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Kala Raksha - Arts Preservation Through Artisan Cooperatives
ATNI has helped to fund a building project in Kutch, India, led by Kala Raksha. The goal of the project was to rebuild a home for each family in Sumrasar Jatwali, one of the worst affected of nine villages that were devastated by a 2001 earthquake.
Here is an update on the ongoing Kala Raksha work to support local artisans: Bhuj still looks a lot like a construction site, and in fact it is. Highways have been built, making access to all areas of the small town, and new outlying areas easy by vehicle. But much of the construction of homes and shops is still going on. The sleepy little walled city is mostly a memory now.
When the tsunami stuck south India in December we all felt what people in Nagapatnam were going through. And then we felt the quandary: to whom do we send a donation, to insure that it is really used where needed? All of the earthquake, the destruction and the chaos came back to us. Eventually, we chose a personal connection. Serendipitously I met two doctors who instantly became friends. They put me in touch with Child Fund India, with whom they had worked before and would work again for tsunami relief. Kala Raksha donated RS 10,000 to that organization. And we all quietly thanked you all again for how you had helped us.
Most villages have settled to their own normalcy by now. Sumrasar Jatwali, the village we rebuilt, has seen quite a few marriages, as well as the death of the revered head man. With great effort, we have helped this village and two nearby Jat villages in which we now also work, form their own trust. This is a major step in our dream of de-centralization of operations, and it is significant that this village, once one of the least organized, now has one of the highest earning income generation programs, and has been the first to take this step. There is much preparation still necessary. We are planning to coordinate construction of work sheds for artisans, and a common work center in Sumrasar Jatwali, as well as in two other villages, under a government scheme. But the most important and most difficult part is building capacity. Fortunately, this year we will have on board Gunjan Grover, a graduate of the Institute of Rural Management, who did an internship with us earlier. He will assume my position as Project Coordinator, in order to enable me to work full time on the Design School. In addition, we will have two more IRMA interns to work on the decentralization project this summer.
In my last mail I wrote of our trials and tribulations with our solar system. It was finally repaired in November 2003, only to break down again. Finally we realized that we were the victims of companies who knew we did not know enough about solar energy! We limped along with minimal use of the system for a year, and this winter finally saved enough to repaire the system so that we have energy most of the time, which makes daily operations almost irritation free!
And work we did this past year. Having been on a persistent plateau, financially, since the earthquake, we finally succeeded in increasing our income for the year. Finally, we reached the RS 60 lakh (nearly $ 140,000) sales goal. Two major contributions to the increase in sales were a month long trip to the US, and establishment of two successful shops in hotel resorts: one at Rann Riders, on the far side of the little Rann of Kutch, and one at Garha Safari Lodge, much closer to home in Kutch. This, we hope, puts us back in our growth phase.
Kala Raksha has begun new producer groups and now works in 15 villages, with 600 women. With a grant from Aid to Artisans, we trained ten new tailors from 4 villages in preparation for de-centralization. Following this, we set up one new production sub center in Vandh. And we added the rest of the tailors to our corps on our main campus. Thus we have finally been able to finish products from all of the embroidery that was produced with our matching grants in the year following the earthquake! This, plus the ability to overcome the plateau only four years after the earthquake will help to illustrate the reality of rehabilitation: even though time speeds in high gear, rehabilitation takes much time.
In the past two years, we have had lots of help in the form of eager interns, from the new Indian Institute of Crafts and Design, Tata Institute of Social Sciences, as well from the Institute of Rural Management. We hosted independent volunteers from the US, the UK and Denmark. Our guest house is rarely empty these days.
Three local staff in the Design and Production department have been promoted, following our philosophy to build local capacity. Marketing continues to be a critical factor, and the Marketing Executive the one position difficulty to fill with local capacity. For over a year we had on board as Marketing Executive a talented young designer. He has since been succeeded by a quietly dedicated young man from a nearby village. We also had significant success in focusing on marketing in our artisan education program. The artisan teachers were trained in-house in marketing, and last year they were completely responsible for sales in our annual show in Delhi. These young women were so competent and enthusiastic that I couldn't help but feel we should have thought of this earlier!
Education has become more and more the focus of my work, as well as an essential part of Kala Raksha's.
In July 2004, a team comprising two charismatic Rabaris, our Marketing Executive and myself took a wonderful month-long tour of the US, touching some of my favorite places: Philadelphia, Santa Fe, Colorado Springs and Grand Lake, Seattle, Boston and Providence. The focus of the tour was participation in the first Folk Art Market in Santa Fe, where we had a very good response. But we devised the rest of the tour to make the trip worthwhile, and in the other stops included workshops on Rabari embroidery-- as much more than craft. These workshops succeeded in raising awareness of craft as art, for both the participants and the conductors. We must heartily thank all of our friends and supporters who made the trip possible, and especially American India Foundation, who provided the tickets.
Kala Raksha was given grants from HEMLATA foundation in Mumbai and READ USA to establish an education center on what will be an expansion of our campus—which is bursting at the seams. The center will include a library, which the teachers and artisans will run as a self sustaining project.
Thankfully, our Ratan Tata Trust grant to support education was renewed, after a year long gap. With this much needed funding, we resumed our program. As part of our work this year, we were able to make an authentic link to the artisans' first priority- their art. We have continued in the narrative vein with much enthusiasm and success. After the 5.5 meter narrative pieces, Kala Raksha artisans did works on Gandhi and the unity of religions, for the Sacred World project in Delhi. Then, when we thought about making culturally appropriate reading materials for the literacy program, here is what happened. What follows is excerpted from the introduction to Kala Raksha's first book, which of course will come out in Gujarati:
"One of the challenges of adult education is that there is a dearth of material to motivate learning to read. Reading matter for learners uses subjects for children, and often from a culture that is not familiar.
For our education programme, Kala Raksha decided to record stories of elders and to make these into readers. But the blocks of text were not inviting. When we asked artisans to illustrate the stories, the problem of the alien pen arose.
Then we turned the problem upside down. We began with the pen that artisans use: the needle. We asked artisans from each village to narrate a theme in embroidery and appliqué.
Then we added the spin of competition. One piece from each village would be chosen as the illustration for our book. The artisans themselves juried the pieces. First, they determined the criteria: 1. Does the piece follow the given theme? 2. Does it tell the story completely? 3. How well is it executed? And 4. How is the overall impression? Then a committee from the community, comprising artisans whose work was not in the competition, selected. (see Artisan Jury )
Finally the winning artisans interpreted their embroidered stories, in their own words. Thus we have a book by artisans, about themselves.”
The issue of definition of art, craft and design continues to burn for all of us at Kala Raksha. When we interviewed the women whose pieces were chosen for the book, I was greatly heartened to hear them describe their creative process.
Babraben described it like this, “We know the subject, of course; but we have to think how to show it. First, I thought of all the steps. We have to think, plan first.
“Some days inspiration didn't come. So I would put the piece aside. That's why it took a long time. Thought takes time.
“After the thought, the execution is quick. But I wanted to do it well, so it would be appreciated. So sometimes I had to take work out and do it over…”
Surely this is the thought of an artist.
In another incident, we began to touch on the issue of value, which is really the central issue to the flourishing of art. The incident involved an artisan winning a Crafts Council of India prize for our new game, Snakes and Ladders. The problem was that the artisan whose name was submitted had not made the entry.
So we held a meeting to discuss the matter.
I sat facing the sea of eager faces
I told my version of the story: We had been informed of a contest. We could send in two names, two entries each. Because Hariyaben had made extraordinary dolls, and purely from her own impetus, we entered her name. Since there was another product slot, we put Snakes and Ladders, Kala Raksha's new game. The entry that won was Snakes and Ladders, but the sample sent was made by someone else.
The first issue was Design. What is design? Snakes and Ladders, for example came about like this: I thought of the game, and asked Raniben, Meghiben and Babraben to make a sample each. They did, and we liked them. Then I thought, well, we need a bag for it. I thought of using snakes for the handles and quilting in the shape of ladders.
Harish, the Design and Production Coordinator, thought of adding zigzags in between to symbolize snakes. But when he gave the sample to Bhavnaben, one of the tailors, she added an innovation of her own: instead of zigzags, she made funny snakes! We were all very happy with the final result. And, many people worked to design this one game!
The artisans wanted only to know WHOSE game board went to Hyderabad for the competition? So, here is a core issue: artisans do not separate “Design” from execution. They do not value concept as a separate entity.
But, I realized that there was another issue. This is not the first, but one of many incidents in which they have seen work submitted for competition under another person's name. So, what artisans have learned is that they get exploited. They have no voice.
I said I would give each of the women who did the original samples a cash prize.
With that, they were very angry. Do you think it is about money? they asked. We are not starving for money!
No, it is the recognition they want! I was humbled. Raniben and Meghiben and Babriben listed all of the new work they have done, all of the creative work, the narrative pieces, some commissioned and some from their own minds, how hard they worked.
I found the opportunity to introduce two more issues about which I have been concerned for years. One, how do they price their work? Only on labor? Why do they not pay themselves more for new ideas? Obviously they understand and value them. Even though they are the ones who do the pricing, they do not yet feel the capability to change how it is done.
The second issue is recognition. I asked if we should have prizes within our organization. They said yes. And this led to jurying the pieces for the education book.
Exploring these kinds of issues in everyday life at Kala Raksha will feed into the effectiveness of our work with our Vidyalaya. In my last mail I wrote about our Design School Project, Kala Raksha Vidyalaya. This, we intend to make a genuine contribution to helping artisans earn a fair living by hand work in an industrial world. At the same time, relevant design education will nurture the creative spirit of traditional art in the face of commercialization.
I am very excited to report on our progress in this ambitious venture.
The first building of the institution has been constructed with funds raised in our Stone Soup project. ( see KRV building 3-05 ) With support of Ashoka Foundation I held a workshop at RISD last September to develop the initial curriculum. Following this, we received a grant from the Development Commissioner, Handicrafts, Govt. of India, for equipment, upgrading our museum, and programs.( see Digitizing collections, Conservation training, Artisans use Digital archive, and Innovation on KR collections )
And now that we have physical presence, we have received additional grants from DCH and UNESCO to hold the first pilot courses, which will begin in October 2005 and culminate in a convocation and presentation, with sale in November 2006!
I am attaching a detailed plan for our work, which I hope you will read and enjoy.
But we are far from reaching our goal. Unfortunately, we lost our original funding from the Gujarat Government to construct the facility and subsidize mobilization—largely due to political reasons.
So, we find ourselves again needing to cook up a Stone Soup. The very good news is that after more than a decade, Kala Raksha has received permission from the Government of India to collect donations in foreign currency. So I am now asking for your help in making Kala Raksha Vidyalaya a reality. Your contribution will help to revitalize one of the most precious resources India has: traditional hand craft.
Faculty Trainee participation in phase 1.
Travel for the training RS 12,430 ($ 285)
It is hoped that in lieu of renting space for the participants of the pilots we can construct the first module of the student housing. For this, a total of RS 186,184 is needed, of which RS 130,000 has been generously pledged. The remaining need is RS 56,184 ($1,300)
As the facility is between two villages, it will require infrastructure for electrical services. This is estimated at RS 100,000 ($2,312)
In addition, we would like to consider non-conventional power, such as solar or wind power. An evaluation and estimate for this project is sought.
UNESCO has sanctioned a substantial portion of the amount required for year 2
In addition, we need:
Faculty Trainee support RS 86,378 ($ 1,997)
Artisan Participation RS 475,000 ($ 10,982)
Administration and Coordination RS 234,050 ($5,411)
The most pressing long term need is funding for the construction of the remainder of the facility, for a vehicle, and to expand the research facilities. Here is how you can help:
Construction of the Library, Museum,
Classrooms, Studios RS 6100,127 ($ 141,042)
A vehicle RS 473,000 ($ 10,936)
Furniture RS 1965,000 ($ 45,433)
Research materials RS 1530,000 ($ 35,375)
We intend to establish a self sustaining, fee based institute. However, initially we will offer scholarships to artisans. Your sponsorship will enable one artisan to reach his or her potential. We will match you with a student and keep you apprised of his or her progress.
If you would like to make a contribution, information follows. And, as always, I look forward to hearing from you.
With best wishes from the Kala Raksha family
Judy Frater
All Together Now International accepts donations on behalf of Kala Raksha.
Supporting the artisans with your donations will help create literate,
socially responsible, and economically self-sufficient women who will
create a positive impact on their people and country.
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