Government of India
Ministry of Textiles
Office of the Development Commissioner (Handicrafts)
National Seminar on the Importance of IPR in the Handicraft Sector
April 5th, 6th, 7th 2005 at NIFT, Hyderabad
Efforts of the Indian State Governments for Promotion &
Development Of Handicrafts
within the Country & Abroad
AMRITA BASU
•
Project Coordinator Kalashiksha Scheme O/o
DC(H) New Delhi (Representative of the O/o
DC(H), New Delhi)
The Office of the Development Commissioner (Handicrafts) is the nodal agency
in the country to work for the benefit and promotion of the Artisan Community.
The Office tries to fulfill the responsibility and maintain the sanctity of the
Government of India and Ministry of Textiles in its ever/ endeavor and activities.
Handicrafts is a state subject, sadly, there are only a handful of states in India
who take up the accountability for preservation, perpetuation and promotion of
the cultural heritage of its state. Therefore, logically it becomes the ethical
obligation of the central government i.e. the Office of the Development
Commissioner (Handicrafts), to take up the matter on development
and
country.
protection of handicrafts sector in the
The Textiles Policy 2000 of the Govt. of India emphasized that continued and
focused attention will be given to handicrafts to enable the sector to increase
both its contribution to exports and productive employment. Initiatives include
up gradation of skills, design and technical intervention, development of craft
clusters with common service facilities, improvement in infrastructure and market
development. It is felt imperative to create awareness as well as to create skill
up gradation at various levels with a view to encourage the craftspersons,
mastercraftspersons, designers and technologists for adopting new designs,
innovation of existing design as well as its diversification for the consumer
markets.
New Initiatives introduced in the 10th Plan
The efforts of the Office in the promotion and development of handicraft sector
is broadly done under six heads: design, marketing, planning & research,
exports, training and BabaSaheb Ambedkar Hastshilp Vikas Yojana,
more popularly known as the cluster scheme. The 10 th five year plan has seen
the emergence of some new schemes which have now become the focal areas
for intervention. The schemes are meant to be of assistance to the 60 lac artisan
population of our country. We realize that it is not possible for the office to work
single-handedly for the preservation and protection of the artists' fundamental
rights on their work. And that is precisely where these versatile schemes of the
Office come within reach.
The 10th five year plan had visualized the practical implications of schemes like
the Shilp Guru awards, Kalashiksha scheme, setting up of State initiated Design
Centers and Handicraft Museums, creating Artisans Credit Cards, Shilpi Samavay
Bima Yojana and implementation of the Babasaheb Ambedkar Hastshilp Vikas
Yojana. All these remain the flagship strategies of the Office because of their
pragmatic spirit. To talk more on these schemes, I would like to start with the
Shilp Guru Awards which commenced at the occasion of celebration of Golden
Jubilee for Handicrafts Resurgence in India on completion of 50 years of the
Office of the Development Commissioner (Handicrafts). The Award recognizes
the endeavor of the Mastercraftspersons in innovating different styles and
designs of the traditional craftsmanship, to continue with the highest level of
aesthetic character, quality and skill in the traditional Indian Handicrafts which
has been the pride of the country's heritage. The 'Shilp Guru Award' was
conceived as a special programme coinciding with the Golden Jubilee Celebration
of Handicrafts Resurgence in India in 2002, when 10 eminent Master
Craftpersons, the Living Legends of Creativity were honoured with "Shilp Guru"
titled by His Excellency the President of India.
The scheme gives financial assistance of Rs 7.50 lakhs to each Awardee to create
masterpieces of each kind and their replicas for the revival and sustenance of
excellence and to make a qualitative change for the preservation of traditional
Indian Heritage of Art & Craft. Apart from giving financial incentives to
craftspersons, the scheme also provides opportunities for participation in national
and international level seminars, symposiums and exhibitions. Adequate publicity
is made for such products representing the heritage of the Indian Handicrafts.
Documentation is done in the form of Monographs on the work of Shilp Gurus
and separate sanctions are issued for this activity. Reputed institutions like
National Institute of Design, National Institute of Fashion Technology, Indian
Institute of Technology, Indian Institute of Carpet Technology, Indian Institute of
Craft & Design, etc. have been requested to associate Shilp Gurus in their crafts
activities. In 2003 12 mastercraftspersons have been designated to receive the
Shilp Guru Award and 11 mastercraftspeople have been chosen in the year 2004.
the Award will be presented to the chosen ones by the President of India at
Rashtrapati Bhavan, New Delhi.
Kalashiksha Scheme: This scheme has been envisaged keeping in mind the
transfer of hereditary knowledge from master craftsperson back to the traditional
crafts community. We believe that the heritage of craft has to go beyond the
boundaries of literacy to achieve true comprehension and therefore, the thrust of
the kalashiksha activity is on the non-formal education. The basis is to achieve
an understanding of the collective memory from which the mastercraftsperson
draws his inspiration. It would then systemise this understanding and knowledge
into a programme that can be sustained institutionally and can be extended in a
more prescribed format.
Kalashiksha aims to bring back the confidence to the craftspersons who have lost
their focus because their loci of control has shifted of distant unseen markets
with more commercialization in mind. It aims to empower the groups to react
meaningfully to the market forces and at the same time restoring to them in
fullness, their own partly forgotten craft tradition.
For the past two years, Kalashiksha was undergoing a pilot test in various
clusters of Madhya Pradesh like Bastar region, Jagdalpur etc and from the year
2005-06, its jurisdiction will be widened throughout the country. We are starting
off by informing all the Regional Design and Technical Centers to identify the
various craft clusters where they need rejuvenation and formal help for the
preservation and promotion of the crafts. It is a two way process of learning, the
craftsmen imparting their traditional way of constructing the art and craft and in
turn the Office intends to develop a module to restrict it from languishing and
also concentrating to broadcast the efforts of the craftsperson's through
exhibitions and other marketing channels.
State Initiated Design Centers:
India has opulent reservoir of culture and heritage. Upon scrutinization it is seen
that the certain crafts are nurtured in many regions in a multifaceted mode and
provide a source of livelihood for many. Infact, the last few years have witnessed
a remarkable revival of numerous crafts, made from traditional materials like
cane & bamboo, wood, shell, bead, bird wings, flowers, textiles etc. Many
regions have dexterity over the skills that is still largely unknown and unexploited
by the domestic market yet, and which may prove to be a source of revenue to
the urbanity and the tribal population of the region.
Till now, there has been no effort on the part of either the Central or the State
Government to promote the rich and diversified sector of handicrafts in this
region. The setting up of the proposed SIDC are meant to conduct regular
training courses to industry and artisans specifically for their need based skill
upgradations. The SIDC thus set up will be the epicenter or the hub of the art,
craft and culture of the region. It will provide a holistic education model for
handicraft specific cottage sector through initiating degree, diploma and
certificate modular courses to enable creation of self-employment opportunities
and for skill upgradation to improve quality and to make production more
commercially viable and competitive.
In 2003-04, 5 SIDC's were set up and in the last financial year, sanctions of 11
SIDC's have been clearedby the Government of India, the last being in Nagaland.
In totality we propose another 18 to be set up, which will cover the entire
country. We invite applications and proposals from established Societies, NGO's,
Charitable Trusts, and State Governments to take up this initiative. The grant-inaid covers the infrastructure like creation of Design Gallery, Computer aided
Design Center, Plant & Machinery, Equipment & Tools, Furnitures & Fixtures,
Display Centers, Interior Decoration etc within a ceiling of 1 crore which is
released in 3 installments. The cost of land and building and salary of the staff
and recurring costs are to be borne by the State Government or the
Implementing Agency.
It will be the onus of the institute to identify the various clusters of important
crafts on the basis of area proximity, no. of artisans, understanding the core
competency and provide proper intervention and guidance to the various
clusters. The design interventions will help the artisans come to terms with the
contemporary look and articles of utility so that the marketability of these items
is enhanced. It will try to cover up the lacunae created by the absence of
structured professional institution providing world-class education and training
and specializing in design in art and craft for sustained improved and innovative
designs in the region of the country.
Presently, we have the proposal to install Electronic Kiosks in the SIDC's in
association with the from ICICI Bank which is expected to be operational from
this current financial year.
Handicraft Museum:
With the passage of time a strong need has been felt for preservation and
research of the rare traditional masterpieces, A scheme of Museum along with
the SIDC is conceived during the year 2003-04. The primary objective of the
museum is to preserve the collection of the artifacts, further the collection of
objects that show excellence sign of exquisiteness in craftsmanship and
conceptual innovation in design or its functional aspects, dissemination of
information and creation of awareness among school students, craftspersons,
designers, technologists, scholars and interested public.
A grant of Rs 50 lacs can be sanctioned for the establishment of Museum. It is
important that both heritage pieces as well as contemporary designs produced in
various crafts are preserved and made available for ready reference particularly
to the artisans, and designers, research scholars, students and to the public in
general.
BabaSaheb Ambedkar Hastshilp Vikas Yojana: More popularly known as
the cluster scheme, it gives a package of benefits to the clusters of various crafts
to mobilize and form of Self Help groups for conducting training, design,
workshops, exhibitions, common facility centers. The assistance of Merging
money is provided to Self Help Groups, against which the bank are also entitled
to give them loan facility. Approximately 1 lac artisan are now availing this
facility.
Artisans Credit Cards: This scheme has been started very recently. About 20,000
cards have been issued.
Talking about the efforts of the DC(H) at the global level, The "Seal of
Excellence" Award was started in the year 2002 and is supported by the United
Nations Educational, Scientific and Cultural Organization [UNESCO] Office of the
Regional Advisor for Culture in Asia and Pacific Association of Southeast
Asian Nations [ASEAN] Handicraft Promotion and Development Association
[AHPADA].
India took the initiative to introduce the SEAL of Excellence approach for the
Craft Community of the SAARC Nations - Bangladesh, Bhutan, India, Maldives,
Nepal, Pakistan and Sri Lanka. In order to maintain the standard of quality,
production excellence and to enhance international market awareness of
handicrafts from the seven SAARC countries and to conform to standards of
cultural environment, the Office of the Development Commissioner [Handicrafts]
was designated as an associate along with Craft Council of India in conferring
the Seal of Excellence.
The Seal represents the ultimate recognition by the international community of
the ability of the craftspersons either individually or collectively to create,
innovate and reconcile tradition with modernity, and to refashion the past to suit
the present. The Seal of Excellence for Handicraft Products in South Asia
enhances international awareness of handicrafts of SAARC countries. At the
same time it serves as a quality control mechanism and marketing device for the
promotion of handmade traditional and/or innovative craft from the region.
The Award is conferred on the craftsmanship particularly, and is adjudged on the
following criteria's;
Demonstrates
excellence
and
standard
setting
high
quality
in
craftsmanship
Creative and successful alliance of traditional skills and innovation in
material form and/or design
Expression of cultural identity and traditional aesthetic value
Respect of the environment in materials and production techniques
Marketability of the craft products with potential for entering the world
market
A total of 121 craft products were received from India, out of which 27
outstanding products were selected as Indian nominations and 35 international
nominations got the award. The products were categorized into:
o Textiles
o Natural Fiber (Carpets, Bags, Baskets)
o Ceramics (Clay, Earthenware, Pottery)
o Paintings; Wood & Stone (Precious Jade etc.)
o Metal (Gold, Silver, Bronze, etc.)
o & Jewellery
Also to commemorate the Seal of Excellence Award Ceremony Prototype
Development Programme was held in which participants came from all over the
globe. About 80 international and national craftspersons, designers and experts
participated. This opportunity provided valued interactive exchange of
experience not only amongst the craftspersons of different countries but also
within design experts from India and abroad.
This International Design & Product Development Workshop was a 10 day affair,
held in New Delhi and they were mainly based upon on 5 Eco-friendly crafts -
1. Cane & Bamboo
2. Natural Fiber
3. Vegetable Dying
4. Ceramics & Pottery
5. and Handcrafted Textiles
The export division has an annual growth rate of 17-18% on an average every
year with a provisional figure of making 13,000 crores in the year 2004-05. Its
function is divided into Product Development, Publicity and Marketing, and Social
Welfare Measures. The Office does not work as, a commercial set up but is more
interested in creating awareness and publicity for export promotion.
An India Exposition Mart in New Delhi is envisaged to be functional by the end of
three years from now, to provide a pedestal for the National and International
Buyer-Seller Meet under one roof round the clock. This is one of the most
ambitious projects of the O/o DC(H) for encouraging the entrepreneurship and
support to the handicraft sector.
Intellectual Property Rights
We believe IPR today remains the most powerful tool for effectively preventing
infringement on the artists right to the value of his work. Awareness amongst the
artisans is being created not just to produce and market new winning products
catering to changing consumer tastes but also to avert unfair competition or
theft of their creative ideas and therefore, IPR is perhaps the best available tool
for maintaining exclusivity over creative and innovative output.
The Government of India has appointed Ministry of Human Resource
Development as the nodal agency for the purpose of digitization on the work of
Art & Craft. The O/o DC(H) strongly supports the fact that digitization holds the
key to market the product effectively and at the same time protect the product,
process and the idea of the creation from any form of violation. A Core group
has been formed consisting of the representatives of the O/o DC (H), O/o
Development Commissioner (Small Scale Industries), National Institute of
Science Communication and Information Resources (NISCAIR), Mine & Young
and lndra Gandhi National Center for the Arts (IGNCA) to look into the matter.
A General Format has been constructed by Mine & Young, Advocates & Legal
Consultants, for obtaining additional IPR information for th e purpose of
protection, promotion and marketing of handicrafts.
Under the UNDP project relating to Promotion of Non farm employment and
Livelihood for Resource Poor Community, the component of brand building has
been provided based on IP tools. The major challenge lies not so much in
developing brand images of each state crafts using IPR tools but in terms of
appropriate marketing strategy supported by effective publicity campaign. The
assistance of international design houses like Carol Cassidy, John Robshaw is
ought for and linkage with the international departmental stores is being looked
into.
The O/o DC(H) has given the responsibility to NIFT for start the process of
implementation of IPR tools for the art & craft of Inida. NIFT has been requested
to complete the registration process, development of insignia and logo,
registration of all crafts, holding design workshops for preparation of catalogues
and CD's to be used for marketing purpose and sensttization through workshops
involving the community artisans who are the custodian of creative art and
crafts. We propose to go ahead with certification of at least 2 crafts each year.
This will be done in collaboration with the Department of Industrial Policy
Promotion. NIFT has been sanctioned 21 workshops in the NER region to get a
feel of the process and devise a methodology for beginning the operative
element of the IPR tool and it has taken up the pilot initiative for the state of
Mizoram. We hope to get a glimpse of the result of this deliberation in th is
Seminar. We have also received the proposal from NIFT for implementing IPR in
Himachal Pradesh, Punjab, Haryana, Uttaranchal, Uttar Pradesh, Maharashtra,
Goa, Pondicherry, West Bengal, Chattisgarh, Orissa, and Andhra Pradesh for
standardization of the Handicraft products. We have till now, sanctioned 12
workshops for the Northern Region and will be doing so further for the rest in
the current financial year.
26 crafts have been identified so far for registration under the GIR Act from the
Southern States. All Ad's of marketing Centers of the Southern Region have been
requested to furnish full details of such crafts identified viz geographical
background, description of goods, geographical area of productionand map,
proof of origin, method of production, uniqueness etc. required by the guidelines
of the Act.
To look into the future measures involving IPR, we propose to use it as a tool in
three significant schemes of the O/o DC (H) i.e. Kalashiksha and SIDC and
Handicrafts Museum. Both the schemes include the component of preserving and
protecting the aesthetic value of the traditional art & craft. The O/o DC(H)
believes that these platforms can be used for attaining considerable insight into
the craftsperson's everyday culture and can thus be utilized for making
competent awareness program. Since it is practically impossible to educate the
60 lacs artisans community individually, the SIDC is especially seen as a
beneficial manifesto where the craft persons will come to gain formal and
technical knowledge in design and technology about the market tastes and
demands and their global implications. SIDC can be seen as the perfect
platform to start the process of enlightening the craft community about their
basic right of protecting the designs and ideas from encroachment. We invite
proposals from all concerned to take this matter further to its desirable
culmination.
Aii the distinguished delegates may kindly look into this concept paper. We look
forward to suggestions, opinions, recommendations or changes to enable the
Office of the Development Commissioner (Handicrafts), to maintain the
transparency, precision and perfectionism in its deliverables of serving the
artisan community and the nation as a whole.