Study - Mata Ni Pachedi PDF

ANALYTICAL STUDY
KALAMKARI & HAND BLOCK PRINTING CLUSTER

2007-2008
KAL AMKARI
KALAMKARI
&
HAND BLOCK PRINTING
BLOCK
CL USTER
CLUSTER
OF
AHMED
AHMEDABABAD
ABAD
ANAL
ANALYTICAL SUR
ALYTICAL VEY REPOR
SURVEY REPORTT
2007-2008
L AIPs INITIATIVE
INITIATIVE
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ANALYTICAL STUDY
2007-2008
VISION STATEMENT AND OBJECTIVE
“To bring back Ahmedabads past glory as a major hand printed

textile exporter and get Kalamkari of Gujarat its rightful
recognition as a textile art form.”
Historically Ahmedabad has been the textile hub of the country. The
beginning of the twenty first century has seen the textile industry
gradually coming back in boom. LAIP has chosen “Hand Painted and
Hand Printed Textiles of Ahmedabad” as its pilot project. This is because
of a historical perspective and the conservation as well as sustenance
of an urban heritage. Through this project LAIP will aim to revive this
sector and bring back Ahmedabads past glory as a major hand printed
textile exporter. This will give a much needed boost to the artisans
involved in this craft form. LAIP will encourage growth and self
sustainability within the artisan group.
This report is an example of Craft Cluster Research initiated by LAIP;

which is a part of LAIPs ‘STEP’ program. LAIP would divide all its
projects into a ‘Quarter Implementation Program’, “QIP of STEP”-
1. Study & Research

2. Training & Innovation
3. Execution & Production
4. Promotion & Marketing
This report forms a part of Study and Research. Other aspects of the
program such as social structure research and detail market study
has yet to be initiated. LAIP will utilize this module study system
for all future projects of a similar nature.
Research & Analysis- Ashish lakhia
Bishakha Shome
Cluster Subject Expert- Chandrakant Bhula Bhai Chitara
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ANALYTICAL STUDY
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Contents
1 INTRODUCTION 4
2 CORE CLUSTER ACTORS OF THE CRAFT FORM 10
3 SOCIO-ECONOMIC CONDITIONS OF THE ARTISANS 20
4 ARTISANS OF THE CLUSTERS 28
5 WORKING INFRASTRUCTURE 40
6 RAW MATERIALS REQUIRED 48
7 PROCESS OF MANUFACTURE 52
8 PRODUCTS 62
9 MARKETING LINKS 66
10 ANALYSIS OF BUSINESS SEGMENT 70
11 PROBLEMS / DRAWBACKS FACED BY ARTISANS 82
12 DEVELOPMENT CHALLENGES 86
13 SWOT ANALYSIS 90
14 RECCOMENDATIONS FOR THE CLUSTER 96
15 CONCLUSION 100
Annexures
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ANALYTICAL STUDY
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CHAPTER-1
INTRODUCTION
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ANALYTICAL STUDY
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1. History of Kalamkari in Gujarat
Mata-ni-Pachedi are ritualistic Temple Hangings of

Gujarat. For almost two centuries they have fulfilled a religious need of some
semi-nomadic rural communities. The term Mata-ni-Pachedi in colloquial Gujarati
literally means that which enshrines the Goddess. ‘Mata’, as in Goddess, ‘ni’ of
the and ‘Pachedi’ which means behind or enshrined. The narrative hangings of
epics Mata or Devi or Shakti are executed by the Chitaras belonging to the nomadic
community of Wagharis and are used by other communities of a similar social
status. Therefore this community is also known as the Devi Pujak Wagharis.
The unique feature of these temple hangings was that instead

of being hung behind an icon, four to five pieces were erected to form a shrine
for the goddess. These hangings used by the nomadic tribe served the purpose
of depicting the epics of the mother goddess as well as forming a temporary
shrine for her.
As the Wagharis settled, albeit on the outskirts of towns and villages

Pachedis served the purpose of narrative pieces of art like other temple hangings
of the country. While the Chitaras were the artists who painted the shrine hangings,
the bhuvo or bhuva used to be the priest to perform the rituals and jagorais were
the singers who interpreted the Pachedis.
A Pachedi is always a rectangular piece of fabric as opposed to a

Chandarvo which is a canopy serving in place of a ceiling in the nomadic shrine
The community reverently drew on the fabric and filled in the images by hand.
The Waghari painters literally Chitaras amalgamated block printing as their
exposure to other textile forms grew along with trade interaction with settled
communities.
Apart from Ahmedabad settlements of Chitaras are also found in

Suredranagar district at Limdi and Wadhwan and a couple of villages in Amreli
and Viramgam district. A favorable work and living space brought them to Goral
and Chaklasi on the banks of the River Vatrak in Kheda district.
The group of artisans residing at Ahmedabad were originally from

Viramgam district.Decline in business and a difficulty in raw material
procurement prompted them to migrate to Ahmedabad.
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ANALYTICAL STUDY
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2. Map of Kalamkari Clusters in Gujarat
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ANALYTICAL STUDY
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3. Clusters of Kalamkari Artisans in Gujarat
Name of the Number of

No. Locality District
Cluster Artisans
1 Vasna Cluster Ahmedabad Ahmedabad 30
2 Mirzapur Ahmedabad Ahmedabad 15

Cluster
3 Chakalasi Chakalasi Kheda 3
Cluster Village
4 Goral Goral village Kheda 9

Cluster
Though Mata-ni-Pachedi/Kalamkari artisans exist all over Gujarat, this diagnostic

study deals only with the clusters in Ahmedabad district.Mata-ni-Pachedi or
Kalamkari of Gujarat and the artisans practicing this craft form has tremendous
potential to be developed as a successful Craft Cluster.
i. Revitalizing this cluster would be part of Ahmedabad’s Urban Heritage

Program.
ii. Historically this craft form, due to the social status of the community
practicing it did not get due recognition. And developing this cluster would bring
this craft form to the forefront of Ahmedabad’s Urban design Scenario.
iii. Ahmedabad has always been at the forefront of printed textiles through
the dawn of history. Revitalizing this group would form a sub cluster which
would eventually be a part of much larger cluster of Printed and Painted Textiles.
iv. The methods of production and the dyes used in the creation of this textile
craft are natural and eco-friendly, twin factors which form a very important part
of todays need for a cleaner environment.
v. Eco friendly and natural fabrics and the products developed from them
are very much in demand in the International Market today.
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ANALYTICAL STUDY
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4. History of Hand Block Printing in Gujarat
The city of Ahmedabad has been economically well off and her artisans have
always enjoyed the patronage of the trading community it is the manufacture
and trade in textiles that has made Ahmedabad the Manchester of India. Even
before the advent of the textile mills Ahmedabad has had a rich textile cultural
heritage. Printed and dyed fragments which can be traced back to Gujarat have
been excavated at Fostat in Egypt.
Historical evidence has time and again proved that Ahmedabad has been the
textile hub of the sub continent. An enterprising trading community, a healthy
work environment for the artisans and easy availability of raw materials such as
madder, indigo, cotton fabric etc have ensure Ahmedabads position on as a
coveted textile capital. The Phoenicians and the Greeks active participants in the
textile trade of Gujarat. Mid fifteenth century Europe coveted the chintz imports
from Gujarat. Arab and Turkish traders carried on trade through the land and
sea routes.
It is this rich textile legacy which was responsible for the beginnings of trade
and colonization by the Europeans. Even after the advent of the industrial
revolution in Europe hand printed and kalamkari textiles of Gujarat were famous
for their beauty and originality. The nineteenth century saw the rise of the textile
industry in Ahmedabad. This created its own rich middle class who in turn
patronized artisans.
By the mid twentieth century the textile boom had come to an end and the
prosperity of the city declined. Due to decline in patronage and the availability
of cheaper alternatives such as screen printed fabric, man made fabric, chemical
dyes etc the hand print textile artisans also began to face difficulties. As future
prospects looked grim less and less people from the newer generation were taking
on the craft. Fortunately the past few years have been a turn around for the
traditional artisans.
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5. Location and Map of Ahmedabad City

City of Ahmedabad is strategically placed on the banks of the river Sabarmati
which flows into the Gulf of Cambay thus facilitating trade. It is located on the
west coast of the Indian subcontinent in the state of Gujarat. It is a city rich in
cultural and architectural heritage.
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ANALYTICAL STUDY
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CHAPTER-2
CORE CLUSTER ACTORS OF THE CRAFT

FORM
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ANALYTICAL STUDY
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The core cluster actors can be sub divided into three groups. Though all are
essential to the entire process, sub dividing them into groups helps to better
understand their roles and bring about an upliftment based on their individual
interaction with each other. The groups are-
i. Primary – This group is basically the practitioners or the executors of the

craft form. They consist of painters, printers, color fillers, dyers and
washers.
ii. Secondary – This group is made up of all the suppliers of all the various
materials necessary for execution of the craft form. Fabric suppliers block
makers, raw material supplier and equipment suppliers are the members
of this group.
iii. Tertiary- This third division is the market link which helps in promotion
of and disseminating information about the product which in turn helps
in generating sales and getting orders. Traders, tourists, government bodies,
tourists, designers etc form the third group.
PRINTERS ARTISTS FABRIC BLOCK
SUPPLIERS MAKERS
COLOR
APPLIERS
SE
RS
RAW
CO
TO
MATERIAL
ND
AC
SUPPLIERS
AR
DYERS
Y
Y
AR
AC
IM
TO
PR
EQUIPMENT
RS
SUPPLIERS
TERTIARY ACTORS
WASHERS
TRADERS LOCAL
TOURISTS DESIGNERS
BUYERS
GOVERNMENT
BODIES
Figure: 1. Core Cluster Groups of Mata-ni-Pachedi Artisans
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A. Kalamkari or Mata-ni-Pachedi Artists.
1. Most of the artists or Artisans are still working as painters to maintain the
tradition and to pass on the art to further generation artists.
2. There are very few artisans who are practicing painting as their medium of
profession or expression, as most of the other artisans have adapted printing as
their medium.
3. Besides painting all the artisans work as printers on full time basis.
4. Painting has become more of a spare time activity, which results in less
production.
5. As it is an expensive & time consuming medium the clientle is restricted.
6. Quite a number of artisans have won the National Award.
7. One senior artist is also the proud awardee of Shilp Guru Award, which is
considered the highest National recognition in the field of Crafts.
8. The only tool they use is twig of Neem tree and almost all the artisans have
their own tables of 1.5 ft-3 ft.
9. It was noted that painting is continued by artisans -

i. Who have recognition in the market.
ii.Who have won any kind of award.
iii. Who have proper marketing channels.
10. Problems faced by the artists.

i. Kalamkari as an craft form is not much recognized in Gujarat as it is in other
states.
ii. Proper marketing facilities not available.
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B. Printers Belonging to the Same Cluster

1. 25-30 number of artisans practice printing in the Pachedi cluster.
2. Printing is commercially a more viable medium in comparison to painting.
3. This medium is usually used for commercial purposes,for eg: like printing 4.
4. Pachedis for mass production, printing contemporary products for market,
designers etc.
5. They usually follow market requirements by copying the patterns of Rajasthan
or South India.
6. Most of the printers have their own blocks but very few have printing space.
7. There are some printers who have inherited the blocks from their forefathers,
but due to lack of work they are not using them.
8. Usually the family members work together, but if work load is more printers
are hired from the other block printing communities.
9. Printers are usually paid on daily wages or on the number of products.
10. Printers from lower income group have started adapting to other sources of
income, like auto rickshaw driving, painting houses etc.
11. Average capacity of work by an artisan is 20-25 mt per day.
12. Problems faced by the printers-
i The biggest problem the printers are facing today, is space; most of them do not
have proper printing tables/space to work.ii. Proper marketing facilities not
available.
iii. They are not well exposed to the contemporary market.
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ANALYTICAL STUDY
2007-2008
C. Color Appliers.
1. The job of applying the mordant after

printing or painting of outlines is done by
the female member of the artists or printers
family.
2. Women are usually trained by the elder
women of the family after getting married.
3. Due to lack of work, the women have
started adapting to other sources of
income, such as ,door-to door saleswomen,
puppet making etc.
4. Problems faced by the color appliers-

i. As the women of the family perform the
activity, most of the time they are not paid
for the job separately.
D. Dyers.
1. 60% of the printers dye the products at
home.
2. The printers dyeing at dome use copper
vessels with a capacity to dye 20-30 products
at a time.
3. Though they require bigger vessels for
dyeing, to make it economically viable.
40% of the printers outsource the dyeing
facility from the commercial dyers in the city.
4. The commercial dyers who earlier used to
dye for these printers have started closing
their units, due to lack of work. As more and
more block printers of Ahmedabad have
started adapting screen printing as their
medium.
5. Problems faced by the dyers-

i. Due to the small size of the dyeing equipments, the quality of dyeing cannot
compete with the market requirements.
ii. They also spend more time and labor on dyeing small quantity of products.
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ANALYTICAL STUDY
2007-2008
E. Washers.
1. Most of the painters or the printers wash the products themselves.

2. At times when the work load is more, the printers employ a washer man on
daily wages.
3. For one day the washer man is paid around Rs 100/-
4. Washing of the products is mainly done in the nearby river banks.
5. Problems faced by the washers-

i Polluted water of the river effects the natural shades
ii Earlier, except for the monsoon season, the rest of the year afforded an ideal
situation for the washing of the printed fabric as a gentle constant flow of running
water was available on the river. The construction of a barrage has changed the
scenario. The gentle flow has now been replaced by sometimes a trickle and at
other times a delug, without any prior warning.This is resulted in danger to life
and loss of material.
F. Fabric Suppliers.
1. The artisans do not have any cloth banking system nor can they afford to buy
fabric in bulk.
2. All the artisans in Ahmedabad purchase the raw material from the whole sale
market of Sindhi Bazaar, Pattharkua Bazaar or the new cloth market.
3. Most of the suppliers from whom the artisans purchase the fabrics have been
their suppliers for a long time.
4. During the season time the artisans usually acquire the fabric from the supplies
and pay them after the products are sold.
5. Most of the fabric suppliers are whole sale dealers of gray cotton fabric.
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ANALYTICAL STUDY
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G. Block Makers.
1. Block makers are settled in Pethapur and
Ahmedabad.
2. Most of the block makers have been
making blocks for the Pachedi artisans
since a long time.
3. The block makers have also been
catering to other markets.
Problems faced by the Block Makers

i Availability of good quality wood
suitable for carving.
ii Lack of work as most of the printers are
switching to other mediums.
iii Lack of interest in the younger
generation to continue with the profession.
H. Raw Material Suppliers.
1. The artisans do not have any facility for raw material storage so they buy
limeted materials whenever they require.
2. All the artisans in Ahmedabad purchase raw materials from the Janata Kirana
store, under Fernandis Bridge.
3. This shop is alike any other grocery store, but the artisans prefer buying from
here because they have been purchasing materials from this shop since a long
time. And secondly, all the material required is easily available.
4. The artisans purchase raw materials from the grocery shops as most of the
materials used for dyeing is natural and they are all available in the local grocery
stores.
5. As the artisans do not buy in bulk they pay the retail rates for materials.
I. Equipment Suppliers.
1. The utensils are sourced second hand from local flea markets.
2. Other tools and necessities purchased from local markets as and when required.
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ANALYTICAL STUDY
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J. Traders.
1. The traders in the rural areas are mainly settled in Dholka of Kheda district,
Gujarat.
2. These traders belong to different communities, and are in no way related to
the artisans.
3. The traders only purchase ‘pachedis’ in bulk, and pay a whole sale rate to the
artisans.
4. But while reselling the traders usually make a high profit, as buyers in the
rural areas are usually ready to pay high rates for their religious beliefs.
5. The artisans are very dissatisfied with this fact as earlier the buyers used to
visit the artisans in the city to purchase the products. Hence the artisans used to
make a lot of profit, but now as the buyers buy the product from the traders they
are unable to make any profit on the work they are doing.
K. Tourists.
1. Unfortunately very few tourists get to know about this craft, as the community
is settled away from the standard tourist routes.
2. Tourists having knowledge about traditional textiles sometimes visit the artisans
and buy their products.
L. Government Bodies.
1. Gurjari earlier used to purchase products from the artisans, For the past 3-4
years no fresh purchases have been made.
2. Payments for goods delivered earlier have still unfortunately not been cleared.
3. Relevant Gov departments conduct exhibitions and fairs where the artisans
participate.
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ANALYTICAL STUDY
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M. Local Buyers.
1. The local buyers belong to rural areas,
as the Pachedi holds a religious
significance to them.
2. There are villagers who visit the
artisans twice a year, during the festival
time, to purchase the shrine hangings.
These buyers are more profitable to the
artisans as the artisans can keep a
reasonable profit over the cost price.
3. Besides the villagers, the city people
sometimes purchase the shrine hangings,
not for any religious significance but for
using it as gift item or wall hangings.
4. For the past few years, since the
artisans have got into the business of
making contemporary products, local
buyers interested in block printed home
furnishings or dress materials have been
buying products from them.
N. Designers.
1. The biggest advantage of the artisans in

Ahmedabad is that the students of design
institutes like NID and NIFT frequently visit
the artisans for technical assistance in their
class projects.
2. Local city designers like Rahul Ajit
Narayan, Arghya Sinha Roy, Kunal Shah etc
get contemporary printed products from
these artisans for their boutiques or selling
them to other city boutiques.
3. Only the Vasna cluster is visited by such
designers, the Mirzapur cluster is not even
known by most designers, or by the institutes.
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ANALYTICAL STUDY
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RAW
MATERIAL EQUIPMENT
FABRIC DYE UTENSIL BLOCK

NATURAL
SUPPLIERS SUPPLIERS SUPPLIERS MAKERS
INGREDIENT
SUPPLIERS
PRINTERS
ARTISTS
DYERS
WASHERS
PRODUCER JOB
CUM SELLER WORKERS
GOVERNMENT
BODIES
TRADERS
LOCAL
BUYERS
DESIGNERS
TOURISTS
EXPORT RETAIL
MARKET MARKET
Figure 2. Cluster Map of Kalamkari / Mata-ni-Pachedi Artisans
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ANALYTICAL STUDY
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CHAPTER- 3
SOCIO-ECONOMIC CONDITIONS OF
THE ARTISANS
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ANALYTICAL STUDY
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Figure 3. Socio-Economic Segments of Kalamkari/ Mata-ni-Pachedi Artisans
WELL-OFF
10% POOR, 35%
MARGINAL,
55%
The Pachedi artisans can be clubbed into three layers based on their socio
economic status-
i. The well off- The first group or the significantly better off remain so as
they have access to all the information and because of their position take
full advantages of all the opportunities offered.
i. The marginal workers are constantly trying to better themselves as some

information and business does trickle down to their level. Also they have
some understanding of the market and are consciously trying to improve
their position.
ii. The poor at the lowest rung remain there as access to information,
market, funding etc is all out their reach.
This socio Economic study is based on the Social and economic profile in the
society.
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ANALYTICAL STUDY
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A. Socio-Economic Profile of Socially Better Off

Artisans of Mata-ni-Pachedi/Kalamkari Artisans
Artisan
Socio-Economic Profile
Category Factors
1. Nuclear Families staying around relatives.
S Family 2. Usually 1-2 children.
Structure 3. A male child is invariably preferred.
O 4. Early marriage of the female offspring.
C 1. 90% of the artisans have only primary education.

2. Most of them are very keen in getting their off-
I Literacy spring educated.
A Level 3. Some of the families even send the male child to
English Medium school.
L 4. On the other hand girls are not considered pru-
dent enough to educate.
L
1. Most of them are Kalamkari Artists.
Y Occupation
2. Working as producer cum sellers.
1. Monthly Income- Rs 6,000-7,000/.

B 2. Extra source of income earned by Hand painting
Income
E Rs 8,000-10,000/year.
3. Annual income- Rs 70,000-80,000/year.
T
T Health
1. Health awareness ensures them taking advantage
of all the regular Government health plans and
E &
Hygiene
benifits such as childrens vaccination etc.
2. Living and working space is also well maintained.
R
1. This stratas younger generation is not prone to
OFF Social Life social evils such as gambling, alchoholism etc.
2. Religion plays an important factor and festivals
are celebrated with gusto.
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ANALYTICAL STUDY
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Socio-Economic Profile Artisan

Factors
Category
1. National Awardees.
2. State Awardees. S
3. Well informed about award facilities. Awards
4. Receive calls/invitations to participate in almost all O
the Government exhibitions/fairs.
C
1. Most of the artisans have bought land in ancestral
I
village with the Award money. Assets A
2. Own 1-2 room residence in Ahmedabad.
L
1. Own infrastructure and working facilities and L
residence.
2. New blocks made according to design Infrastructure Y
requirements.
1. Working for 9-10 months/year. B

2. Number of hours working per day- 8-10.
3. Number of days working in a week-6-7.
Working
capacity E
T
1. Name enrolled in DIC office as a crafts person. T
2. Recognized and working with designers,
boutiques and institutes. Network E
3. Employ outside labouras and when required. R
1. Rural market- local villages in the district.
2. Local market-Ahmedabad-designers, boutiques,
Marketing
channels
OFF
local buyers, Government.
3. Indian market- Mumbai, Delhi.
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ANALYTICAL STUDY
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B. Socio-Economic Profile with Marginal Income Level

of Artisans of Mata-ni-Pachedi/Kalamkari Artisans
Artisan
Socio Profile
Category Factors
1. Joint Families comprising 6-8 members.
Family 2. Usually 1-2 children per couple.
4. Early marriage of the female offspring.
1. 90% of the artisans have only primary education.

2. Most of them are very keen in getting their off-
Literacy spring educated.
Level 3. Girls are not considered prudent enough to edu-
M cate.
A 1. Most of them are Printers, some of them practice

Kalamkari in spare time..
R Occupation
2. Working as producer, selling to local market.
G 3.Also working as job workers.
I 1. Monthly Income- Rs 4,000-5,000/.

2. Extra source of income through fairs and festivals.
N Income
3. Annual income- Rs 40,000-50,000/year.
A
L 1. Health awareness ensures them taking advantage
Health of all the regular Government health plans and
& benifits such as childrens vaccination etc.
Hygiene 2. Living and working space is also well maintained.
1. Though prone to social evils such as gambling,

alchoholism etc, they do not completely influence
Social Life the social life of the person.
2.Religion plays an important factor and festivals are
celebrated with gusto.
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ANALYTICAL STUDY
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Artisan
Socio Profile Factors Category
1. Not well informaed about Award facilities.

Awards
2. Participate in fairs and festivals occasionally.
1. Most of the artisans have bought land in ancestral

village with loans garnered from the market or lend-
Assets
ing institutions..
2. Mostly 1-2 room self owned residence in
Ahmedabad.
M
1. Rented infrastructure and working facilities.
A
2. Continue working with old blocks and purchase Infrastructure R
new ones only when the clients require them.
G
I
1. Working for 8-9 months/year.
2. Number of hours working per day- 8-10. Working
capacity
N
3. Number of days working in a week-5-6.
A
L
1. Name not enrolled with any government bodies.
2. Not well recognized with designers, boutiques and Network
institutes.
1. Rural market- villages in the district. Marketing

2. Local market-Ahmedabad-local buyers. channels
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ANALYTICAL STUDY
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C. Socio-Economic Profile with Poor Income Level of

Artisans of Mata-ni-Pachedi/Kalamkari Artisans
Artisan
Socio Profile
Category Factors
1. Joint Families comprising 10-12 members.
Family 2. Usually 4-5 children per couple.
4. Early marriage of the female offspring.
1. 90% of the artisans are uneducated and rest have

basic education..
Literacy 2. Even though keen in educating their offspring
Level financial constraints prevent this from happening.
3. Girls are not considered prudent enough to
educate.
1. Most of them are Printers.
P Occupation 2. Job working for other higher strata.
O 3. Some of them have adapted to other sources of
income.
O
1.Monthly income- Rs 2,000-3,000/-
R Income 2.No extra source of income.
3.Annual income- Rs 15,000-20,000/-
1. Though aware of health programs due importance

Health
is not given to them..
&
2. As too many people are residing together,
Hygiene
cleanliness cannot maintained.
1.This strata is completely prone to social evils such

as gambling, alchoholism etc, and this habit affects
Social Life the social fabric of the family.
2.Religion plays an important factor and festivals are
celebrated with gusto.
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ANALYTICAL STUDY
2007-2008
Artisan
Socio Profile Factors Category
1. Not informed about award facilities. Awards

2. Do not participate in fairs and festivals.
1. Most of the artisans do not own any land or

housing. Assets
2. Residing in rented houses.
1. They usually do job work and day labour for other Infrastructure
employers and hence do not own any working
failities like tables, blocks etc. P
O
1.Working for 7-8 months/year.
2. Number of working hours per day- 8-10.
Working
capacity
O
3. Number of working days per week-4-5. R
1. Most of them stay in near by villages.

2. Name not enrolled with any government bodies. Network
3.Not linked with designers, boutiques and institutes.
Marketing
1.Rural market- local villages in the district. channels
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CHAPTER-4
ARTISANS OF THE CLUSTERS
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A. The Artisans of Vasna Cluster, Ahmedabad
Working Artisans Working Artisans Non Working

(Men) ( women) Artisans
1. Bhula Bhai Chunnilal 1. Kashi Ben Bhula 1. Dinesh Bhai

Chitara Chitara Sanat Chitara
2. Chandrakanth Bhula 2. Lata Ben Chandrakanth 2. Vinod Bhula
Bhai Chitara Chitara Chitara
3. Kiran Bhula Bhai 3. Suman Ben Kiran
Chitara Chitara
4. Vikram Bhula Bhai 4. Rekha Ben Ashok
Chitara Chitara
5. Ashok Bhai Kanchanlal 5. Kokila Ben Jayanti
Chitara Chitara
6. Jayanti Bhai Kanchanlal 6. Jasi Ben Sanat Chitara
Chitara 7. Ramila Ben Rajesh
7. Sanat Bhai Chunnilal Chitara
Chitara 8. Anita Ben Dinesh
8. Rajesh Sanat Bhai Chitara
Chitara 9. Rupa Ben Sanat Chitara
9. Vijay Sanat Bhai Chitara 10.Manjula Ben Manu
10.Suresh Sanat Bhai Chitara
Chitara 11.Pinki Ben Vasant
11.Manu Bhai Chunnilal Chitara
Chitara 12.Kailash Ben Sanjay
12.Vasant Manu Bhai Chitara
Chitara 13. Manisha Ben Manu
13. Sanjay Manu Bhai Chitara
Chitara
Total Number of Artisans- 26
29
ANALYTICAL STUDY
2007-2008
B. Volatility in Socio Economic Conditions over a period

of time in Vasna Cluster, Ahmedabad
Earlier status
Factors Present status
(15-20 years ago)
1. There are four main
families residing at Vasna.
1. Till 10-12 yrs back the
2. There are a total of 28
artisans residing in the
working artisans
Vasna locality were located
including the women.
Total Number of in the Khanpur area of the
artisans old city. 3. 2 of the family
2. Migrated due to members are not involved
communal disturbances. in the craft.
4. 1 of them is pursuing
his higher education, while
the other is involved in the
business of cable T.V.
connections.
1. During that time they 1. Women & children are
stayed in joint families & still involved in the
Helping hands worked with the other production process but the
members of the joint family system has
community. collapsed.
1. At present the cost of
1. The cost of production
raw material procurement
was at least 75% less than is almost double.
the present rates. 2. Availability of raw
2. The maximum rate was
material has become scarce
Rs 50-60/-, this was the
Production cost leading to fluctuating
amount which they used to
prices.
spend on raw materials & 3. Due to increasing cost of
fabric. raw materials, & lack of
3. No additional charges
infrastructural facilities,
were required for any other
the artisans need to
job work.
outsource some activities.
30
ANALYTICAL STUDY
2007-2008
Factors Earlier status Present status

(15-20 years ago)
1. Raw materials & fabrics
were procured from the
Sources of local market 1. The sources of raw
Raw Material 2. They were sourced from material procurement still
the Sindhi & Madhavpura remained the same.
markets in Ahmedabad city.
1. Certain raw materials

1. Raw materials and
which are sourced from
Availability of fabrics were easily available
nature are now not easily
Raw Materials in the local market.
available. For example
kachuka powder etc.
1. Average income has
increased as the artisan has
1. Monthly income adapted to contemporary
depended on the seasonal product development.
sale of traditional products. 2. Income from traditional
2. No other regular source pieces in contrast has
of income. reduced.
3. The profit margins were 3. Profit margins have
on an average 85%/piece. reduced by almost 50%.
Monthly Earning 4. Production process & 4. Production process and
sale used to happen for 8 sale time period has
months of the year. remained the same.
5. 40-50 finished pieces per 5. 50-60 pieces per family
artisan per month, per month (inclusive of
therefore monthly income traditional as well as
per artisan was approx Rs contemporary products.)
7000/-. therefore total income per
family is approx Rs 10,000/-
.
31
ANALYTICAL STUDY
2007-2008

(15-20 years ago)
1. Traders and middle men

have cut off a direct link
between the artisan and the
buyer.
1. The major market source 2. Hence the trader buys at
was the rural sector of a whole sale rate and
Gujarat. makes double the profit by
2. Twice a year, during the off loading in the retail
festival period the villagers market.
used to come to buy temple 3. Sales in the rural markets
hangings. have gone down by almost
3. Higher profitability as 60%.
the artisans fixed the rate, 4. Only Gov registered
Market due to the religious nature artisans get information
of the product the regarding fairs and
customers did not bargain. exhibitions, this deprives
4. Extra income was other artisans from
generated through fairs and attending the same.
festivals being organized in 5. T.A/D.A to fairs &
different parts of the exhibitions is not borne by
country for which T.A/D.A the Gov organizations any
was arranged by Gov more.
organizations. 6. State government bodies
5. Gov bodies like Gurjari are no longer buying
& Garvi were one of their products from them.
local buyers. 7. The artisans are
gradually developing
market sources in the
contemporary market.
32
ANALYTICAL STUDY
2007-2008
Earlier status
(15-20 years ago)
1. Hand printing and 1. Hand painting and

Other sources of
painting have been the block printing is still the
livelihood
only sources of regular only source of livelihood
income for the artisans. for these artisans.
1. Each artisan makes

1. Due to technical only 30-40 traditional
restrains the craft is not products per season.
fabricated for 4 months of 2. 40 pieces of
Volume of the year. contemporary products
products 2. Twice a year they have by each artisan.
the main season in which 3. At present they are
100-150 pieces/ artisan are working far below their
made. capacity rate.
1. Traditional products
were based on religious
themes and subjects. 1. The traditional motifs
2. Mother Goddess and patterns still being
Motifs/Designs
occupied a central theme. used.
3. Surrounded by minor 2. Influences of other
motifs consisting of- flora textile arts are forming a
/fauna, architecture, & new palette.
mythological themes.
33
ANALYTICAL STUDY
2007-2008
Earlier status
(15-20 years ago)
1. Neem/ mango wood has

1. Blocks were made by replaced Sal/Teak as the
Sal/teak wood. raw material for block
2. Quality of the blocks making.
was so good that even 2. Quality of the wood has
Blocks today they are being used degraded & either the
by their inheritors. blocks break after being
3. Blocks were sourced used for a few months or
from the local market and they crack.
Pethapur (Gandhinagar). 3.Blocks are still sourced
from the local market and
Pethapur.
1. At present the artisans

are facing the threats
from the local printers
1. The artisans did not feel who are screen printing
the threat of competitors. the shrine hangings &
2. The villagers bought the selling them for lower
Competitors Pachedi for religious rates.
purposes thus there was no 2. There are more
bargaining of the amount. alternatives available in
the market such as
printed posters, tiles etc
34
ANALYTICAL STUDY
2007-2008
C. The Artisans of Mirzapur Cluster, Ahmedabad
Working Artisans Working Artisans Non Working

(Men) ( women) Artisans
1. Amabalal Vaghi
Bhai Chitara
2. Jayesh Vaghi Bhai
1. Nanu Vallabh Bhai Chitara
Chitara (62) 3. Raman Vadilal
2. Chana Karjan Bhai Bhai Chitara
Chitara (60 ) 4. Goen Vadilal Bhai
3. Dilip Vaghi Bhai Chitara
Chitara ( 35 ) 1. Uttam ben Vaghi 5. Janti Chaka Bhai
4. Jagdish Vaghi Bhai Bhai Chitara Chitara
Chitara (30) 2. Rita Ben Jagdish 6. Naresh Chaka Bhai
5. Anil Vaghi Bhai Chitara Bhai Chitara Chitara
(18 ) 3. Kanta Ben nanu Bhai 7. Bharat Raman Bhai
6. Kishore Mangabhai Chitara Chitara
Chitara ( 35 ) 4. Daksha Ben 8. Poonam Nanu Bhai
7. Bhika Raja Bhai Chitara Mina Ben Chitara
(58) 9. Sanjay Chana Bhai
8. Shyam Kumar Bhika Chitara
Bhai Chitara ( 30 ) 10. Shankar Chana
9. Bhanu Chunni lal Bhai Chitara
Chitara (45 ) 11. Mukesh Chana
10.Mahesh Bhanu Bhai Bhai Chitara
Chitara ( 2) 12. Kanhaiya Chana
Bhai Chitara
13. Deepak Chana
Bhai Chitara
14. Vijay Chana Bhai
Chitara
Total Number of Working Artisans- 15
35
ANALYTICAL STUDY
2007-2008
D. Volatility in Socio Economic Conditions over a period

of time in Mirzapur Cluster, Ahmedabad
Earlier status
(15-20 years ago)
1. Only 3-4 families are

1. 30-35 families working.
still working.
2. In each family 8-10 2. Out of these families 15
members were involved in
Total Number of artisans work for 8
this craft.( earlier in a joint
artisans months of the year.
family system each and
3. The family members
every member of the
earlier working are
family used to play a part). pursuing other
occupations.1
1. The entire family used to 1. The younger

participate in the process generation is not keen to
Helping hands including the women and take up the family
children who were profession and they are
involved in the seeking other means of
preparation. livelihood.
1. The cost of production 1. At present the cost of

was at least 75% less than raw material procurement
the present rates. is almost double.
2. The maximum rate was 2. Availability of raw
Rs 50-60/-, this was the material has become scarce
Production cost amount which they used to leading to fluctuating
spend on raw materials & prices.
fabric. 3. Due to increasing cost of
3. No additional charges raw materials, & lack of
were required for any other infrastructural facilities,
job work. the artisans need to
outsource some activities.
1
Annexure-I- Sources of livelihood adopted by the Mirzapur artisans
36
ANALYTICAL STUDY
2007-2008
Earlier status Present status

Factors
(15-20 years ago)
1. Raw materials & fabrics
were procured from the 1. The sources of raw
Sources of local market material procurement still
Raw Material 2. They were sourced from remained the same.
the Sindhi & Madhavpura
markets in Ahmedabad city.
1. Raw materials and 1. Certain raw materials

Availability of fabrics were easily which are sourced from
Raw Materials available in the local nature are now not easily
market. available.
1. Monthly income 1. Average income has

depended on the seasonal increased as the artisan
sale of traditional products. has adapted to
2. No other regular source contemporary product
of income. development.
3. The profit margins were 2. Income from traditional
on an average 85%/piece. pieces in contrast has
4. Production process & reduced.
Monthly Earning sale used to happen for 8 3. Profit margins have
months of the year. reduced by almost 50%.
5. 40-50 finished pieces per 4. Production process and
artisan per month, sale time period has
therefore monthly income remained the same.
per artisan was approx 5. 50-60 pieces per family
Rs 7000/-. per month (inclusive of
6. Extra earning came from traditional as well as
fairs and festivals where contemporary products.)
the artisans exhibited their therefore total income per
products. family is approx Rs
10,000/-.
37
ANALYTICAL STUDY
2007-2008

(15-20 years ago)
1. The major market source 1. Traders and middle

was the rural sector of men have cut off a direct
Gujarat. link between the artisan
2. Twice a year, during the and the buyer.
festival period the villagers 2. Hence the trader buys
used to come to buy temple at a whole sale rate and
hangings. makes double the profit
3. Higher profitability as the by off loading in the retail
artisans fixed the rate, due market.
to the religious nature of the 3. Sales in the rural
Market product the customers did markets have gone down
not bargain. by almost 60%.
4. Extra income was 4. Only Gov registered
generated through fairs and artisans get information
festivals being organized in regarding fairs and
different parts of the exhibitions, this deprives
country for which T.A/D.A other artisans from
was arranged by Gov attending the same.
organizations. 5. T.A/D.A to fairs &
5. Gov bodies like Gurjari & exhibitions is not borne
Garvi were one of their local by the Gov organizations
buyers. any more.
6. State government
bodies are no longer
buying products from
them.
1. Due to lack of work
1. Hand printing and and other problems the
Other sources of painting have been the artisans have adapted
livelihood only sources of regular other sources of income
income for the artisans. for their livelihood.
38
ANALYTICAL STUDY
2007-2008

(15-20 years ago)
1. Due to technical
restrains the craft is not 1. Each artisan makes only
fabricated for 4 months of 20-25 traditional products
Volume of the year. per season.
products 2. Twice a year they have 2. At present they are
the main season in which working far below their
100-150 pieces/ artisan capacity rate.
were made.
1. Traditional products
were based on religious
themes and subjects. 1. The traditional motifs
2. Mother Goddess and patterns still being
Motifs/Designs occupied a central theme. used.
3. Surrounded by minor
motifs consisting of- flora
/fauna, architecture, &
mythological themes.
1. Blocks were made by 1. Neem/ mango wood has
Sal/teak wood. replaced Sal/Teak as the
2. Quality of the blocks raw material for block
was so good that even making.
Blocks today they are being used 2. Sometimes they cannot
by their inheritors. afford to replace a
3. Blocks were sourced damaged block and
from the local market and therefore have to work
Pethapur (Gandhinagar). with limited designs.
1. At present the artisans
are facing the threats from
1. The artisans did not feel the local printers who are
Competitors
the threat of competitors. screen printing the shrine
hangings & selling them
for lower rates.
39
ANALYTICAL STUDY
2007-2008
CHAPTER- 5
WORKING INFRASTRUCTURE
40
ANALYTICAL STUDY
2007-2008
A. Present infrastructure of Vasna artisans
i. Working area
1. The artisans of Vasna have three

printing tables of 3ft-7ft.
2. For painting purpose they use smaller
tables of 1.5ft-3ft.
3. The tables have 1-2 layers of jute
bindings, which do not help in proper
penetration of the natural pigments
during printing.
4. 3 tables are not sufficient for the
artisans, as there are around 15
artisans.
5. As the artisans do not have space to
work, they have set the tables and
other working equipments on the
Land of the Ahmedabad Municipal
Corporation.
6. At present, the AMC has acquired the land and removed all
encroachments, thus work has been affected as print tables have been
shifted into living space.
7. Under the DIC project the community was recently given print tables to
work on, but due to the land aquirement, they lie dismantled .
8. As the infrastructure is built temporarily, facilities like lighting have not
been taken care of, which makes the artisans work in dark.
41
ANALYTICAL STUDY
2007-2008
ii. Boiling facilities
1. The raw materials are boiled in the

working area.
2. The fuels used for boiling are
cattle dung cakes, wood, kerosene,
coal.
3. All these fuels not only cause air
pollution but also cause respiratory
problems for the artisans involved in
the process.
4. Copper/iron container is usually
used for the boiling process of the
raw materials.
iii. Dyeing facilities
1. Due to lack of space and

infrastructure, they used to give the
products to the local dyers for
dyeing, but recently even the dyers
have shut their infrastructure due to
lack of business.
2. At present dyeing is done in
smaller copper containers.
3. Due to insufficient space for
dyeing, the dyeing becomes uneven.
4. It consumes more time, money
and labor to dye the products in
smaller containers.
42
ANALYTICAL STUDY
2007-2008
iv. Washing facilities
1. The artisans wash their products in the Sabarmati River.

2. Due to the barrage built up near the area the force of running water is no
longer available which is required for the dyeing process.
3. While washing the dyers face a problem when the sluice gates are opened
without prior notice and water is released.
4. The polluted water in the river affects the dyeing quality.
v. Drying facilities
1. After washing the

products are dried in the
land near the river.
2. Or they are dried in
their resding area where
dogs and children run on
them, spoiling the
quality of the products.
43
ANALYTICAL STUDY
2007-2008
B. Present infrastructure of Mirzapur artisans
i. Work area
1. Artisans of Mirzapur do not have

space to set up a printing table.
2. For printing and painting purpose

they use small tables of 1.5 ft-3 ft
3. These tables have 1-2 layers of jute

bindings which do not help in proper
penetration of the dyes stuff into the
fabric during printing/painting.
4. The artisans find it inconvenient to

print products like saris/bed sheets on
the small tables; hence they cannot meet
the market requirements.
5. As the artisans do not have separate

working space, they work inside their
houses.
6. Most of the artisans live in a 1 room

house of around 300-400 sq ft.
7. As the living and working space of

these artisans is the same they face
inconvenience in working and
sometimes sit on the road side and
work.
44
ANALYTICAL STUDY
2007-2008
ii. Boiling Facilities
1. The raw material is boiled inside the houses.

2. The fuels used for boiling are cattle dung cakes, wood, kerosene, coal.
3. All these fuels not only cause air pollution but also cause respiratory
problems for the artisans involved in the process.
4. Copper/iron container is usually used for the boiling process of the raw
materials.
iii. Dyeing Facilities
1. The dyeing is done by the local dyers.

2. The dyeing process is not usually properly conducted by the local dyers,
which gives the products an unfinished appearance.
iv. Washing facilities
1. The products are washed in Sabarmati River.

2. Due to the barrages built up near the areas the force of running water is no
longer available, this is required for the dyeing process.
3. While washing the dyers face a problem when the sluice gates are opened
without any notice.
4. The polluted water in the river affects the dyeing quality
45
ANALYTICAL STUDY
2007-2008
V. Drying facilities
1. The products are dried on the road side near their houses.
2. As they do not have enough space for drying, the evenness of the dyeing for
which sunlight is a supreme factor gets affected.
46
ANALYTICAL STUDY
2007-2008
47
ANALYTICAL STUDY
2007-2008
CHAPTER- 6
RAW MATERIALS REQUIRED IN THE

MAKING OF MATA-NI-PACHEDI
48
ANALYTICAL STUDY
2007-2008
A. Primary materials
1. Fabric
1. The traditional products are all printed on gray cotton fabric, which is commonly
known as ‘mader path’ in Gujarat.
2. Usually a coarser count fabric is used for the traditional products, the count
carries on from 28s-32s.
3. The fabric is locally sourced from the Sindhi market or the New Cloth Market
in Ahmedabad.
4. For the contemporary products the artisans have started using fabrics of finer
count.
5. According to the choice of the clients requirement the artisan sometimes even
work on silk or other materials.
6. Usually the artisan himself purchases the fabric from the market, but in some
cases the client supplies the raw material to the artisans according to the
requirement.
7. For initial treatment of the fabric, it is treated in ‘Beda powder’.
2. Raw material for black color
1. After the treatment of the fabric, drawings

are painted or printed with black color which
is prepared of natural materials. The materials
used for black are-
2. Jaggery (gud); Iron dust (loha); Tamarind
powder (kachuka powder); Castor oil (Arindya)
tel; Copper Sulphate(Hirakasi)
49
ANALYTICAL STUDY
2007-2008
3. Mordant
1. Alum solution is used as a

fixative.
2. Tamarind powder is used as the
gum.
3. Other mordants being used are
Potassium, Tin Chloride, Copper
Sulphate etc.
4. Dyestuff
1. Traditional maroon color extracted from Alizarin is still used.

2. The artisans of Vasna cluster have learnt dyeing with other natural
materials as well.
3. Dyestuff (for traditional maroon color)
Local Names English Names Botanical Names

Majith Indian madder rubia sikkimensis
Dhavri Phool - wrightia tinctoria
Sources Madhavpura market( local market)
Conveyance Own cycle/bus fare- Rs 5-10
5. Other natural colors used are-
Local names English names Botanical Names

Amba Haldi Turmeric Curcuma Zedoaria
Mehendi henna Leucas cephalotes
Kattha Black Katechu Acacia Concinna,Dc
Indigo Indigo Indigofera tinctoria

Sources Madhavpura local market
Conveyance Own cycle/bus fare-Rs 5-10
50
ANALYTICAL STUDY
2007-2008
B. Embellishment Materials
1.For the traditional products, i.e. Mata-ni-Pachedi, no embellishment is done.
2. For contemporary products the artisans embellish the product according to
the clients’ requirement.
3.Till now the only embellishment material which has been used are colored
threads for stitching or embroidering.
C. Materials for Finishing

1. The borders of the traditional and contemporary products are stitched or
hemmed by a local tailor.
2. According to the requirement of the client the artisans starch the product
with rice starch or starch available in the local market.
3. After starching the products are usually ironed before dispatching.
4. No kind of packaging is done; the products are usually wrapped in any
available paper around.
D. Raw material Accessibility

1. Raw materials are easily accessible in the local market.
2. But as the artisans purchase raw materials( fabric/dyestuff) in small
quantities, it is not cost effectiveas the prices paid are retail.
3. The artisans do not have any raw material storing or banking facilities.
E. Transportation of Local Materials
1. Raw materials are usually purchased by the artisans themselves, they

usually travel in the city on their cycles or public transportation.
2. Usually due to lack of financial support the artisans purchase raw
materials in small quantities as per their requirement. This increases their
conveyance charges and hence affects the cost price.
51
ANALYTICAL STUDY
2007-2008
CHAPTER-7
PROCESS OF MANUFACTURE
52
ANALYTICAL STUDY
2007-2008
A. Production process of Mata-ni-Pachedi craft,

Ahmedabad
1. Procurement of materials
1. Fabric and other raw materials are purchased by the artisan from the local
market.
2. Ground work and preliminary process
1. The sacred pieces of temple hangings are painted on gray fabric locally
known as madar path in Gujarat.
2. In the past these fabrics used to be hand spun and hand woven but with the
changing times mill spun- woven fabric has replaced them.
3. The dimension of the fabric depends on the requirement of the artist.
4. The preliminary preparation of the fabric is a long and extensive process
which takes a couple of days.
5. The fabrics are carried down to the river for initial preparation.
6. The flowing water washes away the sizing done on the fabric, making it
softer and fully absorbent for later.
7. After washing the fabrics are dipped in a mixture of camel dung, which
equals one fourth the weight of the fabric and water.
8. The fabrics are left in this solution for a period of 12-16 hours.
9. Meanwhile another mixture of camel dung, which equals to one twentieth
part of the weight of the cloth, and the same quantity of khara salt and water is
added to this mixture.
10. The khara salt is easily available in Ahmedabad, but is originally sourced
from Lake Sansar in Rajasthan.
11. The fabric is boiled in this mixture and then is again washed in the river.
12. Before drying the fabric goes through an oiling process. It is dipped in a
mixture of washing soda and castor oil added in water and finally washed
again in running water.
13. Through out the washing procedure the artisan remains careful about the
process, and makes sure that all the salt is removed from the fabric.
14. After the final drying, the fabrics are immersed in a mixture of Harda
(Myrabolam) and Beda( Myrabolum Belliriki), castor oil and water.
This gives the fabrics a pale yellow tint, which forms the base color of the
painting. The fabrics are then stretched on the river bed and dried before going
ahead with the painting.
53
ANALYTICAL STUDY
KALAMKARI / MATA-NI-PACHEDI CLUSTER
2007-2008
3. Preparation of the dyestuff
1. While the process of preparation of the

fabric goes on, the dyestuff required for the
painting is prepared.
2. The traditional Mata-ni-Pachedi is known for
vividness executed in the illustrations with
three colors. Off white, black and maroon are
the three colors which complement the
forceful lines and illustrations.
3. A paste is prepared with rusted iron
shavings collected and heated to
incandescance.
4. These pre heated shavings are placed in an
earthen pot with an equal amount of water
and gud, jaggery.
5. This solution is left open in the sun for around 7-8 days, for fermentation.
After a post fermentation odor emerges, kachuka flour is added and the mixture
boiled.
6. This thickens the solution and a paste is extracted, which is used for
painting or printing the images.
4. Painting or printing the ‘Pachedi’
1. This paste becomes black with the treatment of alizarin, which forms the
outlines of the images in the paintings.
2. The Pachedi artists first sketch the drawing with pencil on the Myra bated
fabric which are then painted by using a neem twig.
3. Black is also sometimes used for filling up of certain portions in the painting,
The major filling is done by a shade of maroon.
4. Blocks are now brought into use and hand printing is done as and where
necessary.
5. The blocks are made of a good quality wood and are sourced from block
makers around the area.
6. The designs are mainly traditional but off late a modernity in block design
due to changes in style are taking place.
7. Both painting and block printing co-exist within the canvas.
8. For the maroon shade, alizarin dye or madder is used. The botanical name of
alizarin is Rubia Tinctorum. It is one of the most stable natural pigments and
54
ANALYTICAL STUDY
2007-2008
was formerly used in large quantities in dyeing textiles.

9. A paste of alum and kachuka flour is made and the interior of the designs are
filled in, giving them a shade of yellow.
10. Three to four pounds of alizarin, which is yellow powder made from the
root of the madder plant is boiled in water, in which dhawada flowers are
added.
11. The areas covered with alum solution become a brilliant Turkey red and
form the third color in the painting.
12. The boiled fabric is then washed in running water in the river and finally
dried in sun.
13. Starching of the fabric depends on the clients demand.
55
ANALYTICAL STUDY
2007-2008
5. Finishing
1. After starching, the finishing is usually done by stitching the borders.

2. Finally the product is usually ironed by the artisans.
6. Packing
1. Artisans of this cluster are not at all aware of the requirement of packing.
2. They usually pack the product in a news paper available in house.
56
ANALYTICAL STUDY
2007-2008
Figure 4.- Production process and the key players
Fabric and Raw Kalamkari Artist/Printers

Material purchase
Washing Fabric Washers
Kalamkari Atists/
Mordanting Printers/ Family
members
Kalamkari Atists/
Preparation of Black
Printers/ Family
Dye/Color
members
Painting or
Kalamkari Artist/Printers
Printing
Mordant Filling Color Appliers
Washing in the river Washers
Dyeing Kalamkari Artist/Printers
57
ANALYTICAL STUDY
2007-2008
B. Production Cost of Products by Vasna & Mirzapur

Artisans, Ahmedabad
Traditional Product-(Mata-ni-Pachedi)
1. Fabric
Fabric Price Source Distance Transportation
Cotton- New cloth

Rs 50-80/- 5-6 Km Own cycle /
Maddar Path market/chindi
rickshaw/bus
market
Size & Fabric Costing-

1. 40"-60"=(1.5 x Rs 50-80)=Rs 75-120/-approx
2. 60"-60"= (1.5 x Rs 50-80)=Rs 75-120/-approx
3. 90"-90"=( 2.25 x 50-80)= Rs 112.5-180/-approx
For initial treatment of the fabric the fabric is treated in Beda powder.
Beda powder- 1 Kg=Rs45/-
2. Raw material for black color
Gud loha Kachuka Arindya tel Hirakasi

Local names
powder
English Jaggery Iron dust Tamarind Castor Oil Copper
names powder Sulphate
Cost Rs 20/-Kg Rs 20/-Kg Rs 28/-Kg Rs 20/-lt Rs 10/-kg
Source Madhavpura- local market
Conveyance Own cycle; Bus fair- Rs 5/- to Madhavpura
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3. Mordant-
Local names Phatakari Kachuka
English names Alum Tamarind powder

Cost Rs 10/- Kg Rs 28/-Kg
Source Madhavpura- local market
Conveyance Own cycle; Bus fair- Rs 5/- to Madhavpura
4. For Dyeing (for traditional maroon color)
Local names Alizarin Dhavri phul
English names Alizarin Woodfordia

Floribunda
Cost Rs 550/-Kg Rs 20/-Kg
Sources Madhavpura-local market
Conveyance Own cycle/bus fair- Rs 5-Madhavpura
5. Tools & equipments
Local names Blocks Brush Tamba kundi

English names Blocks Brush Copper vessel
Rs 40-1000/-per Made from tree Rs 10,000-12,000/-
Cost
block making price twigs
Material Neem wood, mango Any tree twig Copper
wood
Sources Pethapur/ inherited - Local market
6. Other charges
Rs 100-120/-per day (washing is always done in bulk,

Washing usually each bulk consists of 20-30 pieces, hence per piece
the cost comes to Rs 5-6.
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> Approximate cost price per piece- Mata-ni-Pachedi Sizes-

(40"-60", 60"-60", 90"-90")
Fabric Rs 80-190/-
Beda powder Rs 25/-
Printing Charges Rs 20/-
Washing charges Rs 5/-
Other raw materials Rs 20/-
Total Rs 150-260/-
> Approximate costing for Cotton Printed Home Furnishings
FABRIC PRINTING OTHERS TOTAL

PRODUCT SIZES
COSTING CHARGES
Single Bed (60"-90") Rs 70- 150 Rs 50/- Rs 15/- Rs 135-215/
Cover -
Double Bed ( 120"-110") Rs 150-250/- Rs 100/- Rs 15/- Rs 265-365/
Cover -
Pillow Rs 33-38/-
20"x30" Rs 18-23/- Rs 10/- Rs 5/-
covers
Square Rs 150-
72"-72" Rs 15/-
Table Rs 60- 75/- Rs 70/- 200/-
90"-90"
Cloths
Rectangular 72"-108" Rs 180-195/
Table 72"-126" Rs 90- 105/- Rs 70/- Rs 20/-
-
Cloths 72"-144"
Round 90" round Rs 160-175/
Rs 75- 90/- Rs 70/- Rs 15/- -
Table and 106"
Cloths
Table cloth 16x36",16x54" Rs 15-30/- Rs 30/- Rs15/- Rs 60-75/-
Runners 16x72".
Placemat 14x20" Rs 12-15/- Rs 10/- Rs 10/- Rs 32- 35/-
Napkins-
22"- 22" Rs 15/- Rs 8/- Rs7/- Rs 30/-
(Dinner)
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PRODUCT SIZES FABRIC PRINTING OTHERS TOTAL

COSTING CHARGES
Napkins 12"- 12" Rs 8/- Rs 8/- Rs 5/- Rs 21/-
luncheon
Napkins Rs 14/-
6" square Rs 5/- Rs 5/- Rs 4/-
(Cocktail)
Cushion 14"-14"/ 16"-

16"/ Rs 15/- Rs 10/- Rs 7/- Rs 32-40/-
Covers
18"-18"
> Approximate costing for Printed Apparels and Accessories
FABRIC PRINTING
PRODUCT SIZES OTHERS TOTAL
COSTING CHARGES
Cotton Sari 6.25 mt Rs 250/- Rs 225/- Rs 15/- Rs 490/-
Cotton 2.5 mt Rs 75/- Rs 110/- Rs 10/- Rs 195/-

Dupatta
Chanderi Rs 300/- Rs 15/- Rs 940/-

6.25 mt Rs 625/-
Mercerized
Saris
Chanderi Rs 10/- Rs 330/-
2.5 mt Rs 212.5/- Rs 110/-
Dupatta
Maheshwari 6.25 mt Rs 562.50/- Rs 300/- Rs 15/- Rs 877/-

Saris
Maheshwari Rs 345/-
2.5 mt Rs 225/- Rs 110/- Rs 10/-
Dupatta
These are the approximate cost price of the products when the printing, dyeing
and other processes are done by the artisans themselves. Recently due to lack
of infrastructure and other problems the artisans have begun outsourcing
facilities like dyeing. This increases the cost price of their products by Rs 25-30
per piece.
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C. Production capacity per artisan in Vasna cluster,

Ahmedabad
Product (block printed) Per day Per month
40"-60" Mata-ni-Pachedi 8-9 pieces per day 80-90 pieces per month
100-150 pieces per
Sari 3-4 pieces per day
month
Single Bed sheet 4-5 pieces per day 50-60 pieces per month
Double Bed sheet 3-4 pieces per day 50-60 pieces per month
Cushion Cover 15-20 pieces per day 100-150 pieces per

month
Dupatta 10-15 pieces per day 150-200 pieces per

month
Running fabric 30-40 mt per day 600-700 mt per month
This production capacity per artisan has been based on their present performance.
With one helping hand to do the color filling and help in the other processes,
each artisan is capable of this amount of production. It has been observed that
the production capacity of the artisans is more if one artisan concentrates on one
particular product at a time.
Production capacity of Hand Painted products

Amongst the artisans in the community, not all the artisans have the capacity or
skill for hand painting the products. The skilled artisans can paint 3-4 products
per month, as well as do block printing. If each such artisan only concentrates on
hand painting they have the capacity of producing 15-20 hand painted products
per month.
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D. Production capacity per artisan in Mirzapur cluster,

Ahmedabad
Product (block printed) Per day Per month
60"-90" Mata-ni-Pachedi 2-3 pieces per day 60-70 pieces per month.
Single Bed sheet 1-2 pieces per day 30-40 pieces pr month
Running fabric 10-15 mt per day 300-400 mt per day
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CHAPTER-8
PRODUCTS
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A. Products fabricated by the artisans of the Vasna &

Mirzapur Cluster, Ahmedabad
1. Range of Products
Vasna Mirzapur
Traditional Contemporary Traditional Contemporary

>Mata-ni-Pachedi >Sari > Mata-ni-Pachedi
40"-60" >Bed sheet 40"-60" >Bed
>Mata-ni-Pachedi- (single & double) > Mata-ni-Pachedi- sheet(single)
60"-60" >Cushion Covers 60"-60" >Cushion covers
>Mata-no- >Table covers, > Mata-no- >Dress Material
Chandarvo- 90"-90" Mats, Napkins Chandarvo- 90"-90"
>Dupatta
>Dress Material
It was noted that the range of products fabricated in the Vasna locality are
more than the other cluster of the same city. Some of the observed reasons are-
> Infrastructure- the artisans of Mirzapur area do not have any facilities for
printing.
>Recognition-as the Vasna locality is much nearer to National Institute of
Design, the cluster is better recognized by the local designers and other
institutes. In case of the other cluster people residing outside the walled city
do not even get to know about them.
>Exposure-as the artisans of this cluster stay away from the contemporary
design world and their requirements, they do not get the kind of exposure to
make them aware of the range of products which can be developed.
2. Traditional Products
> Mata-ni-Pachedi & Mata-no-Chandarvo , comes in the category of traditional

products.
> These are the products which are used for religious purposes by the Waghari
community.
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> Traditionally these products were always madder dyed with black outlined
images.
> The size of the product was earlier decided based on the clients’
requirement.
> The basic purpose of these products is to form the temporary walls of the
goddess shrine.
3. Contemporary Products
>Some of the artisans have started printing contemporary products to meet the
market requirements.
>The contemporary products are bed sheets-single and double, cushion covers,
saris, dupattas, dress material.
>The artisans try to follow the patterns available in the market of block printed
materials from the South & Rajasthan.
>Artisans have started exploring more colors for the contemporary products.
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B. Quality of products
Material-Fabric
>The products are always printed on cotton fabric; the count of the cotton
yarn depends on the kind of products being made.
> Usually traditional products and bed sheets are printed on coarser yarn
fabric of 28s, 32s etc.
>For contemporary products like dupatta, saris etc the printers have started
using finer counts fabrics of 40s, 60s etc.
> Plain woven fabric has always been chosen for the printing purpose.
>Recently some of the artisans have started working on silk for their clients.
Raw Material- Dyestuff
> Natural raw materials, like Alizarin, turmeric, pomegranate, henna etc are
used as dyestuff.
>The gum which works as a fixative for the dyestuff is the tamarind
powder.
>As all the raw materials used for dyeing purpose is natural, the fiber
strength of the fabric remains stronger.
>In the present conditions the dyeing quality is detoriating due to lack of
dyeing facilities, as the dyeing is done in smaller containers the evenness of
the dyeing is not maintained.
>Besides that as the products are finally washed in the flowing water of the
Sabarmati River, the chemicals in the river react to the fibers, weakening the
fiber strength and the dyeing quality.
>Lack of shades as only alum is being used as a mordant and secondly the
artisans are not aware of the other natural sources.
Printing
>The placing of the blocks is always very carefully done by the artisans.
But due to the detoriating nature of blocks, sometimes lines and images get
a crude finish.
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CHAPTER-9
MARKETING LINKS
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A. Marketing Channels
§ Local market
§ Traders residing in nearby villages.
§ Designers dealing with home furnishings and apparels.
§ Fairs, exhibitions and festivals.
§ Direct retailers.
§ Students from design institutes.
§ Government and semi Government organizations.
§ Tourists.
B. Current Customers
§ Local designers like Rahul Ajit Narayan, Arghya Sinha Roy, Kunal
Shah, Mona ben, Viloo Mirza etc.
§ Textile research organizations like ‘Sarabhai Foundation.
§ Selected tourists both Indian and foreign.
§ Local market and community usage.
§ Nearby villages
C. Prospective customers
§ Local market during festivals.

§ Other state markets during festivals.
§ The NRI market during the navaratri festival.
§ Boutiques related to traditional textiles.
§ Designers utilizing the expertise of Hand painting and printing.
§ Niche market aimed at high fashion home furnishing and
apparels.
§ Fairs, festivals and exhibitions.
§ Textile institutes for case studies and project development.
§ Museums and research organization for documentation of the
living art form.
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D. Sale price list of products Vasna & Mirzapur Cluster, Ahmedabad
1. Traditional Products-Block Printed
Product Sale Price
Mata-Ni-Pachedi 40"-60” Rs 300-400
Mata-Ni-Pachedi 60"-90" Rs 1000-2000
Mata-Ni-Chandarvo 90"-90" Rs 1500-3000
2. Contemporary Products-Block Printed
Product Retail Sale Price Whole Sale Price
Bed Cover(Single) Rs 250/-per piece Rs 200/-per piece
Bed Cover( Double) Rs 350/-per piece Rs 300/-per piece
Cushion Cover(16"-16") Rs 50/-per piece Rs 40/-per piece

Cotton Sari Rs 650/-per piece Rs 550/-per piece
Dupatta Rs 350/-per piece Rs 250/-per piece
Dress Material Rs 75/-per mt Rs 55/-per mt
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CHAPTER-10
ANALYSIS OF BUSINESS SEGMENT
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1. Present Market segment of the Cluster-
1a. At present the core cluster has been dealing mainly with the rural and
local market.
§ Quality of the products being manufactured is of good eminence, yet it

suits only the local market requirement.
§ Most of the products being produced are Mata-ni-Pachedi or temple
hangings for religious usage. For commercial sale, single and double bed
covers, cushion covers, file covers etc are being produced.
§ For the production, raw material is being sourced from the local market
and not much exploration is being carried out.
§ Design and the block patterns are either based on the religious motifs
which constitute a Pachedi or are designs copied from the market.
§ Experimentation of product range also has not been initiated by the
artisans.
§ Quality control and time management is not given much importance in
case of products manufactured for the rural market.
1b. State and National Awardees
§ Recognition in the form of State and national awards has come to the
artisans in the recent past.
§ This has lead to participation of fairs and festivals around the country and
exposure to other national clientage.
§ The same range and quality of products which services the rural and local
market are being carried on to the national platforms.
§ Hence even though they are getting the opportunity it is of no use.
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2. Sub Clusters related to this art form-

A cluster cannot exist by itself; its fortunes are directly related to other sub-
clusters surrounding it. Injecting growth in one cluster would directly affect he
sustainability of other clusters related to it. Sub clusters related to this core
cluster are-
§ Agriculturists and farmers
Historically Natural ingredients like madder and indigo were a major part
of Gujarat’s economy. With the advent of the industrial revolution and the
introduction of other printing techniques and chemical dyes the demand for
natural ingredients declined. Now injecting growth into the core cluster of
block printing and kalamkari will create a demand for natural ingredients and
thus benefit the farming group.
§ Block Makers
Block makers of Pethapur have traditionally supplied the traditionally
supplied the textile printers of Ahmedabad whose fabric was exported all over
the world. Such was Pethapurs fame that other traders from other provinces
also placed orders for blocks there. With the decline of block printed textile
market the Pethapur cluster was directly affected. In todays market scenario
heralding a come back of hand printed textiles would give a boost to the block
makers.
§ Weavers
As the kalamkari and hand printed textile sector becomes more upwardly
mobile, it would instill a need for natural fabric such as natural cotton, jute and
silk. The entire essence of a natural dyed hand printed product appreciates in
aesthetic value if natural hand woven fabric is used. Therefore the handloom
cluster will directly benefit by increase in demand of the core group.
§ Dyers
Though most printers have themselves started dyeing, historically there
used to be separate clusters of dyers. A natural dye revival will bring about a
change for a better to this almost extinct sub cluster.
§ Tailors
As in todays contemporary scenario as readymade products are preferred,
the relationship between block printed textiles and tailoring cluster increases
in importance. It adds economic value to the end product.
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3. Performance and Ability of the Cluster
Artisans of the cluster are highly skilled to meet the contemporary market
requirements and demands. As they have been dealing only with the rural and
local market, they are not well exposed to market trends and styles, yet due to
their skill proficiency it does not become a drawback for them. With help of
training programs, communicative workshops etc, the artisans can be very
well versed to understand the present design scenario and requirements.
3a. Historical Performance of the Cluster

§ In Gujarat, textile printing and kalamkari are both very ancient
techniques.
§ A lot of Historical evidence proves export of hand printed textiles
from Gujarat to other countries.
§ The state was not only rich in skill of hand printing and hand
painting; it was also one of the most important areas of natural ingredient
production.
§ Gujarat has been known for its maroon dye which was extracted
from majith and indigo prints.
3b. Traditional printing styles-

Years of practice and experience has helped the artisans to explore a lot
with the mediums and techniques. Most of the artisans are skilled in two to
three styles and techniques of printing. Though for quite some time they have
not been working much with natural dyes, the older generation still remember
the recipes and encourages the younger age group to work with them. Most
well known printing styles of this region are-
§ Direct Style
§ Resist Style
§ Mordant Printing
§ Discharge Printing
Besides these styles the biggest advantage of this area over any of its
competitors is the skill of “Hand Painting”. Kalamkari as a textile medium has
always held a very significant role in history of Indian textiles. Unfortunately,
due to the social significance of the kalamkari artists of Gujarat, they never
received their due recognition. Opportunely, in the contemporary global
market where social stratus do not play any role, kalamkari of Gujarat can be
nurtured to receive its due value and appreciation. The kalamkari artists are
very highly skilled in their lines and drawings, overall composition, color
balance and aesthetic representation of their art form. Their motifs and
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patterns are very unique and do not find any resemblance in any other craft
form. Hence, this can help in creating a very unique brand identity for the
cluster.
Also, as most of the painters have been printing as their secondary

occupation they are very skilled printers, the combination of the two mediums
and knowledge of natural dyeing can become the USP of the cluster brand.
3c. Geographical Location of the cluster-

§ Climatic conditions play a major role in production of resist prints,
mordant prints and natural dyed products. Ahmedabad with its dry climate
has proved to be an appropriate site for this sort of craft form.
§ Water is another very noteworthy player in fabrication of natural dyed
goods. The mineral present in this areas water has been imparting bright
shades and tones to the natural dyed products in comparison to other
competitors in the country.
§ Ahmedabad being the textile hub of the country accessibility to raw
material, availability of finance, marketing facilities etc will not face any
hindrances.
2. Set Backs faced by the Cluster Actors
4a. Introduction of other techniques in the market

Introduction of techniques like screen printing acted as a major drawback
for the hand block printers all over the country. Although manually operated,
it was used for mass production, which led to unemployment of artisans.
Though the cost price reduced, but unethical practices like selling screen
printed stuff as block prints created problems for the genuine block printers.
The aesthetical value of techniques like resist print started loosing its charm.
4b. Chemical Dyes taking place of Natural Dyes

Around the nineteenth century Chemical dyes replaced the laborious
process of natural dye extraction and printing. For an era, the textile history of
Ahmedabad has been focusing on various kind chemical dyes and pigments.
Due to lack of exposure to natural dyes, certain artisans did not learn the
recipes from their ancestors. Besides that the artisans who continued using
natural dyes kept facing problems due to the cheaper rates of chemical dyed
products.
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4c. Lack of interest of the younger generation

Younger generation of artisans either lost interest in the traditional craft
form, due to lack of work or lack of interest in the arduous processes.
4d. Emergence of rivalry

Limited amount of work led to family or community rivalry. Another form
of rivalry took shape amongst the genuine natural dyed hand block printers
and the screen printers.
4e. Lack of Infrastructure

Most of the cluster members have migrated to Ahmedabad from
neighboring villages. Due to lack of work as well as scarcity of capital they
could not set up proper infrastructure for their craft form and had to rely on
temporary make shift setups.
3. Aspects favoring the cluster
5a. Inherited skills

The artisans have been trained by their forefathers. They have inherited the
skills as usually the entire family used to be involved in the craft form and
they used to be brought up with it. With the increasing recognition, the
artisans have imbibed sense of pride in their craft forms. This in turn is
making the next generation interested in accepting the craft form as a
source of income.
5b. Artisans have got recognition through awards

In the recent past the government has awarded recognition to certain
artisans of the cluster in form of State and National awards which in turn
has boosted their enthusiasm and interest in their traditional craft form.
5c. Increase in demand in National and International market

There is an increase in demand of natural dyed, hand block printed textiles
in the national and international market. A very selective and niche market
is developing for value goods.
5d. Crafts getting its recognition as alternate source of income

Due to the various training programs conducted by the government and
increase in work in this field, unemployed people are taking it up as
alternate source of income.
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5e. Traditional craft forms are regaining their status

The trend of traditional craft forms has once again come back in the market.
A lot of value has increased for the conventional crafts and skills.
6. Export Potentiality of the Cluster

The handicrafts industry in India is spread all over the country employing
approximately over 5 million artisans and around 67,000 exporters tapping
this market. The handicraft and handloom sector is a major source of rural
employment and earns substantial foreign exchange. The Indian handicraft
sector this year has shown an annual average growth rate of 8.5%. Traditional
textiles are as popular abroad as they are within the country. Amongst the
major export items, hand-printed textiles hold a very significant position. The
export prospects of this cluster is much higher than any of its competitive
clusters if each of its USP is nurtured individually-
§ Hand Block Printing-

After an era of disappointment due to lack of work, introduction of other
mediums etc, hand block printing has once again revived its due recognition
in the National and International market. The craft form is once again being
appreciated in the world market for its ethnic and aesthetical designs and
patterns. Traditional motifs, composition, color patterns etc are finding their
appreciation in contemporary design palette. According to the studies done by
the Export Promotion Council of Handicrafts, export value of hand printed
fabric stood at 110.73 crores in the year 2006-2007(April report) and has gone
up by 19.19% to 131.98 crores in 2007-2008(April report). According to the
statistics each year there is an increase in demand from countries like USA,
UK, Japan, Italy, France, Australia and Canada.
§ Kalamkari-
Kalamkari as a textile art form is one of the oldest methods of
embellishment on fabric thus enhancing its value and this aspect has always
enjoyed a niche market. As other methods of dyeing and printing evolved
kalamkari grew side by side in stature and held its own in an ever expanding
market. Today it is all the more relevant as it is hand painting on fabric as
opposed to mass production machine goods. Thus is each piece an individual
design product, which increases its value both in national and international
market.
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§ Natural/vegetable dyes-
The art of making vegetable dyes is one of the oldest known to man and
dates back to the dawn of Civilization. India’s expertise in vegetable dyes
dates back to ancient times. Using mordants to hold fast the dye or resists to
selectivity prevent them from touching the cloth were printed to create a thlot of
historical master pieces. The discovery of synthetic dyes in the west in 19
century dealt a massive blow to Indian Textile Industry. Some of the chemical
dyes earlier found associated with hazards effecting human life creating skin
diseases and lungs problems. The environmentalist, therefore, started
searching the substitute of synthetic items which has led the use of more &
more natural dyes. In recent days the inherent advantages of vegetable dyes
has resulted in the revival and use of vegetable dyes. The consumption of
synthetic dyes has been estimated at 1 million ton per year. As per report of
German Ministry of Food Agriculture & Forestry, about 90000 tons of natural
dyes can be produced every year. At present USA is one of the major
importers of the natural dyes. The total imports of these dyes, which is about
3500 tons per year, works out to be 0.4% of synthetic dyes. The import of
natural dyes of EU countries were 5300 tons per year, which is about 0.53% of
synthetic dyes. From the above figures it is clear that the requirement of the
natural dyes is about 10000 to 12000 tones, which is equivalent to 1% of the
worlds’ total dyes consumption.1
7. Analysis of Present and Prospective Market Segments

The potential clientage can be segmented into Domestic and Export market.
At present the cluster is mainly dealing with the domestic market which can
be further subdivided into mainstream market (rural and local) or the luxury
market (high end)
7a. Block printed and kalamkari products
Traditional block printed products are known by their ethnic appeal and
eco-friendly vegetable dyes, appreciated worldwide by the domestic and
international buyers. The range of products comprise of running fabric, home
furnishings and ready made garments. The connoisseurs value the hard work
that goes into block printing and the preparation of natural dyes that makes it
eco friendly. The affluent segment of population in India and several people in
1
Source: UPlCO’s Survey
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the western countries appreciate the distinction and thus are willing to pay
more for the product.
Though the process of kalamkari is time consuming and laborious, the

artists consider it worth the appreciation they achieve. As the technique
involves hand painting with natural dyes, each product becomes a unique
creation which cannot be duplicated. In the contemporary design field, a very
niche, high end clientage is developing for these kinds of products.
Appreciators value the originality and individuality of this art form and pay
high amounts for qualitative products.
7b. Design- an important factor for high end market

Buyers from high end market through the ethnic designs explore and savor
the culture and heritage depicted thereon with eco friendly vegetable dyes.
Demand of hand block printed textile in fashion garments is also picking up.
Buyer from this segment demands exclusive designs that may be custom made
as per the buyers’ requirements. However the buyers’ expectations are not
fully met by the industry.
7c. Buyers from Middle end segment of the market

The buyers from this segment consist of mass middle market or mainstream
market. The buyers of this segment are mainly price conscious and are more
concerned about the utility of the products.
7d. Design-little consideration

With the domestic mass middle class consumers, designs and variety of
printing do not hold much importance. Cost effectiveness holds prior position
while purchasing. Also, this entire segment gives much more importance to
brighter shades of chemical dyes in comparison to the earthy hues of natural
dyes.
7e. Quality suffers with mass market

Reacting to the domestic consumer needs, the screen printers are better
placed to cater to the needs of a large segment of population. They print on the
lower to medium quality fabric and print it bright with the help of synthetic
dyes which are brighter than the natural dyes. The cost of printing with the
help of screen is lower by at least 50% as compared to hand block printing
keeping the important parameters same such as the number of colors used.
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7f. Marketing beyond means for most artisans

By most of the artisans marketing in mainstream market is considered
much easier than reaching the luxury market. Certain reasons which make the
artisan less confidant to approach the high end market are-
§ Due to lack of capital, artisans do not want to invest much on high end
quality raw materials.
§ Artisans are not exposed to the trends and forecasts of the contemporary
design world.
§ Most of the artisans in this field are not well educated. A few who have been
to schools, and have had good exposure have earned national awards for the
skills displayed and capitalized upon it rich through display in exhibitions and
trade fairs etc.
§ This is however limited to the traditional kalamkari artists only. Those who
are not skilled in hand painting, suffer from lack of confidence of presentation.
8. Possible Product Range for the market segments

8a. High end or the Luxury market
Home furnishings Ready made garments
§ Single bed Covers

§ Short kurtas(men & women)
§ Double bed covers
§ Long Kurtas(men & women)
§ Square table covers
§ Shirts(men & women)
§ Rectangular table covers
§ Tops(women)
§ Table runners
§ Skirts(women)
§ Table mat sets
§ Salwar kameez( women)
§ Table napkins
§ Saris (women)
§ Cushion covers
Scarves(men & women)
§ Curtains
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8b. Mainstream market
Home furnishings Ready made garments
§ Single bed Covers § Salwar kameez(men & women)

§ Double bed covers § Saris (women)
§ Cushion covers
9. Size and location of products in export market

Indian handicrafts, typically considered a cottage industry has outgrown
its image to evolve into a fast growing industry with a turnover from US $ 1.2
million to US$1.9 billion in the last decade. Out of the nine items that account
for nearly 63 percent of export turnover, hand printed textile hold a very
significant position.
9a. Table of hand printed textile export
RUPEES IN CR. RUPEES IN CR.

INCREASE INCREASE
IN % IN %
ITEMS OVER
2005-06 2006-07 OVER 2005-06 2006-07
2005-06 2005-06
(April-March) (April-March)
*44.2546 * 45.3607
HANDPRINTED
TEXTILES & 2053.70 2465.18 20.04 464.07 543.46 17.11
SCARAVES
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9b. Statement of export Hand Printed Textiles in the past 10 years
1996-97 1997-98 1998-99 1999-2000 2000-2001
HAND
PRINTED
TEXTILES &
SCARVES 686.10 484.23 639.50 878.55 909.89
2001-2002 2002-2003 2003-2004 2004-2005 2005-2005 2006-2007
HAND
PRINTED
TEXTILES &
SCARVES 756.78 856.57 1611.436 1848.76 2053.70 2465.18
9c. Destination of hand printed textiles export from India

(in Rs. crore)
Category/country 2003-04 2004-05 %change in 200405 over 2003-04
USA 452 504 11.50

UK 182 197 8.24
Germany 160 175 9.38
Canada 119 133 11.76
France 66 72 9.09
Japan 62 70 12.90
Italy 41 48 17.07
Saudi Arabia 36 41 13.89
Australia 35 41 17.14
Netherlands 30 36 20.00
Switzerland 15 17 13.33
Total (incl others) 1,611 1,849 14.77
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CHAPTER-11
PROBLEMS / DRAWBACKS FACED BY

ARTISANS
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A. Infrastructure
> Lack of work space is the main problem faced by the artisans of both
clusters.
>Due to this the artisans are not able to meet market requirements.
>Lack of infrastructure also includes temporary and poor working conditions

like exposure to the vagaries of weather, improper lighting, unhygienic
working conditions etc.
>The artisans use domestic fuels like cattle dung cakes, wood, kerosene, coal
which not only causes air pollution but also cause respiratory problems for
the artisans involved in the process.
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2007-2008
B. Raw materials
>Inadequate storage space for the dye making ingredients results in cost
overruns as repeated trips to the market are necessary and only a limited
amount of material can be purchased at one time.
>Lack of storage also results in fabric and the finished product being
affected.
C. Production process
> The tables have 1-2 layers of jute bindings, which do not help in proper
penetration of the natural pigments during printing.
> Small copper/iron container is usually used for the boiling process of the
raw materials and due to insufficient space for dyeing, the dye becomes
uneven.
> It consumes more time, money and labor to dye the products in smaller
containers.
> Running water which is a must for the dyeing process is no longer freely
available.
> The pollution in the available water affects dyeing quality.
> As drying facilities are cramped, the evenness of dyeing for which sunlight is
a supreme factor gets affected.
D. Products
> Limited product range.
> Limitations in finished goods as only cotton fabric is being used.
> Poor finished quality of goods.
> Improper storage and packing conditions.
> Not exposed and updated vis a vie market requirements.
E. Marketing and sales
> Unexposed to market requirements.

> Designer interaction sporadic and infrequent.
> Market penetration shallow.
> Lack of market feedback and a fashion forecast is also felt deeply.
> Domineering interference of the traders.
>Lack of advertising and public relations as marketing tools.
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87
ANALYTICAL STUDY
2007-2008
CHAPTER-12
DEVELOPMENT CHALLENGES
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2007-2008
A. Equity and Growth
> Though the output of the cluster has increased substantially, quality has not
kept pace. even though the community has branched out to other mediums
like hand block printing, the finished product lack a certain finesse, this can be
attributed to factors such as-
i. Work being concentrated in hands of a few, so the rest of the community

does not benefit and the work they produce is substandard due to poor
infrastructural quality and lack of funds for raw material.
ii. Lack of business judgment or foresight of continuous business relationship.
B. Marketing and Designing

i. The designing capacity of the cluster has not kept pace with time. The art of
traditional designing has declined as the artisans have limited means to
upgrade themselves. Designers working with the cluster have not benefited
the cluster in any substantial way. They have only worked in a static mode as
one off interventions. There is a total alienation of the artisans from fashion
forecasting issues. As a result, the majority of the printers remain untouched
by issues relating to design and product development.
ii.Sales and exhibitions are organized by Government agencies through out

India as a strong medium. But only the master craftsperson or artisans listed
under government get informed about these exhibitions, which cut the chances
for marketing for poorly networked printers or painters.
iii. Most of the production is for domestic market. Designers or traders

employing the artisans export the product without any benefits to the artisans.
The printers knowledge of consumer behavior and market trends continues to
be negligible.
iv. Most of the production is usually sold through the traders which does no
profit artisans. A lot of traders have got into the field themselves and are
employing the artisans only for job work.
v. Consumer tastes have changed and have become very discerning and
personalized. Therefore the market trend of handicraft sector is leaning more
towards customization and small lots.
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ANALYTICAL STUDY
2007-2008
C. Institutional linkages and capacity building
i. There is a need to conduct workshops/ training programs by institutions

and agencies so that the art can be effectively preserved and passed on.
ii. Viable alternatives for better working conditions are the need of the hour.
iii. Institutional framework needs to be in place for a co-operative purchase of
raw material resources and a creation of a marketing platform for finished
products.
iv. There is a need for Government bodies to share a combined information
network for common developed goals.
S.No Segment Major Issues
> Very Skilled, but not exposed to the

contemporary design requirements.
> Lack of Infrastructure, spcially space is the

biggest problem faced by them.
> Lack of exposure leads to lack of design or

motif upgradation.
Significant and Better > Raw material exploration according to market

requirement is not happening.
Economic Status
> Lack of raw material storage facility.
> Not very well exposed to the market.
> Need better marketing linkages with

high-end retailers.
> Need designer inputs on regular basis.
> No quality control.
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ANALYTICAL STUDY
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S.No Segment Major Issues
>Skilled, but not exposed to the contempo-

rary design requirements.
>Lack of financial support or working

capital, leads to unability of setting up
infrastruture and purchasing new blocks.
>Not aware much of Government facilities,

and not listed with the related bodies.
Marginal
Economic Status >Lack of exposure, not particpating in any
fairs and festivals.
> Raw material exploration according to

market requirement is not happening.
>Not much interaction with designers or

traders.
>Younger generation is not much keen on

continuing with the tradition.
>No Quality control.
>Most of the artisans in this category are job

workers.
>Heavy dependance on local traders.

Poor
Economic Status >Lack of infrastructural facilities.
>Poor skill or not upgraded according to

market requirements.
>Health Problems.
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ANALYTICAL STUDY
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CHAPTER-13
OVERALL DIAGNOSIS &

SWOT ANALYSIS
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ANALYTICAL STUDY
2007-2008
The Kalamkari and Hand Block printing group of artisans residing in Ahmedabad
have been traditional temple hanging painters. Their craft form, Mata-ni-Pachedi
has achieved a significant position in the history of Indian textiles in the past one
era. Historically though this craft form has been quite noteworthy, due to the
social significance of the artisans it never got its due recognition. In the past 20-
25 years, not only has the craft form been accepted as a vital part of textile history,
it has also been given appreciation and identification for its heritage significance.
Many of the cluster members have been honored by the State Merit and National
Awards. One of the artisans of this cluster is also the proud achiever of Shilpa
Guru Award, which is the most momentous award for Indian Craftsperson. Due
to these recognitions and the various other programs of the government, the
cluster is gradually getting recognized in the contemporary craft design sector.
The artisans of this cluster are skilled in hand painting or kalamkari, hand block
printing and natural dyes.
In the past few years with the exposure to fairs and exhibitions, they have been
able to improve the quality of products. Gradually, some of the artisans have
started supplying to designers or traders in other cities and are trying to reach
out of the limitations of just the rural or local market.
There is quite a lot of potential of the cluster to develop under proper

supervision and guidance. Appropriate study and then working on
development of the cluster will help it in being promoted as one of the most
successive craft cluster development projects. The cluster not only is rich in its
cultural and historical heritage but also has very promising economical future.
Hand block printing, Kalamkari and Natural dyed products, all play a very
significant role in todays contemporary design scenario. Individually each
craft form has been attracting a lot of attention and business. Progress prospect
of the cluster is quite remarkable, the craft forms can be nurtured to blend in
harmoniously yet giving each other its due importance. This blend can become
the ‘Brand Identity’ and the USP of this cluster.
According to the surveys and studies it is quite prominent that hand block
printing stands at a very imperative position in Indian Export Economy.
Almost 20-25 years back hand block printing and the artisans involved faced a
crisis as other mediums like screen printing were taking over but recently it is
being noted that the trend of hand block prints is taking over the national and
international market. Connoisseurs are very careful and alert about the
distinctiveness of hand block printing and screen printing. They are ready to
pay reasonable amount for the original craft form. Along with this another
93
ANALYTICAL STUDY
2007-2008
positive aspect is the increasing awareness of natural products. In the past,

with the introduction of chemical, synthetic dyes the entire inclination of
natural dyes almost disappeared form the market. But, fortunately with time
as the harmful affects of synthetic dyes came forward, textile market once
again has turned towards the eco friendly, ecological natural dyes. Usage of
natural products is once more gaining a high status and importance in the
fashion as well as economic world. The final and the most important aspect of
this cluster is the inclusion of kalamkari craft. Kalamkari as a textile medium
has always been getting importance in South India. Gujarat kalamkari, though
as ancient a technique never got prevalence in the society, hence the motifs,
patterns, designs, compositions formats, ornamentations etc has remained
unexplored. Developing products which mirrors the individuality of the craft
form will create a unique brand identity.
All of these aspects blended together will bring in lot of potentiality in creating
a varied range of products and reaching all segments of markets.
The cluster is centrally located in Ahmedabad city, of Gujarat State. Its location
gives it an added advantage to the skills of the artisans. Accessibility to raw
materials is very convenient as the city has 3-4 major wholesale fabric markets.
Traders and dealers of almost all, major fabric manufacturing states like South
India, Maharashtra, Bihar etc are present in the markets. Beside that the city
also has an access to all the craft and handloom emporiums of all the state.
This is going to be very helpful in creating unifying fabric of other states with
the craft forms of Gujarat. The state also provides lot of scope for
infrastructural development. Beside these points another prospective aspect is
the location of various design schools, research institute and management
organizations. Institutes like NID, NIFT, EDI, IIM, ATIRA etc can be potential
Institutional linkages. Ahmedabad being a major business city will help being
a great marketing platform for the cluster.
Development of the cluster will in turn help the city in reviving a traditional,
cultural and historical heritage. Besides taking care of preserving history it
will maintain being part of the city’s living heritage and also provide a lot of
employment
The cluster will aim mainly the luxury and the mainstream market. On one
hand where it is necessary to supply good quality products to the high end
market, it is also very important to aim to make it accessible to the mainstream
market.
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ANALYTICAL STUDY
2007-2008
A. SWOT analysis of the cluster and their implications

The analysis has been done keeping in mind the historical, geographical, social
and economic issues. The following chart lists the SWOT components and
their implications. These are likely points of intervention and the basis of a
long run strategy-
> Strengths of the Cluster

Strength Implications
The clusters historical lineage and the Renewed interest in traditional arts
fact that it’s a traditional art and textile forms has generated resurgence in
form. Pachedi painting.
The natural dyes used make it an eco Strengthens the eco friendly textile
friendly textile form. form.
Natural dyeing medium permits the Strengthens the eco friendly textile
use of only natural fabrics. form.
The artisans are skilled in textile paint- Enables product diversification and
ing and hand block printing. value addition.
Hand painting makes it an exclusive

medium and therefore a limited print Ideal for the haute couture market.
run is possible.
Younger generation willing to be ap-

Will prevent the craft from
prenticed into this trade, work load
languishing.
permitting.
Unique motifs linked to nature and not

found in any other textile form in the This uniqueness makes it valuable.
country.
Some motifs serve twin purposes of Further widens the market base.
religion and the contemporary market.
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ANALYTICAL STUDY
2007-2008
> Weaknesses of the Cluster
Weakness Implications
Lack of infrastructural facilities. Is a hurdle to manufacturing process.

Lack of running water necessary for Affecting the quality of the end
the treatment of the fabric. product.
Industrial and chemical pollution of Affecting the quality of the end

the available water source. product and may lead to skin disease.
Absence of social security. Encourages captive buying by middle

men and leads to distress selling.
Unsystematic process of dyeing Creates a bad product image.

adopted by some artisans.
Deteriorating quality of blocks. Create sub standard linear work which

affects the finished product.
Lack of cooperative stimulus in the Loss of Gov & semi Gov funding.
cluster.
Lack of group storage facility for raw Cost of production goes higher and
materials and finished products. rate of rejects in the end product is
high.
Dearth of capital investment. Sub standard raw materials, out

dated blocks & the inability to comply
with new requirements.
The cluster is not well linked to global Poor domestic sales and no overseas
markets and fashion dynamics. exposure.
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ANALYTICAL STUDY
2007-2008
> Opportunities for the Cluster

Opportunities Implications
Can be packaged as the only kalamkari Promotes the exclusivity of the textile
medium in Western India. form.
Use of natural fabric & dyes make it Promoting niche sale.

ideal for an ecologically aware market.
Ideally suited to handle complicated

Traditional skill of the artisans.
design patterns or variations.
Alternative markets other than More variations leading to a larger
religious can be developed. market share.
Amenability of the artisan for Can lead to business expansion and

diversification according to market innovation.
dynamics.
Development of an export market for International acceptance of Mata-ni-
furnishings and apparel fabric. Pachedi as a textile form.
> Threats faced by the Cluster
Threats Implications
Competition from screen printing and Unable to match the competitive price
pigment dyeing. structure.
Commercial fabrics are a threat to Painters are loosing out in the long
hand painted fabrics. run.
Health hazards due to wood/cow Probability of lung disease is high.

dung based indoor fires for boiling.
97
ANALYTICAL STUDY
2007-2008
CHAPTER-15
RECCOMENDATIONS FOR THE

CLUSTER
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ANALYTICAL STUDY
2007-2008
A. Infrastructure
> A common working space benefiting the entire cluster is necessary. This
space should have
i Hygienic working conditions

ii Proper lighting
iii Source of clean water
iv Drainage facilities
v Raw Material storage space
vi Finishes material Storage space
vii Common meeting area
viii Production process made more environmental friendly
B. Raw materials
>Pooling in community resources to create a ‘raw material bank’ for total
material purchase resulting in lower costs, better quality and time
management.
>Training and exposure to usage of varieties of dyestuffs and mordants.
>Introduction to different fabrics leading to textural diversity in the finished
product.
C. Production process
>Improving the quality of the work table and alterations in the tools and
equipments related to printing.
>Containers for boiling and dyeing to be made larger.
>Introducing environmentally friendly practices for heating to replace existing
domestic fuels pollutants.1
>Designing facilities for running water and its storage with conservation
mapped in.
>Better usage of available technology and further development of the same.
In case of natural dyes alternative sources of extraction should be inolved.
1
ANNEXURE-IV
99
ANALYTICAL STUDY
2007-2008
D. Design Development
>Maintaining the traditional palette and finding ways to incorporate them in

modern product demands.
> Qualitative improvements in dyeing and printing.
>Products up gradation according to market requirements.
>Renewing traditional designs and patterns to blend with the modern concept.
>Following changing color trends in the market.
>Exploring various mordants for color variations.
>Developing product ranges for a variety of textile sub fields.
>Continuous interaction and exchange of information with designers,
researchers and textile students.
E. Marketing and Sales.
>Improved access and linkages of the cluster with the national and
international markets.
> Comprehensive marketing linkages.
>Eventual empowerment of private sector.
>Advertisement through Website.
> Product diversification and sampling.
> Participation through fairs, festivals at National and International levels.
> Group participation and introduction of buyers and students to the work
space and the cluster.
>Mata-ni-Pachedi forms an important link with Navratri being a premier
festival of Gujarat.
>Maintaining quality of the finished product.
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ANALYTICAL STUDY
2007-2008
F. Human Resource Development
>Easing of internal competition within the cluster by means of social

awareness and education.
>More coordinated training facilities and development of resource archives.
>Setting up technical training workshops for the younger generation
>Socially responsible behavior and fair trade practices should be inculcated
into the mindset of the artisan.
>Health and social needs of the cluster should be given an ongoing attention.
>Special efforts to be made to lead the cluster into quality awareness leading to
better marketing.
101
ANALYTICAL STUDY
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CHAPTER-16
CONCLUSION
This craft cluster research is LAIPs first pilot initiative. This has been carried out
to initiate a draft action plan based on this report and the market survey and
social structure study which has to be conducted. On the basis of the preliminarily
studies it has been asserted that the cluster has a fabulous growth potential if
allowed to nurture and grow and adapt itself according to LAIPs STEP action
plan. At the conclusion of further studies one can proceed further for Training,
Execution and Promotion of the craft form, in that order. Once this is in place
sustainability, longevity and permanence can finally take place and the cluster
will survive and grow on its own.
102

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ANALYTICAL STUDY

KALAMKARI & HAND BLOCK PRINTING CLUSTER

VISION STATEMENT AND OBJECTIVE

“To bring back Ahmedabads past glory as a major hand printed

This report is an example of Craft Cluster Research initiated by LAIP;

1. Study & Research

Cluster Subject Expert- Chandrakant Bhula Bhai Chitara

2 CORE CLUSTER ACTORS OF THE CRAFT FORM 10

3 SOCIO-ECONOMIC CONDITIONS OF THE ARTISANS 20

4 ARTISANS OF THE CLUSTERS 28

6 RAW MATERIALS REQUIRED 48

10 ANALYSIS OF BUSINESS SEGMENT 70

11 PROBLEMS / DRAWBACKS FACED BY ARTISANS 82

14 RECCOMENDATIONS FOR THE CLUSTER 96

1. History of Kalamkari in Gujarat

Mata-ni-Pachedi are ritualistic Temple Hangings of

The unique feature of these temple hangings was that instead

As the Wagharis settled, albeit on the outskirts of towns and villages

A Pachedi is always a rectangular piece of fabric as opposed to a

Apart from Ahmedabad settlements of Chitaras are also found in

The group of artisans residing at Ahmedabad were originally from

2. Map of Kalamkari Clusters in Gujarat

3. Clusters of Kalamkari Artisans in Gujarat

Name of the Number of

1 Vasna Cluster Ahmedabad Ahmedabad 30

2 Mirzapur Ahmedabad Ahmedabad 15

4 Goral Goral village Kheda 9

Though Mata-ni-Pachedi/Kalamkari artisans exist all over Gujarat, this diagnostic

i. Revitalizing this cluster would be part of Ahmedabad’s Urban Heritage

4. History of Hand Block Printing in Gujarat

5. Location and Map of Ahmedabad City

CORE CLUSTER ACTORS OF THE CRAFT

i. Primary – This group is basically the practitioners or the executors of the

Figure: 1. Core Cluster Groups of Mata-ni-Pachedi Artisans

A. Kalamkari or Mata-ni-Pachedi Artists.

9. It was noted that painting is continued by artisans -

10. Problems faced by the artists.

B. Printers Belonging to the Same Cluster

12. Problems faced by the printers-

1. The job of applying the mordant after

4. Problems faced by the color appliers-

5. Problems faced by the dyers-

1. Most of the painters or the printers wash the products themselves.

5. Problems faced by the washers-

Problems faced by the Block Makers

H. Raw Material Suppliers.

1. The biggest advantage of the artisans in

FABRIC DYE UTENSIL BLOCK

Figure 2. Cluster Map of Kalamkari / Mata-ni-Pachedi Artisans

Figure 3. Socio-Economic Segments of Kalamkari/ Mata-ni-Pachedi Artisans

i. The marginal workers are constantly trying to better themselves as some

A. Socio-Economic Profile of Socially Better Off

C 1. 90% of the artisans have only primary education.

1. Monthly Income- Rs 6,000-7,000/.

Socio-Economic Profile Artisan

1. Working for 9-10 months/year. B

B. Socio-Economic Profile with Marginal Income Level