Continuing Forward: Rubia

in Mali



Jessica Peck and Ana Dionne-Lanier
2

Table of Contents

I. Executive Summary 3
II. Last Semester Review 5
III. Needs Assessment: Process 6
IV. Main Findings 7
V. Analysis and Recommendations 9
VI. Conclusion 12
VII. Appendix A: Survey Instrument, English 13
VIII. Appendix B: Report of Study Conducted in Djenn, San and Sgou, French 15
IX. Appendix C: Additional Information Obtained on Djenn Cooperatives, French 21
X. Appendix D: Further Research 22
XI. Appendix E: Contact organizations supporting artisanal enterprises 23
XII. Collection of Bogolan Photos and Descriptions, English 26






3
Executive Summary
Over the course of this year, we have been working with Rubia to determine whether or
not it should expand its organizations reach to bogolan producers in Mali, and if yes, what form
that would take. After initial research it seemed possible that the Djenn region in Mali would be
an appropriate place for Rubia to work. It was a region that, because of the civil war, had lost a
large amount of its income due to the lack of tourism. Research also brought us to some first
thoughts on what this new project might look like. Focusing on a traditional textile of the region,
bogolan, it seemed that producers were facing a serious lack of market. With Djenn suffering
from a large decline in tourism there seemed to be a potential for Rubia to serve the people there
by bringing a new market to the people. The next step moving forward would require on the
ground research to assess the current situation, explore the actual needs of bogolan producers,
and explore potential beneficiary groups.
At the beginning of this semester, we hired a research assistant, Youssouf Konde. We
developed a research survey, with which Konde was able to create a picture of the bogolan
industry in three villages: Djenn, San, and Sgou. The following paper delves into Mr. Kondes
main findings and analysis of their effect on any potential project in Mali. It delves into the
important questions to consider as Rubia assesses Mr. Kondes findings and also other research
needed in the process of
First we look at excerpts from Mr. Kondes report. In Djenn, Mr. Konde found that the
situation was exactly as we had hypothesized. Production of bogolan had dropped off due to lack
of tourism. Tourists had been the primary consumers of the textile. Mr. Konde interviewed four
bogolan cooperatives in Djenn, and they all listed supplies of which they were in need, but they
unanimously stated that their primary need was a financial partner--an international organization
4
that could connect them to markets where they could sell their products. Some people in this city
have managed to find other sources of income, but they note that as soon as it is possible, they
would like to return to producing bogolan. In Kondes personal opinion, the cooperative Pama
Sinintao, which employs 75 people and has a system in place to lend interest-free loans to
members, would be the best organization for Rubia to accompany.
Then the paper will undertake analysis, recommendations, and considerations for Rubia, as it
looks forward to the potential project. Rubias mission statement revolves around creating
economic opportunities through craft heritage to support education and health and well being of
women. Any of the above towns or cooperatives would benefit from accompaniment by Rubia
along these lines. It is up to Rubia, now, to determine, based on its capacities and capabilities,
how it could best go about doing this. We identified a few options: providing supplies, creating
educational programs, and opening an international market for the producers. However, there
are substantial considerations and points to reflect on during an design phase of a potential
project. Does Rubia as an organization have the capacity to take on this project? Would it
address the needs of the people? Would the project be sustainable? Would it involve local actors
in its design? Would it take into account local politics and strive to avoid dramatically
privileging some producers over others? There is a complex set of questions to answer and work
through to best be able to contribute to the Malian context.
Before it can truly move forward with a project, more concrete thought must be put into
project design and goals, potential partners, grants, and issues of politics and negotiation around
the project.


5
Last Semester Review
This semester has been a continuation of the work that we did for Rubia last
semester. At the end of that semester, we had come to a few conclusions about Rubias proposed
project in Mali. First, it seemed that working with citizens around the Djenn region would be
the most beneficial. The people of this region were badly affected by the civil war and are in
need of support, but the region is secure enough that working there does not pose safety risks.
Further, we determined that it would be more beneficial to partner with existing structures, be
they NGOs or cooperatives that were already in place in the region than to start a new project.
One of the most promising options that we were considering was aiding a current cooperative
with access to market. We theorized that due to the lack of tourism because of the current travel
warning, cooperatives would be most in need of customers to purchase their bogolan. We
recommended that Rubia send a representative to Mali to begin on the ground research on the
current situation and to begin finding potential partners. We also recommended continued
research on markets in the US and Europe where bogolan is consumed.

6
Needs Assessment: Process
A large part of our work focused around the hiring of and communication with Youssouf
Konde, a research assistant in Mali. He was hired to help us begin answering the above
questions. In the span of a month, Youssouf traveled to three cities in Mali: Djenn, San, and
Sgou, with a survey instrument that we had put together for him. Youssouf took the survey to
producers of bogolan in each city and questioned them on several different aspects of bogolan
production: the ratio of men to women working in the cooperatives and their respective roles, the
rate at which they produce bogolan, the effect that the crisis had on their production, and what
would be the most helpful role for an NGO to play in accompanying them (see Appendix A for
full survey.) Besides talking with the producers of bogolan, Youssouf had a meeting with Sophie
Sarin who works with an NGO (MaliMali) concerned with bogolan production. He did this to
better understand the situation as a whole, or at least from a different perspective. Along with
gathering this information, Youssouf took pictures and videos of bogolan and its production to
help Rubia to better understand the bogolan making process. He also researched price
information on various kinds of bogolan, and purchased samples of the cloth for Rubia to see.
Summarized below are Youssoufs findings regarding current bogolan production in Mali. For
more in depth statistics and explanations, see his full report, Appendix B.


7
Main Findings

Djenn
Three large cooperatives (>20 people), one smaller cooperative
o Cooprative Pama Sinintao
! Funds are used to give members loans without interest
! Members are paid according to what they have contributed
! The profits are divided equally among the members
o Cooprative Pakarssa: No information
o Cooprative Chez Tanti Bogolan
! Basically the same as Pama Sinintao, except no fund for giving loans. In
the larger cooperatives, women greatly outnumber the men
All the cooperatives produce traditional bogolan, but use modern patterns to suit the modern
tastes of customers. In total, 117 people work in the bogolan industry in Djenn and women and
men have different roles in the production of the textile. Konde found that production has
essentially halted due to the lack of customers. The women of Djenn have turned to producing
traditional necklaces and gardening as another source of income. There is apparently one NGO
present, trying to aid artisans, but the head of the organization does not inspire confidence in the
producers and there are prohibitive fees to participate in their programs. Most producers have
decided against working with this NGO. The Djenn producers listed many materials that would
aid them in bogolan production. The biggest need they have identified, however, is for a partner
to help them with financial security and access to markets

San
Bogolan is a large part of the economy and produced by families that are not organized in
cooperatives but production has almost ceased. No NGOs are working in the area.
Konde found their bogolan to be of lower quality and cheaper than in Djenn
In total, 75 people work in bogolan with about an equal number of women and men
working.
The producers are 90% financially dependent on bogolan sales and have no other source
of income
8
They are extremely interested in working with a partner to accompany them in any capacity
possible

Sgou
Two major enterprises produce bogolan:
o Ndomo
! Attempts to pull in independent producers and accompany them
! Ecological practices that waste nothing in the production of bogolan
! The demand is overwhelming and they cannot accompany everyone they
want to
! They are calling for a partner to help them in their efforts
o Sorobel
! Capable of producing more/employing more than they do currently
In need of a partner to help with market access

General Observations:
Malians do not generally consume Bogolan. It is bought primarily by tourists.
Prices for tourists are generally more expensive than prices for Malians
Tourists are assumed to both understand better the value of bogolan and have more
means of purchasing it

We asked Youssouf to pick the cooperative that he thought Rubia could best work with, and
he said, Based on my observations, Rubia could work with Pama Sinintao or with Tanti
Bogolan. They have essentially the same financial management strategy, besides the fact that I
would personally go with Pama Sinintao because of the existence of their interest free loans to
members. This seems important to me for dealing with potential unforeseen
circumstances. They are also mostly women though most of the cooperatives included men and
women producers.

9
Analysis and Recommendations

Possible Interventions
In thinking about a possible intervention by Rubia, it is important to keep in mind three
components. First, it must fit within Rubias purported mission to develop economic
opportunities through craft heritage, to support education, and to promote health and well-being
for women and their families in Afghanistan and elsewhere. Second, it must address needs
identified by producers on the ground in Mali. Third, it must be feasible given Rubias resources
and the current situation in Mali. Following are potential interventions that Rubia could
undertake in Mali and an analysis along these three points.
Assistance with supplies: All of the cooperatives with which Youssouf spoke have been
affected significantly by the 2012 civil war: they have lost the majority of their income due to the
decline in tourism. The bogolan producers all listed several items that could aid them in their
efforts. A full list is found in Appendix B, Youssoufs full report. Therefore, all are in need of
financial accompaniment in their work. While Rubias mission does hope to develop economic
opportunities, providing supplies alone would not address all of the problems and does not really
address education or well-being. Most of the producers already have stocks of bogolan that they
cannot sell. More supplies does not seem to be a complete answer as it doesnt really develop a
full economic opportunity by addressing the lack of a market for bogolan.
Education focused program: As part of Rubias mission statement involves promoting
education, we have identified two different interventions that could involve promoting education.
First, Sophie Sarin, a contact that we made in Mali who works with an NGO called MaliMali on
bogolan production, suggested that preserving traditional bogolan would benefit the
industry. She believed the best way to do this would be to hold a conference where older women
10
pass on their knowledge of creating traditional bogolan to the younger generation. While
authentic, traditional Bogolan is a textile with a rich history in Mali, making it a marketable
commodity, the current problem is that people already know how to make bogolan, and are
making it, but it is not being sold. A second potential intervention that would involve education
is training the cooperatives in business practices and marketing to international markets. In the
future, this may be an attractive option, but for the moment, these markets are yet unopened to
them. In the short run, Rubia would need to focus on opening these markets in the first place
before training the bogolan producers in business practices.
Access to markets: Of all possible interventions, opening international markets to bogolan
producers seems to best fit the above considerations. It develops economic opportunities through
handcrafts, the dying of bogolan. And Rubia could add components dealing with education and
health in a potential project involving bogolan. Further, it directly responds to the most
commonly noted issue of producers interviewed in Mali. They have stockpiles of bogolan to sell,
but no customers.
An intervention of this sort raises several challenges that Rubia would need to address for
it to be successful. First, does Rubia have the internal capacity to take on this project? Adding a
new wing of Rubia in Mali would require additional responsibility and negotiation within the
organization as to how that can happen. Another consideration is, does Rubia have sufficient
expertise in the area to begin designing a project? This will require additional research in US
markets for African textiles and in potential donor funding. We included a few suggestions for
organizations to contact and workshops to consider on this topic in the Appendix (D). However,
this is by no means a complete list. As we are working from afar and unfamiliar with the internal
11
workings of Rubia, we cannot adequately address this question. However, it is imperative that
Rubia do so before moving forward.
Second, is this sort of intervention going to effectively address the situation in Mali? It
would be designed to address the producers stated needs, but there needs to be a clear goal and
with markers of success and evaluation check points. Also does Rubia have the customer base to
support the Malian bogolan producers? Or could a plan be put into place to increase it? There is
also a question of sustainability. How would the program be funded and would this project be
sustainable and empowering, creating skills and independence for the producers? Theses are all
important questions to be answered during the designing stages of the project.
Once these questions are answered, there remains a closer look into how the project will
effect the situation. How would an intervention by Rubia affect the current dynamics of the
bogolan producers? Would it create jealousy or instability in the village? Which stakeholders
would need to be involved in the decisions that Rubia makes regarding its program? There will
need to be negotiations between the bogolan producers and Rubia and also within Rubia so that
the program is clearly defined and

12
Conclusion
Based on the needs assessment conducted by our research assistant, Youssouf Konde, we
now have a good understanding of the current situation facing bogolan producers in rural Mali.
Due to the recent crisis, tourism has ceased, and thus the main customers for traditional bogolan
have disappeared. Bogolan producers are thus in possession of large stocks of bogolan and no
income.
This situation is obviously grave, and it would fit well within Rubias mission statement
to foster economic opportunities for these artisans of traditional handcrafts. However, several
concerns must be addressed before Rubia can choose definitively to intercede in Mali. It must
rigorously assess its own capacity to do so. It must assess the projected, sustained effectiveness
of its proposed project. And it must assess the effect that its project would have for the day-to-
day lives of the Malians that it would affect. If, once these considerations have all been made, a
project is still deemed appropriate; Rubia can continue to move forward with either more
research or a pilot of their proposed project.

13
APPENDIX A

Questionnaire for University Study of Bogolan Artisans in Mali
Date ..//. / 03/2014.
!"#$
&''($))

*$+ , -".$ /0000/ 1$#".$/0000/
2$.$3456$ ,
78.."9$ ,

I. Currently who produces bogolan more ?
1$#".$ -".$
: ;

II. What is the state of provisions to support bogolan fabric making?
<894 -5'$("=$ >5?
: ; @

III. Do you wish to continue selling bogolan?

IV. Is it difficult to find the inputs necessary to create bogolan? Do you have trouble
selling bogolan? If yes why?


V. How much stock do you have of bogolan? . / _____________/


VI. How many people do you employ to produce bogolan?
/______/
VII. How log do you need to produce bogolan in total? (In days)
/______/

VIII. What is the maximum amount that you can produce in a day?
/_________/

14
IX. Before the security crisis what was the price of bogolan? (the average)
De : /__________/ /_____________/ /___________/ /_____________/
Women Men

X. Now what is the price?(Average)
De : /_________/ /____________/ /_________/ /_____________/
Women Men
XI. How was your personal production of bogolan affected by the violence in the North?


XII. Do you know of other NGOs in the area interested in bogolan? Which?



XIII. What material would you need to revitalize your production? List.



If you could have help what would you need that would help the most?


XIV. What are your recommendations of places of people who are interested in
Bogolan? (Open)

XV. Si If your recommendations are met, what economic impact will bogolan
production have on you?






15
APPENDIX B

Rapport de ltude sur lartisanat Du Bogolan Dans Les Villes De Djenne, San, Sgou

! Djenne ville de la 5
eme
rgion administrative du Mali est une localit trs riche culturellement et
historiquement. Aussi une localit de tourisme.
Les femmes sont trs organises dans cette localit autour de plusieurs activits rgnratrices de revenues.

cet effet lartisanat du Bogolan reprsente une grande place.

A Djenne nous avons trois (03) grandes coopratives de production de Bogolan essentiellement composes
de femmes. Cependant ses coopratives regroupent aussi des hommes.

La production du Bogolan utilise des matriaux pour la plupart disponible sur place. Et trs facile obtenir.

La production du Bogolan est assure par les deux genres Savoir les femmes et les hommes. Retrouver la
statique des gens composant ses coopratives.

Coopratives Nombres
demploys
Genre
Majoritaire
Rapport
Femme
Rapport
Homme
Observation
Cooprative
Pakarssa
TRAORE
15 Les femmes 70% 30% Elles comportent 03
groupes de (15
employs)
Cooprative
Pama
SININTAO
75 Les femmes 60% 40% Elle est la plus grande
de Djenne
Cooprative
Chez Tanti
Bogolan
20 Les femmes 90% 10% Elle dispose de 02
point de vente
Djenne, lentre de
Djenne sur la berge
et latelier
Atelier Lassine
KONE
7 Les hommes 10% 90% Il produit aussi avec
la cooprative
Pakarssa TRAORE

Au regard du tableau le Bogolan utilise une main duvre denviron 117 personnes a Djenne pour sa
production et sa commercialisation. Pour ses producteurs largent du Bogolan couvre tout leur besoins financires.
Et est la principale activit de ses gens.
Quant aux prix, elles sont relativement diffrentes dun point lautre d aux moyens dont dispose les uns
et les autres, aussi par rapport la disponibilit et aux voies et moyen dacquisition du tissu support. Le tissu
support est le fruit dune synchronisation de main duvre entre les hommes et les femmes.
Les femmes file le coton bruite pour obtenir les files.
Ces files sont tisses par les hommes (Tisserant) pour donner le tissu support du Bogolan.

En outre les diffrences de prix sont aussi dues au motif de Bogolan.

Toutefois la production journalire du Bogolan dpend gnralement du climat <soleil>, et le nombre varie en
fonction des motifs faire, certaine motif peuvent se faire en quantit lev par jour tandis que dautre prend plus de
temps.

Cependant il y a une diffrence entre les prix pour le consommateur interne et ceux des touristes ou consommateur
externe. Retrouver les diffrences dans le tableau ci-dessous.

16
Statistiques des Prix Interne Statistiques des Prix externe/Touriste Coopratives
Moyenne Pagne
Couverture
Maximum Pagne
Couverture
Moyenne Pagne
Couverture
Maximum Pagne
Couverture
Cooprative
Pakarssa
TRAORE
15.000F -35.000F 30.000F -50.000F 25.000F -40.000F 30.000F -60.000F
Cooprative
Pama SININTAO
10.000F -25.000F 20.000F- 40.000F 20.000F - 35.000F 30.000F - 45.000F
Cooprative Chez
Tanti Bogolan
15.000F/Pagne 25.000F/Pagne 20.000F/Pagne 35.000F/Pagne
Atelier Lassine
KONE
15.000F 30.000F 30.000F -60.000F 25.000F -40.000F 30.000F -60.000F

Vous remarquerez dans le tableau quil y a une diffrence notoire entre les prix interne et externe, la seule
explication que les producteurs nont donnes est que les touristes connaissent la valeur du Bogolan que les interne,
aussi ils ont plus de moyen que les internes.
Les 03 coopratives de Bogolan ont voqu les mmes problmes savoir le manque de moyen suffisant pour
accroitre leur production. Ils voluent tous sur fond propre et ne bnficier daucun soutient. Il ny a presque pas
dONG pour les accompagne.
Cependant lONG A.A.D.I de Djenne avait voulu travailler avec eux mais ils y ont eu le problme dauto prise en
charger voquer par cet ONG pour leur participation des Festivals et expositions interne, car ils disent tous ne pas
avoir ce moyen et ont prfrer se passer de la collaboration avec cet ONG.

LONG A.A.D.I est un dmembrement de CARE/ Mali piloter par la femme du Maire de Djenne, Cette dame
ninspire pas la confiance des producteurs qui prfre voluer solidairement entre eux.
Comme besoin les producteurs demande une assistance matriels telle, les :
! Bassine pour le Tremper et le lavage du Bogolan
! Les Gangs pour la protection des mains
! Les Marmites pour bouillir les corces darbre utilis dans la production
! Des sceaux pour le transport deau de production
! Des pinceaux, ou broche a dent pour le dessein des motifs du Bogolan,
! De la poudre deau de javel et du Savon utiliser dans la production.
! Aussi des appareils de schage du Bogolan car la production dpend uniquement du soleil, et pendant
lhivernage la production sarrte ou diminue considrablement du faite quil ny a pas assez de soleil.
! Ils ont aussi exprim leur dsir davoir un Magasin leur servant datelier et de stockage de leur production.
La production du Bogolan comprend trois(03) tapes sur deux(02) phases :
! Le tremper du tissu support dans lcorce bouillie : trois(03) fois.
! Le poser de largile sur le tissu trois(03) tapes
! Et enfin le lavage.
En ce qui concerne le matriels utilise dans le Bogolan, il sagit de :
! Les corces darbres (Wolo, le raisin sauvage)
! Les feuilles darbre (Ngalama)
! La boue(Argile)
! La potasse
17
! Leau de javel et le savon
Toutefois le nombre produit dpend strictement du motif faire.

Cependant ce dont les producteurs de Djenn ont le plus besoin est un partenariat gagnant, gagnant sur le plan
financire et commercial. En vue damliorer leur production et lcoulement des produits qui tourne au berne
actuellement car les touristes sont absent et le march intrieur presque inexistant.

cet effet chacun des coopratives disposent de stock important depuis la crise car ils ne vendent presque plus du
faite de la crise politico-scuritaire que le pays a connue.

Paralllement la mvente et au ralentissement de la production du Bogolan, les femmes de Djenne toujours dans le
cadre de leur parfaite organisation, fond lartisanat des colliers traditionnel et du jardinage. Cependant elles se disent
disposer reprendre la production du Bogolan des que les conditions samliorent.
! San ville de la 4
e
Rgion administrative du Mali/ Sgou est un carrefour trs important, reliant le sud et le
Nord du Pays. San, le bogolan est une activit importante, nous avons une grande concentration de
producteurs au quartier Misira de San. Les producteurs ne sont pas runies en cooprative l-bas comme a
Djenne, mais la production pour les familles qui le fond est assurer par tous les membres cest--dire
hommes, femmes et enfants de ces familles, et ces famille sont en quelque sorte les ateliers, car la
production et la commercialisation est assurer sur place.
Nous avons puis nous entretenir avec 04 familles qui continuent la production malgr la crise. Cependant noter
que beaucoup de producteur a temporairement abandonn la production pour des motifs de crise, de manque de fond
et de march intrieur. Ainsi plusieurs producteurs ont prfrer voluer dans dautre activit avant un lendemain
meilleur pour le bogolan.
Pour les enquts les donnes sont relativement les mmes dun atelier a lautre, nous avons presque les mmes
problmes, les mme constats : la production est moins, les stocks non couler, la consommation de moins en moins.

San tout comme a Djenne, il ny a aucune ONG voluant dans le Bogolan, aucun partenaire, la
consommation est assurer par le march intrieur et les quelques touristes qui transite par San, ou qui viennent pour
le <Sank mon> la fte de la pche collective organiser chaque anne San. Ici noter quil y a une petite diffrence
entre leur Bogolan et ceux de Djenne que je trouve plus perfectionner que ce que eux ils font. San nous avons le
style traditionnel Bamanan de Sgou un peu moins perfectionn que ceux de Djenne.
Cependant les prix sont relativement moins chre San qua Djenne, cela sexplique aussi du fait que le tissu
support et un peu plus abondant San qua Djenne, car le mtre du tissu support est cder San a environ 150FCFA
tandis quelle peut atteindre 250FCFA a Djenne, et aussi du faite que San est un carrefour, Djenne est presque isoler
gographiquement par rapport San, Aussi noter que laccs de Djenne est un peu contraignant car il y a le systme
de baccage pour entrer a Djenne(la traverser du fleuve par bac). Regardez image ci-dessous.


San le Bogolan utilise environ 75 personne actif malgr la crise conomique dont sont confronter les producteurs,
ce nombres peut voluer tout moment des que les conditions dcoulement change. Retrouver la statique des
ateliers de San dans le tableau ci-dessous

Ateliers Nombres
demploys
Genre
Majoritaire
Rapport
Femme
Rapport
Homme
Observation
18
Atelier Chez
Ousmane
BELEM
Lafiabougou

30

Les Hommes

40%

60%
Cest le plus grand
atelier de San, aussi
leur proximit avec
lhtel Teriya est un
atout pour
lcoulement de leur
production
Atelier Chez
Fafoume
TOUMAYON
Misira

15

Les femmes

90%

10%
Elle dispose de Stock
important par
rapport ses moyens
non coul
Atelier chez
Dramane
KONTA
Misira

15

Les Hommes

35%

65%
Cest lune des
ateliers fonctionnelle
dune grande famille
de production de
Bogolan
Atelier chez
Bata BERTHE
Karantela

5

Les Femmes

100%

0%
Cest un petit atelier
de Femme qui ont
rien dautre faire
que la production,
elle le fait selon ses
moyens
Atelier chez
Souleymane
BAH Misira

10

Les Hommes

0%

100%
Cest un atelier
uniquement
dhomme, et na pas
assez de moyen

Tout comme a Djenne, les prix varie aussi San selon le consommateur, retrouver le tableau des prix ci-dessous

Statistiques des Prix Interne Statistiques des Prix externe/Touriste Ateliers
Moyenne Pagne
Couverture
Maximum Pagne
Couverture
Moyenne Pagne
Couverture
Maximum Pagne
Couverture
Atelier Chez
Ousmane BELEM
Lafiabougou
10.000F -20.000F 20.000F -40.000F 15.000F -40.000F 25.000F -45.000F
Atelier Chez
Fafoume
TOUMAYON
Misira
10.000F -.0F 20.000F- 0F 15.000F - 0F 22.500F -0F
Atelier chez
Dramane KONTA
Misira
10.000F- 20.000F 20.000F- 35.000F 15.000F -40.000F 25.000F -45.000F
Atelier chez Bata
BERTHE
Karantela
10.000F/Pagne 20.000F/Pagne 15.000F/Pagne 22.500F/Pagne
Atelier chez
Souleymane BAH
Misira
10.000F/Pagne 20.000F/Pagne 15.000F/Pagne 25.000F/Pagne

Face la mvente San, les producteurs du Bogolan se disent contraint dexporter leur production soit Bamako,
soit Mopti, et cela a son impact sur les prix. Comme principale difficult ils sont unanimes sur le manque de fond
de roulement, cest--dire un fond pour assurer la production, et un partenaire commerciale pour lcoulement des
productions.
Les besoins en matriels sont entre autre :
! Les bassines pour la trempe et le lavage du Bogolan,
19
! Les sceaux pour le transport deau de production,
! Le manque de point deau proche pour certain,
! Les Marmites pour bouillir les corces darbre
! Et en fin des charrettes traction dne pour le transport du Bogolan produit sur les sites de lavage et de
commercialisation.
Comme matriels utilis dans la production du Bogolan, nous avons presque les mmes matriaux qua
Djenne :
! La boue (argile),
! Les corces darbres (Ngalama, Wolo, Raisin sauvage),
! La Potasse, la poudre deau de javel, le savon.
Tous les producteurs approch de San se disent dpendant financirement 90% de leur production, et nont rien
dautre comme activit mener, do leur cri de cur lendroit des personnes de bonne volont venir leur aider
que ce soit financirement ou autres, ils disent tre dispos cooprer avec toute personne intresse par le Bogolan.
! Sgou, 4
e
rgion administrative du Mali est une ville trs riche historiquement et culturellement, surtout
avec le Festival sur le Niger.
Cest une grande ville ou divers activits se ctoies, cependant lartisanat du Bogolan occupe une place importante
dans les activits socio-conomiques de la ville avec deux grandes entreprises de production du Bogolan tous
exportateur vers les destinations trangres. Toute fois ces deux grandes entreprises connaissent des difficults lieu
la crise qua connue le Pays.

! Lentreprise le Ndomo implante Pelegana se dit vocation sociale, voluant dans la formation,
laccompagnement des artisans, elle volue ce jour ci avec un effectif de 20 maitres artisans et 15 femmes
en tout 35 employs diffrent du personnel administratif. elle travaille en partenariat avec les femmes de la
maison de lartisanat de Sgou, filiale, filage du coton. Ce qui fait quil travaille avec le coton biologique et
ordinaire, une partie du tissu support est faite sur place au sein de lentreprise, et lautre partie de la
consommation est acheter sur le march avec les Tisserant.
Au jour daujourd hui, le Ndomo connait des problmes due la crise que traverse le pays notamment la
mvente intrieur et la diminution trs significative des commandes extrieurs. Le tourisme est lun des
grands consommateurs de lartisanat du Bogolan, et malheureusement ce volet connait un arrt notoire d
aux vnements que connait le pays en ces temps-ci. cela sajoute le manque de moyens pour encadrer et
accompagner les artisans comme le souhaite le Ndomo.

cet effet le Ndomo lance un appel toutes personnes dsirant laccompagner pour la formation et
laccompagnement des artisans, car ses moyens seul ne suffissent plus contenir la demande croisant des
artisans dsirant tre encadr. Aussi le Ndomo souhaite renforcer ses partenaires commerciale de par le
monde.
Avant la crise, le Ndomo travaillait sur commande tant la demande tait grande surtout de lexportation,
mais ce jour elle dispose dune quantit importante de stock non couler. Cependant les prix sont standard
chez le Ndomo, elles nont connues aucune volution car cela est un principe chez eux. Retrouver le
tableau des prix chez le Ndomo ci-dessous :

Dsignation Prix
Pagnes 15.000F
Couvertures 30.000F
Jetez de lit 22.500F
20
Jetez de Canap 20.000F
Cousin(Ours) petit et Grand 3.000F 4.000F
Cependant noter que le Ndomo nvolue avec aucune ONG et assure son fonctionnement jusque-l sur
fond propre, gnralement des quelques commandes extrieurs. Elle fait le Bogolan classique et contemporain.
Ils sont besoin dun partenariat de formation en vue de partager les connaissances dans le cadre de lartisanat du
Bogolan.
Le ndomo utilise les mmes matriaux dans la production du Bogolan que Djenne et San, toutefois elle est
une entreprise cologique ou tout est transformer et dont rien ne se perd tout au long de la chaine de production.
Lentreprise le <Soroble> est la seconde filiale de production du Bogolan a Sgou, implante sur les berges
du fleuve Niger au quartier administratif de Sgou, elles emploient 26 artisans producteurs de Bogolan moins le
personnel administratif. Un effectif insuffisant selon la demande et la tailles des commandes en croire le
promoteur mais la crise que connait le pays a eu un impact contraignant pour employer plus dartisans.
Lentreprise utilise des hommes comme des femmes. Cependant au jour daujourd hui, elle produit sur
commande pour la plus part de lextrieur car elle dispose dun vaste rseau de consommateur extrieur, toutefois
elle produisait pour la consommation intrieur, mais depuis la crise elle na presque plus de consommateur interne.
Lentreprise a la capacit de produire beaucoup de Bogolan selon la demande car les matriaux de base
sont abondant sur place, elle assure aussi linnovation continue dans le domaine du Bogolan. La preuve est quil a
reu le prix UNESCO de linnovation, Voir Image ci-dessous :



Mais la diffrence du Ndomo, les prix ne sont pas standard chez eux et varie en fonction du motif faire.
Retrouver le tableau de prix ci-dessous :

Dsignation Prix Minimum Prix Maximum
Pagnes 15.000F 35.000F
Couvertures 30.000F 50.000F

Ils font aussi des jetez de lit, de canaps et des ours, leur prix dpend des motifs.
Comme besoin, <le Soroble> a besoin daide financire pour accroitre lentreprise, cet effet laide de qui que ce
soit est la bienvenue pour pauler lentreprise spanouir.
Le <Soroble> produit tout sorte de Bogolan et se prte souvent linnovation du Bogolan.
! Au-del des deux entreprises de production dont nous, nous sommes entretenue avec les promoteurs, il y a
4 Coopratives de femmes productrices de Bogolan a Sgou, dont malheureusement nous navons pas puis
avoir des donner avec eux car La prsidente de deux coopratives taient en dplacements, et les deux
autres ont si je peux me permettre refuser au motif que la production est larrt du fait de la crise.
! En conclusion, not que lartisanat du Bogolan est un univers trs complexe et simple la fois. Mais elle
connait des jours sombre du faite de la crise, de manque de partenaire technique et financire, mais aussi du
fait quelle nest pas consommer par une grande partie de la population Malienne.
21
APPENDIX C

Information Complmentaire obtenue par change Tlphonique auprs des 03
coopratives de Djenne

Il ressort des changes que le statue polygamiques des hommes qui font parties des cooprative
nest pas pris en compte dans la gestion des gains des diffrentes coopratives.
La rpartition des gains est ainsi :
! Cooprative Pama Sinintao : aprs la production, le fond de fonctionnement est cart
pour assurer la production continue, ensuite le bnfice est reparti en deux parties :
! Une dans la caisse de la cooprative destiner aux autres besoins de la cooprative et des
membres notamment loctroyer de crdit sans intrt aux membres de la cooprative dans
le besoin.
! Lautre pour payer les membres de la cooprative en fonction de leur apport dans la
production qui varie entre : 250F et 1000F/pagne. Aussi le fond de la caisse inutilis est
partag entre les membres de la cooprative la fin de lanne.
! Cooprative Pakarssa : La rpartition na malheureusement pas puis tre connue car ils
nont pas voulue parler de cela au tlphone.
! Cooprative Chez Tanti Bogolan : la rpartition est presque identique celui de la
cooprative Pama Sinintao, sauf quelle na de fond sociale (caisse), aussi elle na pas
donner de faon claire le montant perue par les employs, mais elle as donn celui
perue par le dessinateur qui varie en fonction du dessin : elle est comprise entre 500F et
1000F par pagne
En ce qui concerne la couture, ils disent tous travailler avec des ateliers de couture pour
faire des chemises, robes et autres mode de la tendance solliciter. Mais cela se fait sur
commande chez tous les coopratives de Djenne. Cependant pour la couture de certain
model le prix varie entre 500F et 1000F. En effet le prix dune chemise de bogolan tout
fait auprs de la cooprative Pakarssa varie entre 15000F et 20000F.
Comme style de bogolan, les coopratives se dit faire tous et tant souvent la
modernisation en vue de ladapter au gout de la tendance actuelle. Cependant elles se
disent tous prt faire nimporte quelle motif proposer ou solliciter par un client
Cependant les entreprises de Sgou font aussi des sacs de bogolan, voir limage dun
exemple dans le dossier images de Sgou.
Selon mon constat, RUBIA peut travailler avec soit la cooprative Pama Sinintao, ou
avec celle de Tanti Bogolan. Ils ont presque la mme gestion financire de leur argent,
sauf que celui de la cooprative Pama Sinintao ma convaincu <jugement personnelle>,
car lexistence dun fond de caisse me parait importante pour faire avec a dventuelle
imprvue. Voil entre autre ce qui ressort de mon entretien tlphonique avec le trois
coopratives de Djenne.

22
APPENDIX D

With the on-the-ground research and analysis provided by Konde, and with our analysis
regarding the design of a potential project we determine that additional next steps will involve
market assessments to determine the possibilities for marketing bogolan, and an initial look into
potential avenues of funding to continue exploring a possible project.
Market research
The report indicated that the main need for most of the cooperatives involves an
international partner to open up a new market for their production. This requires a more in depth
look at the potential market for bogolan in the United States and Europe. African textiles have
experienced a range of marketing strategies. There are NGOS and organizations engaged in
opening international markets that may provide more insight. While Rubia has current
relationships with fair trade organizations and a stream of Afghan goods, it will be different
venture to add a new product, especially one with a potentially different consumer base.
Research led us to identify 5 organizations [For full list see Appendix E] working with African
Artisans, the most important of which is Aid to Artisans. This organization provides support for
projects seeking to create economic opportunities for artisan groups around the world where
livelihoods, communities, and craft traditions are marginal or at risk. Their programming
emphasized business education opportunities for artisan enterprises, which is similar to Rubias
mission, which hopes to support education. Connecting with Aid to Artisans will open up new
expertise in market readiness, and a background in project in Mali.
Funding down the road
Another aspect of looking forward involves looking at funding programs for any potential
project. To an extent this will reflect the design and focus of the project. Answering important
questions such as focusing on cultural heritage or poverty alleviation may open and close certain
avenues of potential funding. One grant we proposed that would correlate with starting a
relationship with Aid to Artisans is their Canvas Small Grants Program. This program hopes to
help small or remote qualified artisans. This grant would be an important potential, though it
gives less emphasis on the preservation of cultural heritage through craft and more on successful
marketing.

23
APPENDIX E

Following are a list of organizations that are working in Sub-Saharan Africa and
supporting artisanal enterprises. Each is followed by a description of the work the organization
does and then explicit recommendations for Rubia based on the description.

Indego Africa
www.indeogoafrica.org
Indego Africa is an organization that aids women artisans in Rwanda supports women
artisans in Rwanda by providing access to markets and education. Indego Africa opens markets
for artisans in three ways: 1) its online store, 2) through over 80 retailers nationwide, and 3)
through collaborations with brands like J. Crew. Its education efforts focus on management and
entrepreneurship, health, technology, and literacy.
Indego Africas theory of change is essentially that when women are provided with
access to markets and education, they can increase their income as well as their awareness of
what they must do to keep their families healthy and safe. When these things happen, improve
their own quality of life as well as that of their family.
Important for Rubia: This was the most impressive organization that I found working
with artisans in Subsaharan Africa. Its website is well laid out and aesthetically pleasing, its
yearly reports demonstrate a true concern for measuring impact, and it was even the subject of a
Harvard Business School review that lauded it because "[Indego] understood the importance of
building an organizational infrastructure and to-market opportunities first That gives them the
potential to quickly expand globally. This is completely backward from what everyone else does.
They created all the processes before they started, designed all the procedures, translated them
into the language the women needed and created the links to the America market." (HBS
professor Kathleen McGinn in a Jan. 5, 2010 article on Law.com.) These are all things for Rubia
to keep in mind when implementing its own project.

Sahel Designs
www.saheldesigns.com
No e-mail listed, only a contact form on their website
Sahel Designs is an organization in Burkina Faso that supports local artisans and sells
their fair trade products (such as bags, lamp shades, and bogolan pillow covers) online and
through various retailers. In the organizations own words, SAHEL Design is about discovering,
celebrating and reviving traditional craft techniques. Its about learning from and respecting the
people who make them. Its seeing the continuation of skills into future generations by making
them profitable today. Sahel designs is a very small, but even so it is attempting to improve the
quality of life in the town in which it works. It has installed a teaching center, where the art of
traditional weaving can be passed on, and is working on installing a water pump.
Important for Rubia: Sahels mission is very close to the one that Rubia has expressed.
It may be beneficial just to contact Sahel Designs to see if Rubia could talk to them about the
process that they went through in starting their project and to see if they have any suggestions for
a project in the same vein.

Creative Women
www.creativewomen.net
24
Info@creativewomen.net
Creative Women, a Vermont-based company that works with cooperatives in South
America, Africa, and India provides a conduit for womens cooperatives to sell their goods to
foreign markets. They sell products such as pillows, throws/blankets, towels, scarves, and table
settings. They not only sell through their website, but they successfully sell through retailers as
well, such as Anthropologie, Creative, Contrast, Drifting Arrows, and Fair Trade Dcor. The
organization has grown from a five person project at the outset to an eighty person enterprise.
They operate in Bolivia, Morocco, India, and Ethiopia.
Important for Rubia: This could be another interesting discussion to have, especially
when thinking about scaling up. What considerations are necessary from the beginning if Rubia
is planning to expand its project in the future?


Aid to Artisans
www.aidtoartisans.org
info@creativelearning.org
Aid to Artisans is an organization focused on promoting handcrafts in developing
countries. According to their website, [they] create economic opportunities for artisan groups
around the world where livelihoods, communities, and craft traditions are marginal or at risk.
Aid to Artisans has three primary concerns:
1) Business training: ATA offers customized training in all aspects of artisans
enterprises from export marketing to preparing for a trade show exhibition to
organizing a local craft fair. They also offer an exciting opportunity from
August 16th-20th in New York called their Market Readiness Program.
During the program, they explore topics such as: the structure of the US
market, export distribution channels, trends in color and design, costing and
pricing, quality control, and others.
2) Market Access: On their site, they write, We work with each artisan enterprise to
assess its product and business. We develop actionable marketing plans that
define target markets, distribution channel strategy, costing and pricing
structures, sales and marketing activities. Targeting local, regional, or export
markets, and determining distribution channels requires a focused marketing
plan.
3) Canvas Small Grants Program: a handful of grants are designed to address the
plight of small or remote groups of qualified artisans. With this grant, ATA
funded a textile project running in Mali, Benin, and Burkina Faso until 2013.
It focused on enhancing strategic market access, improving product offerings,
and building business management capacity. In the end, eight international
product development design consultancies were arranged, which helped the
artisans to take part in international and regional trade fairs. These ultimately
generated $1.5 million in sales. Other successes listed on the site include the
organization of seven international buyer incentive trips, three regional
training workshops (along the lines of Market Readiness Program but
conducted on location in French), and nine artisans joining Facebook.
Important for Rubia: Rubias new project in Mali could most likely benefit from every
program that ATA offers. It may be extremely beneficial for someone from Rubia to attend the
25
conference in New York. One of our primary questionswhat the market is like for handcrafts
in Americais specifically addressed, as well as several other highly relevant topics. Also,
Rubia sounds like it would be an excellent candidate for the Canvas Small Grants Program, even
more so because they have a history of working with bogolan in Mali.

Hand/Eye
Hand/Eye is an organization that grew out of ATA. It was inspired by the premise of the
Canvas Small Grants Program , and seeks to give out grants using the same criteria.
Important for Rubia: This is another source of possible funding.

Now that Rubia has an idea of the actual needs of the women on the ground in Mali, the
next step is implementing a project. However, first it would wise to consult others that have
undertaken similar involvement in the area to be as informed and effective as possible. Studying
and/or contacting the above organizations can help Rubia do just that.