availability of good quality raw material is a challenge faced
by these artisans.
 Lack of organization: Most of the weavers are working independently. A very
small proportion of these weavers have formed societies or cooperatives. There is
still wide-spread lack of awareness amongst the weavers for the advantages of
being organized under SHGs or societies.
 Lack of working capital: Most of the weavers are from low-income groups. They
cannot afford to acquire looms, raw materials or production on their own or
expand their business options.
 Loom upgradation: The existing loin looms have low productivity as compared to
the fly-shuttle frame looms, on which the productivity is almost double. Hence
there is a need to shift to fly-shuttle looms.
 Lack of infrastructure: Most of the weavers do not have access to proper work
sheds, dyeing units, storage facility or tools and implements. The transportation
costs work out very high of selling goods in the other big cities of the country.
 Lack of product diversification and market linkages: The existing sales are only
restricted to the local market as most of the products are traditional costumes,
which restricts the sales to the local market. Hence there is a need for product
development and diversification of the existing traditional textiles of Nagaland.
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The weavers are spread out in large areas which are difficult to access. Most of these
work independently and have not organized themselves under societies or groups; except
few of them who are now part of programmes or schemes initiated by NGOs or
individual entrepreneurs. Few of these organizations are:
1) North East Network (NEN)/Chizami Weaves
NEN started a small Handloom Project recently in 2008, a new project, Chizami
Weaves in Nagaland, aiming at preserving the traditional designs while
diversifying products to increase their visibility with the support a designer. The
project is an attempt to create livelihood opportunities for women and in
enhancing their professional choices, their earning capacities and collective space.
There are 190 weavers working, spread over 15 villages. NEN’s products are
usually sold in state fairs, national exhibitions within India. Products of NEN are
buta motifs in yardage; curtain cloth, mekhelas or sarong, dupattas, stoles,
gamosa (face towels), hankies, table mats, sling bags and cushion covers.
2) Chakhesang Weavers Cooperative Society (CWCS)
CWCS was established in 1976, their aim being women upliftment by creating
livelihood opportunities and educating them. The Society provides the women
training in various activities such as embroidery, knitting and other vocations, and
also runs awareness programmes on leadership and gender issues. There are 300
women weavers linked through the Society, organised under 20 SHGs. The
products are sold through exhibitions and fairs in regional and state-level.
3) Resource Center
Resource Center was started as a counselling centre for families and children for
their overall welfare. Then in 1999, Tabita Crafts was started by involving
homeless young women into crafts based activities. These activities include
weaving, stitching, beadwork, puppet and toy making. The Center has trained
more than 350 women and men in the past decade.
4) Nagaland Handloom and Handicrafts Development Corporation Ltd. (NHHDC)
NHHDC, under the Department of Industries and Commerce was set up in the
year 1979, with the main objective of production, marketing and promotion of the
vibrant traditional handloom and handicrafts products of Nagaland. In pursuance
of these objectives, the Corporation is actively carrying out productive works,
promotional activities to provide a platform to weavers to promote their products
as well as to educate them about the intricacies of the market. NHHDC has come
up with steps to train and help weavers in Nagaland with marketing strategies, and
also impart awareness on quality control. NHHDC will also assist in marketing
local products by holding exhibitions all across the country and currently is in the
process of setting up a ‘design bank’ in order to keep up with global changing
trends. A ‘raw material bank’ has already been set up in Dimapur. The bank will
provide raw materials like yarn, wood, bamboo and cane at subsidized rates of
10% to 20%.
The entrepreneurs have started their own business establishments by involving the
weavers directly in process. These weavers are provided with the necessary technical and
financial assistance from these individuals.
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Ms. Jesmina Zelum is one such individual who is working with about 40 weavers. The
fabric is converted into made-up and various products. She supplies to major retail stores
across India like Fabindia and as well as exports.
Ms.Ghotoli of Sue Weavers is working with about 75 weavers. She retails through two
outlets, one each in Dimapur and Kohima; and the retail outlet in Dimapur also serves as
the Yarn Supply Depot in which the yarns are available at 2% to 5% discounts.
Product Pricing
The price range of the cushions is Rs.120 to Rs.350, for mekhela it is Rs.350 for simpler
ones to Rs.4000 for exclusive ones and shawls vary from Rs.600 to Rs.1300
The price depends upon various factors such as wages (weaving and finishing),
overheads and profits. The wages given is between Rs.50 to Rs.100 per day, depending
upon the design intricacy. The overall wages are 30% to 35%, raw material is 40%, overheads such as rent, and electricity is 15%; and 2% to 8% as incentives to the weavers.
Then is a mark-up of 10% to 25%, depending on the mode of retail.
Bibliography




Nagaland Data Highlights : The Scheduled Tribes Census of India 2001,[Online],
Available: http://censusindia.gov.in/Tables_Published/SCST/dh_st_nagaland.pdf
[20th Sept, 2009]
Nagaland Shwals, [Online],
Available: http://www.shawlstrade.com/nagaland-shawls.html, [20th Sept, 2009]
Crafts of North-East: Types of looms, [Online],
Available: http://ignca.nic.in/craft258.htm, [20th Sept, 2009]
Field visit to Nagaland, and interaction with the local weavers, govt. agencies and
craft groups.
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V. Product Review
AIACA team purchased samples of tribal textiles of Assam to be reviewed by AIACA’s
panel of experts. The product was sent to all the panelists for review and they were asked
to give their feedback on the following attributes: quality, colour and design, price,
product potential in the domestic and the international market, and suggestions on
product range and designs.
The products varied in price range (Rs.125-Rs.350) as well as the quality of skill, raw
material and product’s over all look.
Product 1, Rs.125
Product 3, Rs.125
Product 2, Rs.125
Product 4, Rs.225
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Product 5, Rs.350
Product 6, Rs.350
The panelists included:
 Kusum Tiwari, Director, Mura Collective: Kusum has over ten years of
experience as a retailer of craft products. She started her own business – Mura
Collective in 1998 specializing in Shibori (Japanese style of tie and dye) and
hand-woven textile garments.

Niharika and Thomas Abraham, Designers and owner of Pebbles: Niharika and
Thomas are NIFT graduates and have been working as design consultants in the
field of home accessories and textiles in the export sector for the past 13 years.
They also have their own business under the brand name, ‘Pebbles’. ‘Pebbles’ is
an export-based design house catering to the European and Far-East markets.
They showcase at international fairs, such as Maison-Object, Paris and Ambiente,
Frankfurt.

AIACA in-house Design and Marketing team: AIACA has an in-house design and
marketing team comprising of Designers from IICD, NIFT and University of
Sydney. They have extensive experience working with artisans on design,
product development and marketing.
Below is the feedback on sample products from Nagaland and suggestions for future
product design and development.
1. Quality: The quality of the products is very good. Quality of raw material, overall
finish and packaging needs to be worked upon.
2. Colour and Design: The products have good color combinations and motif
placement. More experimentation needs to be done with the design layouts and
weave patterns.
3. Price: The products are reasonably priced. But the products can fetch better prices
if the final finish is improved along with diversified product ranges.
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4. Product potential in the domestic and the international market: The product has
already penetrated the existing markets but one need to work on price, colors,
design and finishing, to increase its potential to the maximum. Use of natural dyes
and natural fibers such as hemp and linen can increase the potential.
5. Suggestions on product range: The existing products need diversification to
augment the existing markets. A range of products in kitchen and tableware,
yardage for furnishings, wall hangings, window screens and travel accessories can
be introduced. Some surface manipulation- embellishments and use of accessories
can be used for value addition.
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VI.
Value Chain Analysis of the Artistic Textile Weaving of Nagaland
This section focuses on the tribal textiles from Nagaland and attempts to analyze the
associated value chains and arrive at potential challenges and interventions to improve
incomes and overall livelihoods of the artisans.
It looks at the following aspects:
a. Institutional mapping: this would focus on various institutional stakeholders
participating and influencing the artistic textile value chain.
b. Value chain mapping: Understanding the value chain of artistic textile and map
the flow of goods from procurement stage till it reaches the market.
c. Analyzing the value chain: This section describes the various issues and
challenges that the poor face in inclusion and benefiting from the potential of
artistic textiles.
d. Potential changes in the Value chain
a. Institutional mapping
1) Community institutions
Nagaland has a very strong presence of community institutions called Village
Councils which, as a part of the tribal tradition are decentralized governance
structures (like the PRIs in other parts of the country). They play a critical role in
planning and execution of developmental activities in the villages; and also own most
of the common resources in the village i.e. land, forests etc. These village committees
have been efficient vehicles (which have been effectively motivated and encouraged
by NGOs), to promote weaving artisans and facilitate in creating it as an effective
income-generating activity for women. Under the Village Councils, there are
specialized institutions suiting to the development activity in the village. Similar such
institution is Village Women Societies that addresses the issues relevant to women in
the village. The government and village council, villages where the women artisans
are interested to take up weaving as income-generating activity, common work-sheds
have been constructed. These work-sheds provide a common place where the women
artisans sit collectively and make the weaving products. Besides, common worksheds, these village women societies also facilitate in capacity building and other
support to the individual artisans.
However, one of the limitations of these village level institutions is not being able to
provide quality inputs and services to make these enterprises and entrepreneurs self
sustaining. This gap, to an extent has been filled by the local NGOs, who provide
design inputs, enterprise development inputs and market linkages.
2) Government
Government through its various programs, schemes and institutions has been
supporting the weavers in Nagaland. Nagaland Handloom and Handicrafts
Development Corporation Ltd. (Department of Industries) was instituted to support
17
the crafts and artisans in Nagaland. They organize various marketing events like the
exhibitions to promote crafts in Nagaland. Besides this, the government departments
also have a provision of providing loans to entrepreneurs. The state government has
also created apex level institutions like The Nagaland Apex Weavers and Artisans
Cooperative Society Federation ltd. (WEAFED), etc.
3) NGOs
There are various local and regional NGOs who have been engaged to support the
women weavers in Nagaland. These NGOs have helped the individual weavers
organize into SHGs, provide them improved supply of raw materials, link to markets
as well as provide design inputs. However, most of these are philanthropic and not
based on business principles. Realizing this need, NGOs are exploring more
professional inputs on establishing SHGs as successful business entities. With their
good rapport with the communities and close to implementations on-the-ground; they
are effective intermediary institutions to impart capacity building, design and other
business development inputs.
4) Individual artisans
Over 60% of the weavers are still independent and working individually in their
households and weaving mostly for their families and local markets (that is very
limited). Though they have not furthered their skills to establish a sustainable income
generating activity. They normally source raw material from local markets, make the
products for the family members or at times take orders from local and other traders
who provide them with raw material and pay the job work to the artisan.
5) Shop owners
There are various handicrafts stores in cities like Dimapur and Kohima which are
either owned by traders or are extended sale outlets for the entrepreneurs and
enterprises. The traders, based on the market responses, decide on the product range
and design. These requirements are passed on to either entrepreneurs, MPCSs (Multi
Purpose Cooperative Societies) or individual artisans. The raw materials are provided
by the traders, in case these are individual artisans and they are paid the job work for
the piece they produce. In the case of groups (MPCSs) the traders pick up the finished
goods directly on mutually decided rates (based on raw material used, dimensions and
design of the products). Adding the margin of around 25% to 30% of the procured
finished goods, they are sold in the outlets/shops. At times the traders also procure
semi-finished goods which are tailored and finished by the trader (primarily cutting,
stitching and finishing).
In case of shops owned by entrepreneurs and enterprises, the products are made by
dedicated artisans working with the entrepreneur or the enterprise. These are mostly
job-workers. The only full time artisans working are those finishing the products.
6) Multi-Purpose Cooperative Societies
The Cooperative movement in Nagaland saw most of the weavers organize
themselves and register as Multi-Purpose Cooperatives. However, on close
18
observation, most of these MPCS were promoted by individual artisans who grouped
the individual artisans to form cooperatives. These MPCS works with artisans on a
job-work basis and provide marketing support. Most of the market efforts are through
orders from the buyers, direct sales to the local traders, exhibitions organized by the
government as well as export orders (which though is limited).
7) Entrepreneurs
Few weavers and design experts have transitioned into successful entrepreneurs. The
successful entrepreneurs have carved and maintained their niche whether it be use of
traditional fabric and production methods (i.e. natural dyed fabric, use of loin looms)
and /or introducing updated and contemporary designs and product ranges
(traditionally the product range was restricted to traditional dresses like mekhela and
shawls which has been diversified into cushion covers, bed covers, bed linen and
other contemporary dress materials).
8) Apex weavers institutions
The weaving groups and cooperatives have federated to form few apex level
institutions to protect the interests of the weaving artisans and expose the artisans to
better markets.
i) Nagaland Weaver’s Association
Nagaland Weaver’s Association was formed by Neidonuo Angami (born 1950),
one of the founding members and former president of the Naga Mothers
Association (NMA). This association has facilitated the participation of several
groups in international trade fairs during these years. With a membership of
weavers, who coordinate fair and exhibitions and ensure weavers’ participation in
these, this association has largely benefitted the women weaving artisans as well
as the craft to get a larger exposure.
ii. The Nagaland Apex Weavers and Artisans Cooperative Society Federation ltd.
(WEAFED)
The Nagaland Apex Weavers and Artisans Cooperative Federation Ltd.
(WEAFED) was organized and registered in the year 1990 by the State
Cooperative Department as the State Level undertaking unit of the Department to
promote Handloom and Handicrafts sectors of the state WEAFED was established
to promote these sectors on different stages in all over the state.
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Inter-relations
The diagram below attempts to elucidate the inter-relations between the various
departments and also how their individual roles effectively contribute towards growth
and well being of the weaving artisans.
Markets
Shop Owners/
Traders
Entrepreneurs/
Enterprises
Multi-purpose
Coop Societies
Individual Artisans
Weaving artisans
SERVICES
-Financial
Support
Government
-Market
Exposures
Apex
Weavers’
Institutions
-Community
based BDS
services
NGOs
-Institutional
support
-Design
inputs
Community
Institutions
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b. Value chain mapping
Value Chain
Markets
Shop Owners/
Traders
Market
Sold at Rs.1800 per piece i.e. a
sales margin ranging between
30% to 40%
Multi-purpose Coop
Societies
Entrepreneurs/
Enterprises
-Provides raw materials
-Pays job work
-Aggregates and
finishes the products
- Artisans purchase
the raw material
from local markets
- Directly sell in
local markets
-Provides raw materials
-Pays job work
-Aggregates and finishes
the products
Individual
Artisans
Job work takes 12 days for
skilled artisans
(8hrs working)
Rs. 800
Weaving Artisans
-Polyester Yarn:
Rs.400/kg
-Thai Yarn: Rs.350/kg
-Cotton Yarn: Rs.50/50
gms
Raw material
12 hanks of polyester(@20/-) and
2 bundles of cotton yarn(@50/-)
Total RM cost: 340/-
For a Mekhela (a traditional wrap
around for women, 1.5m X 1m)
Markets
c. Description of the value chain
The regular products include mekhela and shawls. The raw materials are generally
purchased from local markets. However, in the case of enterprises that specialize in
traditional products, the raw materials are specifically procured from markets like
Guwahati and Delhi (to get good quality cotton). There are local suppliers of raw
materials that are routed through mostly Dimapur and Guwahati. Government also
provides subsidized yarns for the artisans. To further extend the outreach the state has
also given franchise to few larger enterprises, to provide the subsidized raw materials to
the artisans.
The entrepreneurs and traders often provide raw materials and designs to the artisans and
artisan groups. The artisans are engaged on a job-work basis. These orders from
21
entrepreneurs also are given to the MPCSs. The job works are decided on product
specifications (design, material and dimensions), however, the deductions in job works
also happens in case of poor quality of the finished products (quality check is done by the
entrepreneur). To have a strict quality control, more than often, the entrepreneurs have
dedicated weavers working under one roof and supervision of the entrepreneur.
The design inputs varies widely depending upon who commissions the work. The
entrepreneurs, with their proximity to markets provide better and contemporary design
and also product diversifications. However, in the case of individual artisans, local
traders and MPCSs the designs are still very traditional and specific to the tribal
community being catered to.
The traders, individual artisans and MPCSs also reflect the strong tribal identities in
Nagaland. These are associated and often cater to specific tribes in Nagaland. E.g. a
Chakesang MPCSs makes products with specific design of the Chakesang tribe and they
have captive clientele in the form of Chakesang tribal churches and families.
In frequent cases, mostly the local traders directly buy from the artisans and MPCSs on a
mutually decided price.
The margin added by the entrepreneur and trader is largely determined by the market and
ranges between 25% to even 50%. Most of the large entrepreneurs have good export
markets as well as large domestic markets like FabIndia, etc.
d. Analyzing the value chain
A close observation of the tribal artistic textile value chain has different subsidiary supply
chains. As elucidated in the figure above, almost 60% of the weaving artisans are
individual working in their respective households and are not associated with any
entrepreneur, NGO or MPCS. These are often household activity and have not really
transitioned into a sustainable income activity (rather is a limited income augmenting
opportunity).
Next level of organizing is where the individual artisans are grouped formally or
informally under an entrepreneur or are formally organized as SHG (by an NGO or
Government) or grouped (mostly as SHG) under a MPCS. This arrangement ensures
aggregation of orders as well as production and hence somewhat regularized income for
the individual artisan.
i. Issues at the level of entrepreneurs
One of the significant concerns of the entrepreneurs is poor supply of quality finished
goods as well as declining use of traditional raw materials. The other concern is lack
of contemporary design inputs. The entrepreneurs especially those having linkages
with the export markets feel that the uniqueness of the Naga textiles had been its
traditional use of yarn and natural dyes, which has been gradually declining owing to
easy availability of modern raw materials. Also most of the products are still
traditional i.e. mekhelas and shawls, and very limited design and product
diversification.
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The skills of the weavers also have not been upgraded owing to very limited or no
skill development inputs, hence affecting the supply chain of quality finished goods.
The entrepreneurs largely feel that they have sufficient markets but they lack supply
of quality finished goods that are suited to the contemporary needs of the market.
ii. Issues at the level of artisans
Most of the textile artisans are still working individually and take up weaving as a
part-time occupation (as and when they get time from their daily chores). Their
production mostly caters to the household requirement and any local requirements.
Most of the Naga women have traditionally been passed on the weaving skills and
also most the designs and products are limited to specific tribal motifs and dresses.
One of the major limitations of these individual artisans is that they have very poor
access to markets; their only exposure is limited to local markets (for both inputs and
end markets). This is attributed to the lack of marketable production (as most of it is
individual production), poor quality control systems, lack of design up-gradations,
poor access to updated techniques, tools and technologies and lastly access to
resources (both finance and business development inputs) to help them grow.
iii. Issues at the level of NGOs
NGOs have been instrumental is plugging the gaps at the levels of artisans and
linking these artisans to the markets. They have facilitated in organizing these artisans
in the form of SHGs, created infrastructure facilities like common work-sheds as well
as provide market-based designs. These inputs have certainly enabled the artisans get
better returns from weaving. However, the NGOs also grapple with the critical issues
of business orientation and professional design inputs. NGOs have been well geared
for addressing social issues and other development requirements, however, creating
sustainable enterprise based livelihoods opportunities (like that for the textile
artisans), requires a more business orientation. NGOs need professional inputs on
business planning, costing, pricing etc. as well as regular professional inputs on
designs and markets.
iv. Issues at the level of markets
The markets for the weaving products can be broadly understood as: local, shops and
traders, exhibitions and exports. Among these markets, the local markets are still the
common markets for the local artisans i.e. catering household needs and local needs
for traditional dresses. The contemporary markets have grown with a growing
demand for more diversified products like household furnishings and other utility
items. However, these products are still in low supply, limited only to few interested
entrepreneurs who have taken the lead.
Besides, the need for product diversification, since the designs are mostly catering to
specific tribal motifs and traditions; there has been very poor inputs on design up
gradations. While the tribal products have a captive and limited market, to further
reach out to better and larger markets, more professional design inputs (while keeping
the tribal essence intact) is required.
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e. Potential changes in the Value chain
1) Aggregation of produce and producers
One of the challenges the primary weavers face is the lack of marketable surplus
hence need for aggregation of the produce as well as the producers. The
producers/weavers need to be organized into producer groups and linked to financial
institutions, markets and other service providers. These groups would later be
aggregated as Producer Cos. (Producer Company or Producer Cooperative depending
on the local need and legal facilitations). These Producer Co. would be capacitated as
a business entity through business development trainings and institutional and market
linkages.
2) Up gradation of techniques and tools
The ‘back strap’ or the loin loom is commonly used for weaving, although, in recent
years the fly shuttle loom has become popular with the weavers. Though the loin
looms provide a better finished products, but has limitations as regards product
diversification and time consumption. Cooperatives and entrepreneurs have procured
fly-shuttle looms to diversify the products, however, these tools and techniques are
yet to be used by the individual artisans. Also the traditional loin looms can be further
modified to make it less labor intensive. Hence, necessitating the need to introduce
better tools and techniques to the artisans and groups, to help them produce
commercially.
3) Up-gradation of skills
The use of better techniques and tools would thus mean re-skilling of the artisans.
Also the traditional skills are more attuned to the traditional tribal products and
designs. Introduction of new product line and further up-gradation of products and
designs would also essentiate imparting new skills to the artisans.
4) Professional design inputs
The tribal /traditional products mostly carry the tribal motifs and designs. The Naga
weaving products, as of now is largely catering to the limited local demand. Any
further expansion of markets would require better and contemporary design inputs
while ensuring the tribal essence (which acts as a USP for the Naga tribal textiles).
The tribals have good skills, which needs to be updated suiting larger market
requirements as well as diversifying to more innovative products thus shifting the
purely tribal oriented products to more mainstream market orientation.
5) Business support services
As discussed in earlier sections, most of the works done by weavers are still noncommercial and the artisans have very limited business and market orientation.
Besides, the artisans, the intermediary agencies like the NGOs and the front line
government personnel also lack an understanding on business planning and market
led development approach. Thus, to ensure the inclusion of the artisans in the
mainstream value chains, its quintessential that the artisans as well as internediaries
are exposed and capacitated on business development approaches, needs and market24
led approaches. In the absence of local service providers, providing the business
services and inputs, there is an urgent need to first create a line of expert service
providers locally, who would continue providing these quality services in a fee-based
arrangement.
6) Strengthening of cooperatives
The cooperative movement in Nagaland facilitated creation of many Multi-Purpose
Cooperative Societies (MPCSs). These cooperatives were registered but most of the
pull comes from few individual entrepreneurs hence largely missing the participatory
approach. These cooperatives however, provide an effective institutional structure of
the textile artisans. These hence need to be given better professional inputs to make it
a sustainable business entity as well as to ensure the larger benefits to the artisans.
7) Market linkages
Very few entrepreneurs have good linkages with the mainstream markets as well as
international markets. A large chunk of enterprises as well as MPCSs have poor
market links and largely sell it through local markets and government organized
exhibitions. The design inputs and other aggregation inputs needs to be intricately
linked to the market value chains.
8) Developing and strengthening of enterprises
There are quite a few weaving enterprises producing artistic textiles. However, owing
to poor capacities both in terms of a good supply chain as well as good business
orientation, these enterprises have limited markets, leading to underutilization of
artisan skills and lowering the earning capacity.
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VII. Nagaland Handloom Business Development Plan
1. Objectives of Intervention
ACCESS and AIACA’s objectives in intervening in the Nagaland- Artistic Textile
Cluster will be guided by five key objectives of aggregating the individual artisans,
working with and scaling up to reach artisans through entrepreneurs, NGOs and
Government who are currently working in the cluster, increasing artisan welfare and
promoting commercially sustainable production and marketing structures in the cluster.
Based on these principles, the following will be the main objectives of intervening in the
cluster:
Objective 1: Aggregate the artisans into collectives
As highlighted in the value chain approximately 60% of the artisans work as
independent workers from their home. They are unable increase their earnings due to
lack of finance, raw material unavailability, short on design innovation and lack of
market linkages. ACCESS and AIACA would work with individual entrepreneurs
running their own units (who are also artisans but have funds and market linkages to
have set up their own units), ACCESS and AIACA would address these artisans in
Y1 of their intervention and bring in at least 50% of these under the program by Y3.
Objective 2: Up gradation of skill level and increase the incomes of the artisans
ACCESS and AIACA would up- grade the skill levels and train the artisans in using
the frame looms. Artisans who have been trained by the Government they have either
left the craft or do it only during certain months of the year , ACCESS and AIACA
would hold training round the year for skill upliftment on new frame looms. This
would directly impact the production and hence income.
Objective 3: Upgrade the tools and implements to increase the productivity
To increase the productivity and incorporate more designs, tools and implement that
are currently being used need to be up graded and some new tools need to be
introduced. Quality of products, economies of scale will be achieved through this
process.
Objective 4: Develop new product lines more suited to urban markets
Introducing and diversifying the product mix and improving product quality will be
key to raising sales of textiles from Nagaland. ACCESS and AIACA will seek to
develop a range of products, enhance the quality of existing product lines and target
different price brackets for the cluster through market trend analysis and design and
product development inputs. In doing so, care will be taken to ensure that the
essential characteristics of the Nagaland textiles are not lost.
Objective 5: Create market linkages to multiple market segments, both domestic
and export markets.
Increasing sales and wages of artisans will depend not only developing new products,
but also on ensuring that such product developed can be sold at higher price points.
ACCESS and AIACA will work towards linking the cluster to markets within India
and in export markets, especially in the Unites States and Europe.
26
These objectives will be the main criteria used in tracking project progress and evaluating
the success of the intervention.
2. Intervention Strategies
To achieve the objectives listed above, ACCESS and AIACA will primarily use the
following strategies while intervening in the cluster:
Strategy 1: Scale up existing individual artisans, entrepreneurs and NGOs
ACCESS and AIACA would reach out to the trained artisans through entrepreneurs
and NGOs and build upon their existing skills. Individual artisans will be aggregated
into collectives and range of support services would be provided to them to increase
their incomes and provide more regular work. To entrepreneurs and NGOs more
specific services would be provided as per their requirements- design support,
enterprise support services and market linkages.
Strategy 2: Develop skills in tailoring, introduce new looms and expand product
lines more suited to urban markets
Introducing and diversifying the product mix and improving product quality will be
the key to raising sales of textiles from Nagaland. ACCESS and AIACA will seek to
develop a range of products, enhance the quality of existing product lines and target
different price brackets for the cluster through market trend analysis and design and
product development inputs. In doing so, care will be taken to ensure that the
essential characteristics of Nagaland textiles are not lost.
Strategy 3: Shift to frame or pit looms from loin loom.
To meet the production demand of the commercial market, weavers would be
provided training to use frame or pit looms. This would help experimentation with
different fabric widths, patterns and designs. Weavers could continue to weave on
loin looms for non-commercial use and for the market segment that demands the loin
loom products
Strategy 4: Branding and creating new market linkages.
ACCESS and AIACA would assist in developing the brand for Nagaland textiles.
Brand-building initiatives will include developing new product ranges, developing a
set of marketing materials that explain these symbols and their significance. A website and product catalogue, holding a series of exhibitions in key markets to publicize
new product profile along with Eight Lucky Signs of Buddhism , and representation
of Sikkim products at trade fairs in India and abroad.
3. Interventions under AHVY scheme
Based on the above objectives and strategies, the following interventions will be needed
under the AHVY scheme:
i) Training of Artisans
Given that currently, most artisans work on back-strap or loin looms have been
working regularly as part of existing value chains, skill-building trainings will be
essential to scale up and strengthen the number of artisans capable of producing
27
quality products. To do this all 1000 will require training and skill-building inputs
over the project period. ACCESS and AIACA will undertake skill-building in a
phased manner. 5 training workshops will be held annually for a three year period to
cover 1000 artisans, who will be brought into the artisan collective.
ii) Integrated Design and Technical Development Project
A significant design investment will be needed to diversify the product profile of the
cluster from only yardage, traditional shawls and mekhelas. An integrated design and
technical development project will be initiated in year 1 of the project. ACCESS and
AIACA will identify appropriate designers and hold a series of workshops in the
cluster to develop a number of new product ranges covering different product and
market segments. Efforts will be made to diversify the base skill and develop a new
product range of garments, table linen and accessories.
iii) Design and Technical Development Workshops
The Integrated Design and Technical Development Workshops will be augmented by
an annual Design and Technical Development workshops over a five year period to
continue the process of skill up gradation, design development and to oversee and
fine-tune the production of new designs developed.
iv) Organizing Exhibitions
ACCESS and AIACA will organize a series of exhibitions in major Indian metros,
market-test new product ranges and increase sales of artisans in the cluster. In
addition, AIACA will also work on representation of products from the cluster in
existing exhibitions across the country such the Dastkar Nature Bazaar. Selected
artisans will be taken to the exhibitions so that they can directly interact with
customers, get product feedback and also gain exposure to retail outlets in the major
metros.
v) Publicity Materials – Catalogues and Website
ACCESS and AIACA will develop marketing and publicity materials to help build
the Naga Textiles brand and to enhance awareness of both commercial buyers and
end consumers of the product profile, characteristics and craft production process. A
web-site for the cluster will be created, which will be handed over for operation to the
artisans’ collective. New products developed will also be featured in commercial
product catalogues which will be distributed to AIACA’s network of domestic buyers
as well as importers across the world. Product catalogue for the textile from Nagaland
will be developed.
vi) Entrepreneurship Development Program
Selected Artisans will be taken for the India Market Readiness Program (IMRP)
organized by Aid to Artisans and AIACA in Delhi in conjunction with the India
Handicrafts and Gift Fair (IHGF). 2 artisans per year from the artisans’ collective will
be put through the training program every year for three years to create a cadre of
trained professionals to run the collective.
vii) Trade Fair Participation
The new products developed in the cluster will be represented at three trade fairs IHGF, the New York Gift Fair (NYGF) and Ambiente, Frankfurt- so as to create
linkages with commercial buyers and generate bulk orders from year 3. Two artisan
28
representatives from the collective will also be taken to the IHGF to train them in
participating in trade fairs.
viii) Computer, Printer and Internet Connection for Artisan Society
A computer, printer and internet connection will be provided to the Artisan’s
collective through the project so as to enable them to interact with commercial buyers
and generate required paperwork for managing customer orders and sales.
ix) Salary for Cluster Manager
A cluster manager will be hired to manage all initiatives at the cluster level, provide
logistical support to Access and AIACA, and provide handholding support for the
artisan collective.
4. Project Output Targets
The following will be the primary project targets over a five-year period:
 Increase number of functioning artisans in the cluster to 1000 artisans.
 Increase total sales revenue from cluster to four crores a year by the end of
project period.
 Twenty five new product ranges developed more suited to the urban markets
in India and abroad.
 Thirty new commercial bulk buyers linked to project cluster by end of project
period.
 30% increase in number of working days and incomes of functioning artisans
in the cluster.
5. Project Budget
The total budget for proposed interventions over a five-year period is Rs.1,55,65,360.
Appendix 1 with detailed budget break-up attached. In addition, Rs.12,00,000 is the
budget for direct support to artisans’ federation formed in the cluster and total working
capital credit borrowings of Rs.32,00,000 be covered under the credit guarantee facility
in the AHVY scheme.
.
29