1. food and drink
2. beverages
3. non alcoholic beverages
4. coffee and tea

ASHARIKANDI CLUSTER
INTERACTIVE DESIGN RESEARCH
AND NEED ASSESSMENT SURVEY
CLUSTER LEVEL REPORT
MSME SCHEME 2011
Submitted By: Rakesh Sah
Foreword
The small and medium scale industries play a very important role in the Indian
economy as they provide employment to about 14 million persons and
contribute to 45% of the industrial production equivalent to 7% of the gross
national product. Besides, the sector generates 35% of the direct exports. One of
the mechanisms to promote SME development that has become popular the
world over is the idea of industrial clustering.
A cluster is sectorial and geographical concentration of enterprises in particular
SME, employing similar process scale of operation and producing similar
products but faced with common opportunities and threats.
MSME Definition In accordance with the provision of Micro, Small & Medium
Enterprises Development (MSMED) Act, 2006 the Micro, Small and Medium
Enterprises (MSME) are classified in two Classes
(a) Manufacturing Enterprises:
The enterprises engaged in the manufacture or production of goods pertaining
to any industry specified in the first schedule to the industries (Development
and regulation) Act, 1951). The Manufacturing Enterprise are defined in terms
of investment in Plant & Machinery.
(b) Service Enterprises.
The enterprises engaged in providing or rendering of services and are defined in
terms of investment in equipment. The limit for investment in plant and
machinery/equipment for manufacturing/service enterprises, as notified,vide
S.O. 1642(E) dtd.29-09-2006 are as under :
Manufacturing Sector
Enterprises Investment in plant & machinery
Micro Enterprises Does not exceed twenty five lakh rupees
Small Enterprises More than twenty five lakh rupees but does not exceed five
crore rupees
Medium Enterprises More than five crore rupees but does not exceed ten
crore rupees
Service Sector
Enterprises Investment in equipments
Micro Enterprises Does not exceed ten lakh rupees
Small Enterprises More than ten lakh rupees but does not exceed two crore
rupees
Medium Enterprises More than two crore rupees but does not exceed five
core rupees
Microfinance Scenario
Indian MFIs are true to their mission of serving the poor strata of society. A
stable 8 out of 10 clients have been provided loans sized less than Rs.
10,000.
The loan segment between Rs. 5,000 and Rs. 10,000 has been growing
strongest. This can be explained by two impulses: On one hand,
microfinance customers mature to bigger loans over the loan cycles. On the
other hand, urban microfinance starts with comparatively bigger loans than
rural finance.
In terms of outreach, the microfinance sector has reached 33 million clients.
However, the potential is over 100 million clients as against the estimated
potential of microfinance demand of Rs. 2 lacs crores (Intellecap 2009), the
sector has reached only Rs. 24,000 crores in 2009-2010.
There is need for expand the current portfolio by the factor of around 10 to
realize the estimated potential. This requires continuous flow of on-lending
financial resources into the sector.
Acknowledgment
Special thanks to “IIE, Guwahati” Director/Chief Executive Officers and its entire team to organize the 'Design Clinic
Scheme Programme' and shown their trust over me to accomplished the program, taking me as consulting design
resource.
I would also thanks “Design Clinic Scheme; National Institute Of Design”, who has given me an opportunities to
accumulate a intensive report after realizing my strength, potential and past experience.
I would also like to thanks Miss. Sukanya B Saikia(Co-ordinator DCS North east), Surajit Dutta and Rupankar Kakati
from IIE,Guwahati, Devdas Paul from Asharikandi cluster and each individual unit member who has given me their
great support during the design audit. Where, without their kind involvement & assistance I was unable to understand
cluster background & their present status. Thus I come up with such informative, structural, analytical and design
intervention opportunities.
CONTENTS
Introduction- Assam
(Demographics, Religion, Language, Culture, Arts & Craft, How to reach Assam)
Introduction- Dhubri
(Demographics, Transport, Places)
Introduction- Asharikandi
(Demographics, History, Cluster overview)
Existing Products
Contemporary terracotta products available in domestic and export market
Present Status and availability of infrastructure facilities in the cluster
Process and Raw materials
Tools and Equipments
The Process
Detailed process chart followed for terracotta products with approximate time frame
Skill & Market
Packaging and Transportation
Unit visited in Asharikandi terracotta cluster
Design Audit for Cluster
Macro, Micro and Internal Environment
Scope of unconventional energy resources of the cluster
Scope for special purpose machine based on conventional energy and manual source
Spot remedial solution provided to MSME unit during the survey
SWOT Analysis
Step by step Concern Issues and Intervention Possibilities for Future Developments
vision, Development Plan and CFC
Improvement and Opportunities Area
Conclusion
References
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01
Introduction - Assam
Assam, state in northeastern India, bordered by the nations of Bhutan and Bangladesh.
Assam means "Peerless" in the ancient Ahom language. To the east by the states of
Nagaland and Manipur, to the south by the states of Mizoram and Tripura, and to the
west by Bangladesh and the states of Meghalaya and West Bengal. The capital of
Assam is Dispur.
Its zenith under King Rudra Singh (1696-1714). Internal strife brought an invasion
from Myanmar into Assam in 1817. The British eventually drove out the Myanmar
invaders and made the area part of British India in 1826. By 1842 the whole Assam
valley had come under British rule.
Assam's economy is rural and agricultural. Tea is cultivated in the hilly regions, and the
state provides much of the tea grown in India. Other significant crops include oilseeds,
peas, beans, canola (rapeseed), sugarcane, and fruits.
Major industrial towns are Guwahati, Dimapur, Jorhat, Dibrugarh and Tezpur.
Area 30,285 square miles (78,438 square km). Population: (1991) 22,414,322.
Administrative Data
Establishment: 15th of August 1947
Legislature (seats): Unicameral (126)
Capital: Dispur
Largest city: Guwahati
Districts: 27 Official
language(s): Assamese, Bodo, Karbi
Geographical data
Population Density: 396.8/km² (2011 census) Area: 78,438 km²
State Boundaries:
East : Arunachal Pradesh, Nagaland and Manipur
West :West Bengal and Meghalaya
North:Arunachal Pradesh
South:Nagaland, Manipur, Mizoram, Meghalaya and Tripura
International Boundary:
North:Bhutan
West:Bangladesh
Geographic Coordinates:
Latitude:24° to 28° North
Longitude:90° to 96° East
Assam
02
Time zone: IST Forest Cover: 35.48 %
Religion
Statistical Data
Total Population (2011 census): 31,169,272
Male - 15,954,927, Female - 15,214,345
According to the 2001 census, there are 17,296,455 Hindus, 8,240,611
Muslims, 986,589 Christians, 22,519 Sikhs, 51,029 Buddhists, 23,957
Jains and 22,999 belonging to other religious communities. The latter
includes Animism (Khamti, Phake, Aiton etc. communities)
Literacy rate (2011 census): 73.18% Male 78.81% Female 67.27%
Sex Ratio (Male:Female): 1000 : 954
Demographics
Total population of Assam was 26.66 million with 4.91 million households in
2001.Higher population concentration was recorded in the districts of
Kamrup, Nagaon, Sonitpur, Barpeta, Dhubri, Darang and Cachar. Assam's
population was estimated at 28.67 million in 2006 and at 30.57 million by
2011, 34.18 million by 2021 and 35.60 million by 2026.In 2001, the census
recorded literacy in Assam at 63.3% with male literacy at 71.3% and female at
54.6%. Urbanization rate was recorded at 12.9%.
Growth of population in Assam has experienced a very high trajectory since
the mid-decades of the 20th century. Population grew steadily from 3.29
million in 1901 to 6.70 million in 1941, while it has increased unprecedentedly
to 14.63 million in 1971 and 22.41 million in 1991 to reach the present level.
The growth in the western and southern districts was of extreme high in
nature mostly attributable to rapid influx of population from the then East
Pakistan or Bangladesh. Assam has many ethnic groups and the People of India
project has studied 115 of these. Out of which 79 (69%) identify themselves
Template: Explanation needed regionally, 22 (19%) locally, and 3 transnationally. The earliest settlers were Austro-Asiatic, followed by TibetoBurman, Indo-Aryan speakers, and Tai–Kadai speakers. Forty-five languages
are spoken by different communities, including three major language families:
Austro-Asiatic (5), Sino-Tibetan (24) and Indo-European (12). Three Template:
Not making 45 in total!!! of the spoken languages do not fall in these families.
There is a high degree of bilingualism.
Languages
Assamese and Bodo are the major indigenous and official languages while
Bengali holds official status in the three districts in the Barak Valley and is
the second most widely spoken language of the state (27%).
Traditionally Assamese was the language of the commons (of mixed origin
– Austroasiatic, Tibeto-Burman, Prakrit) in the ancient Kamarupa and in the
medieval kingdoms of Kamatapur, Kachari, Sutiya kingdom, Borahi,
Ahom and Koch. Traces of the language is found in many poems by Luipa,
Sarahapa, etc. in Charyapada (c.7th–8th AD). Modern dialects Kamrupi,
Goalpariya, etc. are the remnant of this language. Moreover, Assamese in its
traditional form was used by the ethno-cultural groups in the region as
lingua-franca, which spread during the stronger kingdoms and was required
for needed economic integration. Localised forms of the language still exist
in Nagaland, Arunachal Pradesh. The form used in the upper Assam was
enriched by the advent of Tai-Shans in the 13th century.
Linguistically modern Assamese traces its roots to the version developed by
the American Missionaries based on the local form in practice near Sibsagar
(Siwoxagor) district. Assamese (Osomeeya) is a rich language due to its
hybrid nature with its unique characteristics of pronunciation and softness.
Assamese literature is one of the richest.
Bodo is an ancient language of Assam. Spatial distribution patterns of the
ethno-cultural groups, cultural traits and the phenomenon of naming all the
major rivers in the North East Region with Bodo-Kachari words (e.g.
Dihing, Dibru, Dihong, D/Tista, Dikrai, etc.) reveal that it was the most
important language in the ancient times. Bodo is presently spoken largely in
the Lower Assam (Bodo Territorial Council area). After years of neglect,
now Bodo language is getting attention and its literature is developing.
03
Culture
Other native languages of Tibeto-Burman origin and related to Bodo-Kachari
are DEORI Mishing, Karbi, Dimasa, Rabha, Tiwa, etc. Rajbongshi also known
as Kamatapuri/Goalpariya is also widely spoken by the people of western
Assam.
Nepali is also spoken in almost all parts of the state.There are approximately
thirty lakhs of Nepali speakers spreading over the area of all the district of
Assam. Assamese language being the main language, they are well versed in it.
Assamese language is the main medium in educational institutions but Nepali
language is also taught as a major Indian language. In Guwahati and Digboi,
many Jr. basic School and Jr. high School are Nepali medium where all the
teachers are Nepali. As a major Indian language, Nepali is included by Assam
State Secondary Board, Assam Higher Secondary Council and Gauhati
University in their HSCL, higher secondary and graduation level respectively,
in some jr. basic and higher secondary schools and colleges, Nepali teachers and
lecturers are also appointed. In these institutions, Nepali and literature are
taught.
Assam is the meeting ground of diverse cultures. The people of the
enchanting state of Assam is an intermixture of various racial stocks such as
Mongoloid, Indo-Burmese, Indo-Iranian and Aryan. The Assamese culture
is a rich and exotic tapestry of all these races evolved through a long
assimilative process. The natives of the state of Assam are known as
"Asomiya" (Assamese), which is also the state language of Assam.
The state has a large number of tribes, each unique in its tradition, culture,
dresse and exotic way of life. Diverse tribes like Bodo, Kachari, Karbi,
Miri, Mishimi, Rabha, etc co-exist in Assam, most tribes have their own
languages though Assamese is the principal language of the state.
There are smaller groups of people speaking Tai-Phake, Tai-Aiton, Tai-Khamti,
Tai-Khamyang etc., some of the Tai languages. The Tai-Ahom language
(brought by Sukaphaa and his followers), which is no more a spoken language
today is getting attentions for research after centuries long care and preservation
by the Bailungs (traditional priests). There are also small groups of people
speaking Manipuri, Khasi, Garo, Hmar, Kuki, Zeme Naga etc. in different parts.
Bengali is the official language in Barak Valley and the widely spoken language
there is Sylheti, a dialect of Bengali. Bengali is also largely spoken in the
western districts of Dhubri, Barpeta and Goalpara.Santali or Santhali is also
spoken widely by the tribal population in the tea garden districts of Assam. these
people who were initially brought as tea estate labourers by the British to Assam
have now made it their home state.
Bishnupriya Manipuri language is also spoken by a small minority of people in
Barak Valley.
A majority of the Assamese is the Vaishnavas (a sect of Hinduism). The
Vaishnavas do not believe in idol worshiping and perform Namkirtana
where the glory of Lord Vishnu is recited.
The two important cultural and religious institutions that influence the
cultural fabric of Assam: the Satras, the site of religious and cultural
practice which have been in existence for over 400 years and and the
Naamghar, the house of prayers.
04
Culture
Villagers generally associate on the basis of membership of a local center of
devotional worship called "Naamghar". Villages are usually made up of
families from a number of distinct castes. In Assam, the caste system, although
it exists, is not as prominent as in other parts of India.
Other religions such as Buddhism, Christianity, Hinduism, Islam etc. are also
practiced in Assam. The national festival of Assam is the Bihu which is
celebrated in three parts during a year with great pomp and grandeur by all
Assamese, irrespective of caste, creed or religion.
Bengali-speaking Hindus and Muslims represent the largest minorities,
followed by Nepalis and populations from neighboring regions of India.
The most important social and cultural celebrations are the three Bihu festivals
observed with great enthusiasm irrespective of caste, creed and religious
affinity.
From time immemorial, the people of Assam have traditionally been
craftsmen. Artists, sculptors, masons, weavers, spinners, potters, goldsmiths,
artisans of ivory, wood, bamboo, cane and hide have flourished in Assam
from ancient times.
a red border on three sides and red woven motifs on the fourth (in addition to
red, other colors are also used) is put to many uses. It is used as a towel, as a
waistcloth or a loincloth; a Bihu dancer wraps it around the head in a knot, it
is also hung around the neck at the prayer hall and thrown over the shoulder
to signify social status or respect. Gamochas, also known as bihuwaans, are
offered during Bihu as a token of love.Significantly the gamocha is used
equally by all, irrespective of religious and ethnic backgrounds.
Arts and crafts
The people of Assam have traditionally been craftsmen from time
immemorial. Though Assam is mostly known for its exquisite silks and the
bamboo and cane products, several other crafts are also made here.
Different regions of Assam are known for their different forms of art and
handicrafts.
Weaving is one traditional craft that every Assamese woman takes pride in.
The Assamese women produce silk and cotton clothes of exquisite designs in
their looms. Assam is renowned for its exquisite silks namely Eri, Pat and
the world famous Muga silk. Gandhiji complimented the Assamese weavers
as artists who could weave dreams in their looms.
The Gamocha is one of the most easily
recognizable cultural symbols of the
Assamese people besides the tamol-paan
(areca nut & betel leaf) which is an integral
part of almost all socio-religious
ceremonies.
The Gamocha, a white rectangular piece
of cotton hand woven cloth with primarily
Cane and Bamboo
Cane and bamboo have remained inseparable parts of life in Assam. Grown
in abundance here and hence most of the household articles in the homes of
Assamese are made of cane and bamboo. They happen to be the two most
commonly-used items in daily life,ranging from household implements to
construction of dwelling houses to furniture to weaving accessories to
musical instruments.
05
Arts and crafts
Sarthebari, are engaged in producing traditional bell-metal and brass
articles. They have also used their innovative skills to design modern day
articles to compete with the changing times.
Gold, silver and copper too form a part of traditional metal craft in Assam
and the State Museum in Guwahati has a rich collection of items made of
these metals. Gold however is now used only for ornaments.
Handlooms
The Jappi, the traditional sunshade continues to be the most prestigious of
bamboo items of the state, and it has been in use since the days when the great
Chinese traveller Hiuen Tsang came to Assam that visitors are welcomed with a
jaapi.
Bell-meta
Bell-metal and brass have been the
most commonly used metals for the
Assamese artisan. Traditional
utensils and fancy articles designed
by these artisans are found in every
Assamese household. The Xorai
and bota have in use for centuries, to
offer betel-nut and paan while
welcoming distinguished guests.
The entire population of two
townships near Guwahati - Hajo and
Assam's silk fabrics have earned immense recognition from all over the
world. The state is the home of several types of silks, the most prominent
and prestigious being muga, the golden silk exclusive to this state. Muga
apart, there is paat, as also eri, the latter being used in manufacture of warm
clothes for winter. Of a naturally rich golden colour, muga is the finest of
India's wild silks. It is produced only in Assam. The women of Assam
weave fairy tales in their looms. In earlier times, te skill to weave was the
primary qualification of a young girl for her eligibility for marriage.
06
Arts and crafts
This perhaps explains why Assam has the largest concentration of handlooms
and weavers in India. One of the world's finest artistic traditions finds
expression in their exquisitely woven 'Eri', 'Muga' and 'Pat' fabrics. The
traditional handloom silks still hold their own in world markets They score over
factory-made silks in the richness of their textures and designs, in their
individuality, character and classic beauty. No two hand woven silks are exactly
alike. Personality of the weaver, her hereditary skill, her innate sense of colour
and balance all help to create a unique product.
Today, India exports a wide variety of silks to western Europe and the United
States, especially as exclusive furnishing fabrics. Boutiques and fashion houses
designers and interior decorators have the advantage of getting custom-woven
fabrics in the designs, weaves and colours of their choice. A service that ensures
an exclusive product not easily repeatable by competitors. The Tribals on the
other hand have a wide variety of colourful costumes, some of which have
earned International repute through the export market.
Weaving in Assam is so replete with artistic sensibility and so intimately
linked to folk life that Gandhiji, during his famous tour to promote khadi
and swadeshi, was so moved that he remarked : "Assamese women weave
fairy tales in their clothes!”
Toys
The toys of Assam can be broadly classified under four heads (i) clay toys
(ii) pith (iii) wooden and bamboo toys (iv) cloth and cloth-and-mud toys.
While the human figure, especially dolls, brides and grooms, is the most
common theme of all kinds of toys, a variety of animals forms have also
dominated the clay-toys scene of Assam. Clay traditionally made by the
Kumar and Hira communities, have often depicted different animals too,
while gods, goddesses and other mythological figures also find importance
in the work of traditional artist.
Pith or Indian cork has also been used for toy-making since centuries in
Assam.
Such toys are chiefly made in the Goalpara region and they include figures
of gods, animals and birds, the last of which again dominate the over-all
output. Wood and bamboo on the other hand have been in use for making
toys for several centuries, and like the other mediums, come as birds,
animals and human figures.
07
Arts and crafts
Toys of cloth as also with a mixture of cloth and mud too have constituted part
of the rich Assamese toy-making tradition. While the art of making cloth toys
have been traditionally handed down from mother to daughter in every
household, the cloth-and-mud toys are generally used for puppet theatres.
Among the household toys, the bride and the groom are the most common
characters, while the other varieties have animals and mythological characters
as the plays demand.
Wood Craft
Pottery
Assam has always remained one of the most forest-covered states of the
country, and the variety of wood and timber available here have formed a
part of the people's culture and economy.
Pottery is probably as old as human civilisation itself. In Assam, pottery can be
traced back to many centuries. The Kumars and Hiras are two traditional potter
communities of Assam and while the Kumars use the wheel to produce his pots,
the Hiras are probably the only potters in the world who do not use the wheel at
all. Again, among the Hiras, only the womenfolk are engaged in pottery work,
while their men help them in procuring the raw materials and selling the wares.
The most commonly-used pottery products include earthen pots and pitchers,
plates, incense-stick holders, earthen lamps etc, while modern-day decorative
have also found place in their latest
An Assamese can identify the timber by touching it even in darkness, and
can produce a series of items from it. While decorative panels in the royal
Ahom palaces of the past and the 600-years old satras or Vaishnative
monasteries are intricately carved on wood, a special class of people who
excelled in wood carving came to be known as Khanikar, a surname
proudly passed down from generation to generation.
The various articles in a satra and naam-ghar(place of worship) are stiff cut
on wood, depicting the guru asana (pedestal of the lords), apart from
various kinds of birds and animals figuring in mythology.
Modern-day Khanikar have taken to producing articles of commercial
values, including figures of one-horned rhino and replicas of the worldfamous Kamakhya temple - two items heading the list of demands of a
visitor from outside.
08
Arts and crafts
Wooden Mask
With tribal art and folk elements from the base of Assamese culture, masks have
found an important place in the cultural activities of the people. Masks have
been widely used in folk theatres and bhaonas with the materials ranging from
terracotta to pith to metal, bamboo and wood.
Similarly, among the tribal's too, the use of masks is varied and widespread,
especially in their colorful dances which again revolve chiefly around their
typical tribal myth and folklore. Such traditional masks have of late found their
way to the modern-day drawing rooms as decorative items and wall-hangings,
thus providing self-employment opportunities to those who have been
traditionally making them.
Jewellery
Gold has always constituted the most-used metal for
jewellery in Assam, while the use of silver and other
metals too have been there for centuries.In the old
days, gold was locally available, flowing down
several Himalayan rivers, of which Subansiri is the
most important.
. In fact, a particular tribe of people, the Sonowal Kacharis were engaged
only for gold-washing in these rivers.Jorhat in Upper Assam is one place
where the traditional Assamese form of manufacture of jewellery is still in
vogue, and people flock to Jorhat to get the exquisite Assamese jewellery.
Assamese jewellery include the doog-doogi, loka-paro, bana, gaam-kharu,
gal-pata, jon-biri, dhol-biri and keru, all of which have also encouraged the
modern jewellers to producing similiar designs mechanically.
09
Arts and crafts
Terracotta
How to reach Assam
Assam, the gateway to the northeast is well connected with the rest of India
by air, rail and road.
By Flight
The Lokapriya Gopinath Bordoloi International Airport at Guwahati is 18
km from the city centre and is well connected to most of the metros in the
country.
There are regular flights to Guwahati running all year long on daily basis.
Terracotta as a medium has dominated the handicraft scene of Assam since
time immemorial. The tradition itself has been handed down from the
generation to generation without break. Today we have the descendent of such
families engaged in improvised terracotta versions of various common figures
of gods and goddesses to mythological characters, while toys, vases, etc have
also found a new life.
Traditional Paintings
The tradition of paintings in Assam
can be traced back to several centuries
in the past. Ahom palaces and satras
and naam-ghar etc still abound in
brightly-coloured paintings depicting
various stories and events from
history and mythology. In fact, the
motifs and designs contained in
Chitra-Bhagavata have come to
become a traditional style for
Assamese painters of the later period,
and are still in practice today.
All the major carriers of the country like Air India, Jet Airways, Kingfisher
Red, SpiceJet, Go Air Business, JetLite and IndiGo airlines connect
Guwahati to most of the major cities of India.
Druk Air also operates an international weekly flight between Bangkok and
Guwahati.
Most of the carriers also operate flights connecting the other towns of
Assam like Jorhat, Dibrugarh, Tezpur, North Lakhimpur and Silchar to
Guwahati and to the other major cities in India.
By Rail
Assam has a convenient railway network connecting the state to the rest of
the country. There are train services from Kolkata, New Delhi, Mumbai,
Chennai, Bangalore, Cochin and Trivandrum. B.G. line connection is up to
Dibrugarh and M.G. line with Haflong and Silchar.
By Road
A network of National Highways and other roads connect Guwahati with
all the important places of Assam and India.
It is the connector city of NH - 31, 37 and 40 with the other cities of India by
road.
10
Dhubri District At a Glance
The Gateway of Western Assam
Dhubri Map
Dhubri District - the gateway of western Assam happened to be in the past a
meeting place of different racial groups which mingled together and formed a
unique Cultural Heritage and Historical Background. The growth of blended
culture in this region particularly in case of Language, Art and Religion is due to
continuous process of assimilation of various races, caste & creed of local
people, invaders & migrated people. Dhubri District is bounded both by interstate and international border i.e. West Bengal and Bangladesh in the west,
Goalpara and Bogaigoan district of Assam and Garo Hills district of Meghalaya
in the east, Kokrajhar district in the north, Bangladesh and state of Meghalaya in
the south. Covering an area of 2,838 Sq. Kms. including forests, reveries, hills
etc. the district has become the most densely populated district in India with a
density of 584 persons per Sq. Km.(As per 2001 census).
Dhubri district is primarily dependent on agriculture and forest products. Main
source of income is paddy with surplus production than its requirement Jute and
mustard seed occupy the major share of cash crops. From forest mainly timber
and bamboo add to the income though boulder and sand also available. Fish,
milk, meat and egg have small contribution to the economy. Land revenue
collection is very small in amount whereas excise duty occupies a lion's share of
the Govt. exchequer.
Geography
Dhubri district occupies an area of 2,838 square kilometres (1,096 sq
mi).Dhubri District is bounded both by interstate and international borders:
West Bengal and Bangladesh in the west; Goalpara and Bogaigoan district of
Assam and Garo Hills district of Meghalaya in the east; Kokrajhar district in the
north; and Bangladesh and state of Meghalaya in the south.
Economy
Dhubri District is primarily dependent on agricultural and forest products. The
main source of income is paddy (both winter and autumn) with surplus
production. Jute and mustard seed occupy the major share of cash crops. Wheat,
maize, pulses and sugar cane are also grown moderately. From forest, mainly
timber and bamboo add to the income, though boulders and sand are also
available. Fish, milk, meat, and eggs have small contribution to the
economy.Currently three tea gardens, whose contribution to the district
economy is almost negligible, cover an area of 1362.33 hectares. Land
revenue collection is minimal, whereas tax from check gates and excise
duty occupy much of the government exchequer. Devoid of major
industrial production, the district uses more funds for administration,
development, and welfare works than it provides.
11
Its rich natural wealth is yet to be explored and some believe that proper
utilization of natural resources could provide a boost for the struggling
economy.
Some important production and earnings are given below:
·
Rice Production: 15,000 Tones (Approx)
Chandardinga, Boukuamari, Boropahar, Chakrasila, etc.
All these are situated in the north eastern part of the district. Mighty river
Brahmaputra is flowing through this district from east to west with its
tributaries like Champabati, Gourang, Gadadhar, Gangadhar, Tipkai,
Sankosh, Silai, Jinjiram, etc. The average annual rainfall of the district is
2,916 mm.
·
Forest Revenue: Rs. 40,00000.00 (Approx)
·
Excise Revenue: Rs. 1,70,80,742.00 (2000–2001)
Transport
·
Sales Tax Revenue: Rs. 10,13,36,902.00 (2000–2001
Demographics
Dhubri has an airport at Rupshi which is about 23 km away from the town.
It was constructed during World War II by the British Govt. mainly for
military purpose.
Till 1983, the Indian Airlines and some private commercial flights operated
regularly between Calcutta, Guwahati and Dhubri.
According to the 2011 census Dhubri district has a population of
1,948,632,roughly equal to the nation of Lesotho or the US state of West
Virginia.[8] This gives it a ranking of 240th in India (out of a total of 640).The
district has a population density of 1,171 inhabitants per square kilometer
(3,030 /sq mi) .Its population growth rate over the decade 2001-2011 was 24.4
%.Dhubri has a sex ratio of 952 females for every 1000 males, and a literacy
rate of 59.36 %.
The town had a very busy river port on the bank of the Brahmaputra which
was used as an international trade centre with the neighboring countries,
especially in British era. At present, this port is lying idle.
The largest religious group in the district are the Muslims, with 1,216,455
(74.29%)followers, while Hindus and Christians constitute 405,065 and
12,477 inhabitants respectively.
The importance of the Railway station and the MG line was also decreased
since 1947, when the direct line to Calcutta was snapped as it ran through
erstwhile East Pakistan (now Bangladesh).
The district has become one of the most densely populated district in India with
a density of 584 persons per km2.(As per 2001 census report) which is second
highest in Assam after Nagaon district. The literacy rate is 48.21% of which
male 55.91% and female 40.04%. Bengali is the most widely spoken language,
although Assamese is the official language.
However the train facilities are running from Dhubri taking a new root from
Dhubri to Guwahati Kamakhya station. The train has newly started on 2010
again, and it is functioning smoothly.
The district is located on the globe between 89.42 to 90.12 degree east
longitude and 26.22 to 25.28 degree north latitude and situated at 30 meters
above the sea level on an average. General topography of Dhubri district is
plain with patches of small hillocks like Tokorabandha, Dudhnath,
Now it is totally closed. However, recently the ministry of DONER, GOI,
has taken some initiative to renovate and functionalize the airport.
By Road from Guwahati - By boarding the Omni Buses at Guwahati, which
are plying between Guwahati and Dhubri regularly, one can reach Dhubri.
It is a six hours journey. Buses are available for day & night. Buses for
Dhubri are also available from Siliguri (West Bengal). It takes about 5-1/2
hours.
12
Guru Dwara
Places of Interest
The main places of interest in Dhubri district include Gurdwara Sri Guru Tegh
Bahadur Sahib, Mahamaya Dham, Rangamati or Panbari Mosque, the oldest
mosque in entire northeast region of India,Chakrashila Wildlife Sanctuary,
Florican Garden and Panchpeer Dargah.
This place is famous for the Sikh Gurdwara namely Gurdwara Damdama Sahib
or Thara Sahib which was constructed in memory of visit of First Sikh Guru
Nanak Dev and later it was followed by visit of Ninth guru, Guru Tegh Bahadur
and the Gurdwara is named as Gurdwara Sri Guru Tegh Bahadur Sahib. Hence,
it has great importance for Sikh community.
Major Tribes - 1 Rabha , 2 Bodo, 3 Hajong , 4 Garo
Major Language spoken - 1 Assamese 2 Goalparia ( Deshi) 3 Rajbongshi 4
Bengali
13
Asharikandi
In the Dhubri district of Assam the terracotta activity is practiced widely in the
village of Asharikandi. The people of this village are practicing terracotta down
through several generations. Here it is seen that every household of the village
are fully involved in terracotta activity and has taken it as the primary means of
livelihood.
Map of Asharikandi
The practice of terracotta in Asharikandi presents a unique case where both
pottery and terracotta are practiced in traditional way for which Asharikandi is
known as Terracotta craft village.
Geography and Transport
Asharikandi is located 14 km away from Dhubri, 3 km from Gauripur and 1 km
from NH-31 under the Devitola Block. It comprises of five villages that is
Madaikhali, Palpara, Baganpara, Bogurapara and Sikasipara.
The terracotta craft is practiced only in the Madaikhali village. The nearest
broad gauge railway station from Asharikandi is New Coochbehar in West
Bengal.
The nearest big cities are Guwahati in Assam, Coochbehar and Siliguri in West
Bengal.
Demographic analysis
The Assam State transport services and private transport services ply through
the NH 31 and cater to the transportation needs of the area.
The cluster is located in the Dhubri district of Assam which is 270 km from
Dispur which is the capital of Assam and through which he national highway 31
runs.
Asharikandi comprises of five villages that is Madaikhali, Palpara,
Baganpara, Bogurapara and Sikasipara. The terracotta craft is practiced
only in the Madaikhali village which comprises of 137 household units
covering 500 artisans of which 195 are male and 305 are female.
14
History of Terracotta
The term terracotta is derived from the words 'Terra' and 'Cotta'. 'Terra' means
earth and 'Cotta' means baked. Both the words are of Latin and Italian origin. An
object of art made of a composition of clay and sand and baked with earthen
color, a brownish red, is terracotta. Terracotta is one of the oldest craft that
human beings ever introduced on Earth.
It was once considered to be poor man's craft, but in due course of time it has
made its ascent and occupied a distinct identity among all classes of people by
its aesthetic value.
The countries famous for Terracotta practice other than India are Italy, China,
France, Japan, Iraq, Egypt, etc.
India has a rich tradition of clay crafts and pottery throughout the country.
There is hardly any Hindu festival or ritual, which is complete without the use
of earthen lamps or the diya.
The terracotta tradition is the continuation of the Indus valley traditions that
date back 5000 years. India also has an age-old tradition of clay toys and
terracotta figures.
Terracotta has been used throughout history for sculpture and pottery, as well as
bricks and roof shingles.
In India the places where terracotta and pottery are generally found are
Gorakhpur, Molela in Rajasthan, Vishnagar, Bhuj and Kutch in Gujarat,
Gwalior, Jagdalpur and Bastar in MP, Darbhanga in Bihar, Katwa and
Krishnanagar in West Bengal, Dhubri in Assam, Bargharh in Orrissa,
Khamapur in Karnataka.
History about the cluster
The study was undertaken in Madaikhali village of Asharikandi where the
practice of terracotta presents a unique case. Here the activity of terracotta
and skills involved in the practice has been passed down through several
generations.
Before the partition of India, a few potter families from erstwhile East
Bengal, at present Bangladesh, migrated to this place of Asharikandi.
It is said that the term Asharikandi derived from the combination of two
words 'Ashar' and 'Kandi'. Ashar is the third month in Assamese calendar,
and kandi (an Assamese term meaning 'shedding tears').
During rainy season heavy rainfall causes flood in this low lying area. The
villages shed tears out of misery caused by the havoc of flood.
The potters have to suffer a lot; they cannot make, dry up, burn their
products and cannot even store their products during rainy season of Ashar,
the flood prone month. The senior most villagers opined that they selected
the place due to its nearness to raw materials, cheaper transportation
facility and its strategic location.
The main raw material, hiramati (clay soil) lie in the nearby areas of
Silaipar, which is only four kilometers from the village. Owing to the
location the raw material is transported through waterways, as the village is
located just at the bank of the river Gadadhar, a tributary of river
Brahmaputra.
Earlier the needs of the Jamindar (Royal) family use of ware and utensils
were catered from this area since this potter community migrated to this
place. It is said that the activity of this craft in the village dates back more
than 100 years.
15
An overview of the cluster
Name of the Cluster
Location
Asharikandi Terracotta cluster
Asharikandi.P.O Devitola block. District: Dhubri .(Assam)
Name of the Product God / Goddess idols, Flower Vase, Portraits, Lamp
Stands, Storage Pots, Horse / Birds
Portraits , Drinking Glass, Decorative
Lamps, Wall
Hangings,Masks,
portraits etc.
Number of Villages Covered One
Raw Material Available at Romna village which is 3km from the cluster
Total Households
Artisan500
137
Number of Female Artisans
Number of Male Artisans
305
195
Number of terracotta units
137
MarketLocal market and market within the state, Trade Fairs
Support Institutions
Banks and Financial Institutions (2); Government and
Non-government Institutions (4)
Technology
Obsolete and traditional
Equipments and Tools Indigenous (traditional wheel, furnace, Kankatti (a
bamboo piece used to design the
artifacts), Knives, Kur, and Kathi.
Total Annual Sales
Rs. 45, 50,000.00 (approx) of 137 households
16
Existing Products at a glance
In Asarikandi traditional potters produced functional ware as well as
decorative items. In functional ware they make pitcher, jars, water containers,
earthen utensils, tandoor Owen, planters, flower vase, parts of tabla and
mridang (Indian musical instrument), etc. For decorative products they
produce various Idol of god and goddess, animal figures, birds, lamp stands,
toys, masks, decorative vase and wall hangings etc. These products price differ
as per the market and occasions.
Mother and child
Palki
Horse
17
Existing Products at a glance
Ganesha
Tings for Tandoor
18
Existing Products at a glance
Horse and different kind of Planters
Planters and Decorative Bowl
Tabla and Mridang
19
Contemporary terracotta products available in domestic and export market
20
Contemporary terracotta products available in domestic and export market
21
Contemporary terracotta products available in domestic and export market
22
Present Status and availability of infrastructure facilities in the
cluster ( electricity, transportation, water, communication etc.)
The Asharikandi village known as paul para which is based on the potters cast
from the tradition. The cluster have went through lots of ups and downs but the
craft still alive and at present around 137 households are engaged in terracotta
and pottery activities. They are involved in this profession throughout the year
for their livelihood therefore it's a full time activity. All the families from village
are engaged directly or indirectly with this craft.
The terracotta work is not only limited to the men but also includes the women
and children. By evolving children to the work they pass their working tradition
generation by generation. Earlier the artisans use to sell their products in the
nearby towns and villages only and now after involvement of government and
few NGO's these are also being marketed through trade fairs and sale cum
exhibitions organize by Government and NGO. But still a huge number of
families are selling their work through middle man due to lack of finance and
opportunities.
The Asharikandi village comes under Debitola Tehsil in Dhubri district, Assam.
The geographical location of the village provides it a well connection for
transportation. The village is located 14 km distance from its District Main City
Dhubri, 3 km from Gauripur and 1 km from NH-31 under the Devitola Block.
The electricity is provided by Santi self group and in future one can use this
service for development of the units and its infrastructure.
They don't have any proper system for water supply but due to low ground water
and nearby river they manage it well.
Due to the day by day technological development communication is better these
days. With help of government, NGO's, electronic and print media the cluster is
getting more attention and opportunities for the development. Village has well
functional schools till higher secondary, hospital and post office. Overall it
endow with the well platform to carry forward the development plan for the
cluster.
23
Process and raw materials
Kabish
Raw materials
Clay is the basic raw material and is available from the banks of nearby river
Silair (Silairpar Village) which is 18-20 km from Asharikandi (Madaikhali
village) from where the clay is transported by country boats. The area is a Khas
land (owned on settlement basis without any paper) and has been settled upon
by the migrants. Earlier the artisans use to procure clay by paying a small
royalty to the forest department but now the artisans have to buy clay from the
migrants @ Rs 950/- per boat and it carries approx 20,000kg clay and they
deliver the clay from the source to final place.
The clay is brought via river Gadadhar and loaded into thelas or handcart from
country boats at the Baganpara ghat (river port) close to the village. The stretch
of the road from Baganpara ghat to the Madaikhali village is sandy and prone to
getting submerged during the rainy season.
Next to clay the other raw material needed is sand which they get from the
thikaders (contractors) @ Rs 300/ thela. Red Colored clay (Kabish) from the
mountain 40 kg per bag cost Rs-150.
Further Caustic soda is also needed to remove toxic elements from the clay. For
firing the fuel is wood . Earlier, firewood was collected from the nearby
Modhatipur at nominal cost, however at present the artisans pay Rs.400 for 100
kg of firewood . Straw is also required for firing to cover the kiln and also used
in piling up the products. Straw cost Rs- 05 Per Kg.
Wood
straw
Clay
24
Tools and Equipments
The entire production process is manual and all the terracotta objects in
Asharikandi are handmade. The traditional and existing tools used in terracotta
production at Asharikandi crafts cluster are 'Kodal', Kaim', 'Boila', 'Pitna',
'Chakku' (Different types and sizes of knives), . Kaim Kathi (Three to four
varieties), 'Khota', 'Natar Kada', Fulam (Design tools), 'Scale', Wheel (For maleuse only), 'Para' 'Chatali', 'Nata' (muddy tom piece of cloth), 'Athi'. Apart from
these, traditional potter's wheel and few cast and moulds are also used
Existing Tools
Knife
Brush
Existing Tools
Kaim Kathi
Pitna
Boila
Nata
Traditional Potter’s Wheel
Khota
25
The Process
Soak the clay for two to four hours or overnight.
The Process
Clay
Kneading clay by leg for an hour or two, and leave it for some time after that
they removed stones and other impurities manually with the help of bamboo
strip.
Put clay dough on wheel and give desired shape to make product.
Some time they use other process like coiling, pinching etc. When they make
animals, big flower vases and the other products they join different parts
according to requirements.
Then live it for three four hours (it depends on weather).
On leather hard stage they apply coat of “Kabish” (a kind of slip glaze) and
burnish.
Lastly they arrange fuel and fire the products in traditional bhathi.
For decoration and other work they only use bamboo strip as a tool.
They don't have any proper tools for clay modeling.
On the same time they use straw for packaging to transport.
Soak the clay
26
The Process
Mmixing the Clay
Removed the impurities from clay
Mix the clay with water and
Kneading the clay
27
The Process
Using slab for Mould
Clay dough on the wheel and
throwing on it.
Shaping and finishing
on leather hard
Finishing
28
The Process
Decoration on leather hard
Application of Kabish
Dry the products on sunray
29
The Process
Arrange the articles for firing
firing
Products after firing
Cover the bhati for firing
30
Detailed process chart followed for terracotta products with approximate time frame
1
Crush the clay lumps
in small pieces (2-4
hours)
2
Soak the clay in the
water (for a day)
3
Mix the clay
manually (2-4 hours)
11
10
Firing (one day)
Loading the product
in the traditional kiln (
2-4 hours)
12
Unloading the kiln on the next
day of the firing.(30 minutes
to 1 hours depends on the kiln
capacity and numbers of the
products)
9
Again dry the
products in sunlight
for some time
(maximum 1 hour).
5
Throwing on wheel (depends on
the product size and complexity)
or slab on mould (5 – 30 minutes
as per the size and complexity)
8
Application of kabish/red
color clay (1-3 hours
depends on the number of
products which is going for
firing)
4
Make the lumps by
needing the clay before
work as per the need
(5-10 minutes)
7
6
Finishing the product on
leather hard ( depends on size
and numbers of the product
usually they do it for whole
day as many as possible)
Drying the products in
sunlight ( 1or half day
as per the weather)
31
Skill
Asharikandi potters are very good at hand build technique as well as wheel
work. They have traditional wheel which they run by hand and its very heavy in
weight. The potters use wheel to produce the cylindrical parts of animal & other
figures also other cylindrical products. They make some decorative and life
style products also produce utility ware on the wheel. These craftsmen use
throwing, coil ,beating and slab technique to produce their products as well as
they know how to make mold and its use. The quality of material is not very
good. Their work has unique characteristics which differentiates it from other
terracotta craft.
Market
Terracotta has a good market not only nationally but also internationally.
Unfortunately asharikandi crafts men don't have right exposure to these markets
due to lack of awareness and financial situation therefore they sell their product
mainly by using following ways1- Through local hawkers – The local hawkers mostly sell these products
in local market such as Gauripur, Dhubri, Bilasipara, Boxirhat and
Cooch Behar as well as they sell it during local mela and festivals for
example Ashok asthami and Durga puja etc.
2- Via Middle man- In asharikandi large part of selling products goes
through middle man. These middle man comes to village and place an
order and give money in advance so that they have the negotiation
power and craftsmen got trapped in their strategy therefore their
situation and social life remains same.
These middle man sell their product to domestic markets specially the
north east market such as Manipur, Dimapur, Kohima, Bondurpur,
Shillong, Tinsukhiya etc.
3- Exhibition and trade fairs – Very few craftsmen from asharikandi
goes for exhibitions and trade fairs because of their financial
situation and stuck with the completing preorder by middle man.
The few craftsmen only goes for exhibition or trade fair when they
get support from DCH or other sources otherwise it's not possible
for them to attend it.
Terracotta products sell varies throughout the year and in rainy
season it goes down as the production process got disturbed due to
the climate and overall situation of working condition on the same
time they don't have proper unit or studio to work.
Craft Fair in Guwahati
32
Packaging and Transportation
Asharikandi craftsmen don't have proper place to store the products ,they just
stack products top of each other. For packaging they don't have proper
packaging system. They use straw and plastic bag for packaging but when
they transport their products for long distance, they face higher risk of
breakage as a result it has opportunity to introduce innovative packaging
which can be also value addition to the products. For transportation to the
market they use hand cart or themselves on their shoulder or cycle or van or
truck as well as some time boats it depends on requirement and place too. In
rainy season cost of transportation goes up and highly expensive which
effects the cost of products consequently the profit goes down.
Packaging with Straw and Plastic Bag
Packaging with Straw and Plastic Bag
33
Packaging and Transportation
34
Unit Visited in Asharikandi Terracotta Cluster
Asharikandi cluster is divided in Four part which called Pada.
Unit - 01
Dhirendra nath Paul
Age- 67 Years
Devdas Paul
Age- 29 Years
Total Family members- 05,
Monthly income- Rs- 5000/- to 7000/- per month.
Best master craftsmen in asharikandi village, Had won many awards
and well known for their work. Had been invited by Indian
Government during Asian games in Assam.
Required latest equipments to cater different areas with good quality
products.
35
Unit Visited in Asharikandi Terracotta Cluster
Unit - 02
Mahadev Paul
Age- 62 Years
Rajeswari Paul
Age- 52 Years
Total family members- 04
Monthly Income- Rs-3500/- per month.
Having Issues with Raw materials, firing kiln, working unit and
potter's wheel
36
Unit Visited in Asharikandi Terracotta Cluster
Unit - 03
Jamuna Paul
Age- 38 Years
Ashwani Paul
Age- 46 Years
Total Family members- 05
Monthly Income- Rs-3000/- Per Month,
Facing production and finance problem
37
Unit Visited in Asharikandi Terracotta Cluster
Unit - 04
Aaduri Paul
Age- 51 Years
Rampada Paul
Age- 61 Years
Total family members-04
Monthly Income- Rs-5000/- to 7000/- per month.
Facing health, labor, stocking and equipment problems. As well as
need marketing, sales and logistic help.
38
Unit Visited in Asharikandi Terracotta Cluster
Unit - 05
Dilip Paul
Age- 38 Years
Anna Paul
Age- 30 Years
Total family members- 03
Monthly Income- Rs- 3500/- per month.
Finance, storing space ,Kiln and marketing help required.
39
Unit Visited in Asharikandi Terracotta Cluster
Unit - 06
Madhusudan Paul
Age- 41 Years)
Mira Paul
Age- 35 Years
Total Family members- 04
Monthly Income- 3500/- per month.
Having issues with potter's wheel, electricity and firing problem.
40
Unit Visited in Asharikandi Terracotta Cluster
Unit - 07
Meghnath Paul
Age- 31 Years
Sondharani Paul
Age- 25 Years
Total Family members- 04
Monthly Income- Rs- 4000/- per month.
Having material and production issues.
41
Unit Visited in Asharikandi Terracotta Cluster
Unit - 08
Uttam Kumar Paul
Age- 32 Years
Champa Paul
Age- 26 Years
Total family members- 04
Monthly Income- Rs- 4000/- per month.
Concern issues with kiln, production equipments, electricity and
logistics
42
Unit Visited in Asharikandi Terracotta Cluster
Unit - 09
Apporva Paul
Age- 35 Years
Lipika Paul
Age- 26 Years
Total Family members- 05
Monthly Income- Rs- 5000/- per month.
Required potter's wheel, stocking space and firing Kiln.
43
Unit Visited in Asharikandi Terracotta Cluster
Unit - 10
Shyam Paul
Age- 45 Years
Sarwasati Paul
Age- 40 Years
Total Family members- 04
Monthly Income- Rs- 4000/- per month.
Facing problem with raw materials, production, labor, marketing and
finance.
44
Unit Visited in Asharikandi Terracotta Cluster
Unit - 11
Sadhucharan Paul
Age- 46 Years
Probhati Bala Paul
Age- 40 Years
Total Family members- 05
Monthly Income- Rs- 4500/- per month.
Required basic equipments for production and firing as well as to sell
the products in the market.
45
Unit Visited in Asharikandi Terracotta Cluster
Unit - 12
Bishnu Pada Paul
Age- 49 Years
Broja Bala Paul
Age- 36 Years
Total Family members-05
Monthly Income- Rs- 6000/- per month.
Open to learn new designs, technical knowledge, requires machine,
packaging and transportation facilitate.
46
Unit Visited in Asharikandi Terracotta Cluster
Unit - 13
Nilanchal Paul
Age- 49 Years
Prabhati Paul
Age- 36 Years
Total Family members- 05
Monthly Income- Rs-4500/- per month.
Need support in terms of finance, technical and product
diversification.
47
Unit Visited in Asharikandi Terracotta Cluster
Unit - 14
Kalachand Paul
Age- 35 Years
Bharti Paul
Age- 28 Years
Total Family members- 03
Monthly Income- Rs- 3500/- per month.
Required all the basic equipments for production specially potters
wheel and firing kiln. Expert in slab work
48
Unit Visited in Asharikandi Terracotta Cluster
Unit - 15
Bimal Paul
Age- 38 Years
Minati Bala Paul
Age- 30 Years
Total Family members- 04
Monthly Income- Rs- 3000/- per month.
Need support for finance, production and technical knowledge as well
as marketing.
49
Unit Visited in Asharikandi Terracotta Cluster
Unit - 16
Amulyachandra Paul
Age- 62 Years
Tulu Rani Paul
Age- 52 Years
Total Family members- 04
Monthly Income- Rs- 5500/- per month.
Facing problem with finance, logistic and sales problems on the same
time need space for production and stocking products.
50
Unit Visited in Asharikandi Terracotta Cluster
Unit - 17
Lakhan Chandra Paul
Age- 55 Years
Toofani Paul
Age- 42 Years
Total Family members- 05
Monthly Income- Rs- 4500/- per month.
Having health and finance issues therefore it affect production.
51
Unit Visited in Asharikandi Terracotta Cluster
Unit - 18
Subhash Chandra Paul
Age- 65 Years
Mukti Rani Paul
Age- 50 Years
Total Family members-07
Monthly Income- Rs- 5500/- per month.
Facing problem with raw materials and firing kiln.
52
Unit Visited in Asharikandi Terracotta Cluster
Unit - 19
Bijoy Chandra Paul
Age- 60 Years
Archna Paul
Age- 35 Years
Total Family members- 03
Monthly Income- Rs- 3500/- per month.
Needed Raw material processing equipments, firing kiln and
alternative fuel source.
53
Unit Visited in Asharikandi Terracotta Cluster
Unit - 20
Mahadev Paul
Age- 55 Years)
Chaya Rani Paul
Age- 40 Years
Total Family members- 05
Monthly Income- Rs- 4000/- per month.
Specialized in making rings and decorative objects. Required
support for work unit ,firing kiln and storage place.
54
Unit Visited in Asharikandi Terracotta Cluster
Unit - 21
Sadhan Chandra
Paul Age- 55 Years
Batashi Bala Paul
Age- 42 Years
Total Family members- 05
Monthly Income- Rs- 4000/- per month.
Open for training to upgrade new skills and technical knowledge.
Need help to set up working unit and firing kiln.
55
Design Audit for Cluster
56
a) Existing Products, redesign, new product development and product
diversification:
Existing products:
planters, naads, ditties, jars, water containers,
animal figures, birds, toys, masks and many
more decorative items.
Redesign:
units have varieties of figurines & ditties.
New products:
units have made some sculptures & decorative.
Product development:
developed some characters, facial expression
and relief patterns.
Product diversification:
Earlier they were mainly focused on functional
ware but now they are also making decorative
products & artifacts.
- The units have strength making functional & decorative wares which can
be use to design garden wares & life style products to cater new market
segment.
- To improve the quality & finishes in the products the units need some
technical input as well as quality control process.
- The units need to create new range of products based on consumer need,
usage, behavior & life style of various communities.
- To create its own identity units need to maintain their developed characteristics
for further new products and market. Also units should intermingled its unique
characteristics & contemporary style together for future growth.
Existing Products.
57
Existing Product.
Redesign Planter.
Existing Flower Pot.
New Decorative Pot.
Redesign Existing Decorative Works.
Product Diversification.
58
b) Scope for research and development direction for future initiatives:
FUNCTIoNAl/DECoRATIvE WARE
DESIGN RESEARCH & DEvEloPmENT
TECHNICAl INPUT
URBAN & RURAl
ToolS & EqUIPmENT
CoNSUmER STUDY
RAW mATERIAl (ClAY, GlAZES &
ENGovE)
PATTERNS
GloBAl lIFE STYlE
CoNSUmER CUlTURE
CoNTEmPoRARY TRENDS
NEW RANGE oF PRoDUCTS AND
NEW mARKET AREA
c) Existing status and opportunity for visual identity, branding and communication design:
- The units do not have proper knowledge and exposer towards visual identity and branding. So there is
scope to create brand image for recognition of the unit in the market.
- The visual identity can be use for packaging and product details to attract consumer.
- Brochures and product catalogues can be introduce for B2B (business to business) B2C (business to
consumer) clients. It will be also useful during exhibitions and trade fairs for its better image.
- A brochure can be designed with better graphics, presentation and composition keeping in the mind its
identity.
FIRING TECHNIqUES & NATURAl
ENERGY RESoURCE
RECYClED WASTE mATERIAlS
SUSTAINABlE mETHoDS FoR mASS
PRoDUCTIoN (moUlD & DYE)
EFFECTIvE
PRoCESSES, qUAlITY
CoNTRol & STANDARDIZED
PRoDUCTIoN
59
d) Technology, modernization and design collaboration scope:
The following chart explains step by step all the production process and their corresponding issues and scope for intervention. The flowchart is generic and
applicable for most of the units.
Reduce impurity, quality
check, improve clay bodies
Raw material
Processing
maximize use of solar energy
Drying
Finishing
Upgrade with better finishes, applying engobe
& glazes. new effects on the products through
texture, colour & pattern can be introduced.
Redesign kiln for high temperature, reduction
& oxidation firing technique, can use natural
resource as a fuel, glaze firing techniques.
Packaging need to improve to reduce
breakage, creating identity & value
addition.
middle man, fix price to introduce
for dealers.
manual process, need equipment
& tools, improve clay mixing
technique, quality control
Improve finishing & detailing quality, better
tools & clay bodies can be developed to create
textures & surface variation, standardization
through finishing for quality control
Colour
loading into the kiln
Damage during loading, various size of products
Firing
Unloading
Packaging
Transportation
Dealers
End user
Damage during unloading, use of
trolley, stacking
Need better logistics system, internal road improvement, to reduce breakage and save time.
New product range as per market need,
trends, contemporary life style etc.
60
e) Operations and process innovation from design perspective:
- Introduce plaster moulds to increase production & fulfill the order on time
also saves time & human energy.
Better Tools to Increase
Working Efficiency.
- maximize the use of solar energy to get proper dryness of raw materials
also use of natural resources for firing.
- Better tools & material processing to control quality.
- Skill up-gradation & techniques to get the quality products.
- Use of waste materials- such as refractory in clay body, murals and surface
development.
mould and Casting Technique.
mould for Decorative Work.
61
f) Design opportunity in workstation and tooling design:
- The workstation should have proper light arrangement which will enhance
the work efficiency, product quality and working environment.
- The unit should have a proper workstation with better tools, equipment and
structure.
- The unit need a better facility and support to improve the unit, It will also
helpful for them to complete their order on time and production capacity.
- There is scope to redesigned the tools as existing tools are not up to mark
for handling and finish. And for redesigning tools it is possible to use locally
available materials such as- bamboo, wood, iron plate, wire etc.
The plaster moulds are not proper finished and also they don’t have proper
tools & equipment to make it better therefor there is possibilities to design
better plaster moulds as well as tools for it.
The existing tools are very
old and not ergonomically
convenience which slow
down
the
production
process. most of the tools
have problem to hold for
long time also it doesn’t
provide good finish.
It has not the organized
working environment.
The painters wheel is not
proper and the balance is
poor which effects their
work & quality.
It doesn’t have proper shade
which affect the work on
rainy season also insufficient
light arrangement inside the
working space.
The
workstation
is
unorganized and cluttered.
62
Dark, Unorganized and low
Height Workstation.
Balance & Rotational Problem.
Poor Handle- Needs to be
Redesign as per Use.
Tools are Kept Unorganized- Tool
Box Can be Design .
old Cart Can be Redesign for Day
to Day Work.
63
g) Details of market and competition study for design advantage and
distinction:
Competitor’s Products in the Market
- The units make functional and decorative products which has low quality,
unglazed & rough finishes.
- Enamel paints & varnish (touch wood) are used to give glossy effects which
is not durable and comes out after some times.
- The product range are traditional and monotonous; therefor there is a huge
scope to design new products according to contemporary market need.
- low temperature glazed products can be introduced which will increase
the durability of products also it’ll help to attract consumer and new market
segment.
Existing products
Competitors products in the domestic market such as:
- Glazed functional ware
- Garden ware (different kind of planters)
- New terracotta lamp.
- Products have better quality & finishes.
64
Existing Products
Competitor’s Products in the Market
- New color & forms can
be use to compete with new
market trends.
- Different texture & pattern
can be use to make products
more attractive.
- variation in wall hangings
& decorative products.
- Better finish, texture &
surface treatment.
- Use of glaze & color
engobe.
- Use of engobe, color &
glaze for better look &
durability.
- New pattern & surface
decoration technique.
- Different shape & size
variation.
65
Existing Products
- modular system.
- Glazed & unglazed.
- Nice surface treatment & good
finish.
- Different shape & size variation in
planters.
Competitor’s Products in the Market
66
Competitor’s Products in the Market
Existing Products
- Functional value should be
add in the existing figurative
products.
- Scope for incorporate utility
for different purpose.
- Scope for color & glaze to
create variation.
67
h) Study for the need of training and skill up-gradation:
- Due to the mass order the craftsman make their own moulds for production
which is not properly done. So there is a need to give them training &skill up
gradation in mould making and casting process.
- As the whole family members are engaged in production process where
only one or two members have proper skill but other lacks in it, So the end
production results vary in quality & finishes.
- The unit need training how to redesign their products also for new products
development as they are engaged in producing only traditional products.
- Due to lack of exposure & knowledge they are using only old process and
method, so there is possibilities to introduce them new techniques & process
for production & quality improvement.
old Technique, Time Consuming Process and Effects on product detailing.
Uneven Slab & mould
Poor Finishing & quality
68
i) Description of ergonomic and environment factors in MSME premise:
- The whole production process is manual, as the tools & techniques are old it creates physical
problem in long run cause many times they have to band & stand throughout the work
process.
- Taking production from mould, workspace & clay mixing space, need to be upgraded with
safety and health concerns.
- The environment of the workstation is cluttered and ergonomically not fit, also the dust comes
out during process which is unhealthy.
- There is insufficient light condition which is not suitable for the eyes. Also the working space
need to be neat & clean to increase work efficiency & to be hygiene.
- There is no provision to take care of plaster mould waste which is harmful for the
environment.
- open shade creates problems during rainy season, there for its difficult to work as well as raw
materials got affected.
- The working surfaces are not constructed well and due to the use of water in production
process makes the surface muddy.
- most of the time the members work in seating posture therefore they face problems like- back
pain & joints pain. So there is a possibilities to design on seating arrangement as well as some
tools.
Stress on Back & Joints
during Clay mixing.
Stress on Back & Shoulders
during Picking & Keeping.
69
open Space, Difficult to
Work in Rainy Season.
Insufficient light.
muddy Surface, Insufficient
light & Unorganized Space.
Stress on Back & Joints during Clay mixing.
70
j) Packaging and logistics related design opportunities:
- As they don’t have proper packaging concept so there is scope to develop packaging
for the products.
- most of the time they put products in the plastic bag or by creating net (with
rope) and dispatch it via local vehicle or hand cart which cause breakage during
transportation.
- visual identity can be create for branding, better image for the cluster and to create
awareness about the craft to the consumer.
- No proper area division for different products which took time to arrange/
shorting.
local Cart Used in local
Suply.
Products Packed Inside the
Plastic Bag.
Careless Packing Which
Caused Breakage.
71
k) Exhibition/Display design opportunities:
- The unit does not have any concept of product display, They keep products in their
house and near by places.
- many times after firing they leave the fired products near the kiln.
- As the village have rural tourism houses so there is a good opportunity to display the
products in it which will be helpful for buyer as well as attraction for rural tourism.
- As the craft has unique characters & style so, It can be displayed at art & crafts
centres as well as museum or similar place.
- only one or two craft person participate in exhibition so, They don’t have proper
support & exposure for it. Therefor government & NGo should encourage to participate
them in trade fair & exhibitions.
Unorganized & Cluttered
Display.
Products are Stalk and covered
with Plastic Near by House .
Products lying on the
Furnace.
Product Stored Inside the
Working Place.
Unorganized Display.
Products are Stored inside
the House.
72
l) Study of infrastructure setup from design perspective:
- They don’t have proper work space, most of the cases they work in
their living house.
- Need to be organized & systematic work space as they don’t have
place for storing, stalking and to display products.
- Required Precision, reduced human error by developing existing
tools & equipment.
- Possibility to introduce CFC (Common Facility Centre).
Traditional Potters Wheel.
manual Hand Cart for loading,
Unloading, to Carry Raw materials
and Products.
living and Working Place
Which is Dark & Cluttered.
Firing Space and Kiln.
Potter’s Painter Wheel.
73
m) Scope for design intervention for inter cluster communication:
- CFC (Community facility centre).
- Better cooperation and understanding between craftsman & traders can be
established.
- A trust worthy association or cooperative system can be develop to monitor
cluster.
- monthly meeting within the cluster for discussing the critical issues.
- Purchasing of quality raw material in a lot scale then its distribution within
cluster according to the placed ordered by individual unit.
74
Macro, Micro and Internal Environment
Political – Growing political
focus and pressure for health
care across the world.
Trade and tariff controls, Import
export laws. Labor law
Political- ULFA and MAOUW effects, national labor
policies, Tax and exercise duties, Rural development
policies and schemes, Role of DCH.
Economical- GDP growth decrease,
Repo rate increase,
Interest on loan got increased.
Economical- Global economy crisis.
Social- Global trends and life style.
Eco, green and organic products as
a movements.
Global
Technological- Technological innovation for research and
development to cater international market and for better
production process and unit.
Environmental- climate change policies,
Carbon credit system,
use of natural resources such as
raw material and fuel.
Legal- IPR issues, Global law,
copy of design.
Macro Environment
National
Social-Urban trends,
Effect of globalization on life style,
Cultural and traditional values and
preferences.
Technological- CGCRI for technical research, support and
help.
Environmental- Alternative policies natural gas as fuel.
Forest act & use of natural resources.
Legal- Mining rules, Loan policies and subsidies
75
Micro Environment
Internal Environment
Competitors- Internal competition due to distrust among each other,
Don't have standard price increase competition and less profit as
well as kind of product production adds on this issue.
Other sources of work and job creates work issues. Seasonal labor.
Structure - Work done by family basis, hardly any team work within
different families. Don't have proper work unit therefore production
capacity is restricted, Stacking space and packaging problem, work
place and environment not up to the mark
Intermediaries- Traders and middleman as a big threat. Have the
negotiation power, very few craftsmen dose B2C marketing that's
also only local level market.
Cash flow - financial problem , always borrowing money either
from middleman or from other financiers.
Supplier – same supplier for raw material creates kind of
monopoly and holds the negotiation power. Similar raw material
gives same kind of quality products therefore no improvement on
material quality.
Consumers- Due to contemporary life style trends and more variety
of products needed. Sells and marketing link up is desirable.
B2C selling should be increase.
Huge Energy consumption(Wood).
Employees - Labor problem. Young generation open to change
their work for better life style. Lack of marketing and management
efficiency.
Material - Use of locally available materials , not specified
and improved. Fuel and energy is big issue. No reuse or recycle of
waste material. Don't have equipment to process the material
or production.
76
Scope of unconventional energy resources of the cluster
Right now the craftsmen are using wood as the source of energy for firing
which can be replace by electric firing process by using electricity or coal or
gas which is widely available there, apart from this the natural gas can be useful
as a alternative energy source. All the above mention energy sources can be use
for the alternatives source and its possible to design firing kiln according to
chosen source.
Scope for special purpose machine based on conventional
energy and manual source.
By keeping in mind the skill and traditional working process and qualities it has
possibilities to develop machine according to need and situation. For the clay
processing one can use high dense mesh to sieve the clay and other materials.
On the place of traditional potter's wheel there is a possibility to design kick
wheel and paddle wheel. For the turning and finishing of the product one can
use locally available wood and metal to design more effective tools for the
production. So far these craftsmen are using traditional method and kiln for
firing which is responsible for energy wastage and limitation for the product
development, quality and effects it can be replace by design wooden fire kiln
for low and high temperature. It will help to do quality products and lot of
variations and effect on the ware which can be unique and create new market
for the cluster.
Spot remedial solution provided to MSME unit during the
surveyDuring the survey I observed that craftsmen are facing problem with the raw
material, its quality and plasticity so did suggested them to buy a high dense
mesh approximately 120 to 220 and sieve the clay by mixing water and store it
in a drum or tub for few days to increase plasticity and remove impurities. Later
on they can put it on plaster slab or in jute bag to dry the clay as per requirement.
For making plaster slab I have suggested them to make at least 5 to 6 inches
thick to dry the clay and for the durability of the slab.
As it is observed that they don't have proper clay modeling and turning tools
to finish the products well this also create some problem due to handling the
tools later on they face pain in their backbone, hands ,wrist and fingers so
have shown them few design which they can make it in locally available
wood and metal to solve the finishing and increase the work efficiency as
well as solve the ergonomic issues.
From the tradition they are using only traditional firing and not aware of
other style of firing due to lack of technical knowledge therefore I explain
them the other techniques such as reduction & oxidation and kiln which
they use such as gas fired kiln, coal fired kiln and electric kiln. As well as
how they can improve their product range and quality by using these
facility.
On the same time they don't understand how packaging can help to increase
the value of the product as they don't have any packaging system so I
explain them how we can add value through packaging and increase the
price to get more profit and to attract consumer.
Most of the craftsmen are trapped in middlemen's strategy and they wanted
to know how they can approach to market directly and break the trap
therefore I explain them about MSME scheme as well as the involvement of
IIE and NID to development of the cluster, all the financial help from the
government as per my knowledge on the same time I explain them about e
marketing and use of internet.
As per marketing prospective have also explain the craftsmen how we can
create & establish Asharikandi terracotta as a brand which will be helpful
for better future of the cluster. For this I suggested them to use social
networking sites as well as electronic and print media.
From the decades these craftsmen are making all traditional functional ware
and decorative products which is getting outdated when I ask them why they
don't make new products for market they said they don't know how to
approach for new areas as they don't have much market expose and
technical knowledge so I have shown them the contemporary products in
the market and the different areas which they should explore like handmade
tile, glazed earthenware, low temperature crockery, garden ware etc. as well
as about market trends and how it works.
77
SWOT Analysis
Strength
?
The craftsmen are very good at their traditional skills like throwing and
beating.
?
The artisans learn the pottery from their forefathers and they have evolved
an idiom of work which has its own identity.
?
Vast number of craftsmen are available in the village which is good for
production.
?
Easily available raw material from nearby places.
?
Whole Craftsmen family is involve in their area of work as per their
expertise.
?
The village have electricity and other required facilities.
?
This place is connected with the national highway and other mode of
transportation therefore provides great condition to grow the cluster.
?
As its very old cluster and craftsmen are in this business as a tradition so they
understand their market and its situation well.
?
The products are low priced also customization of the product is possible.
?
The craft have unique handmade characteristics in their products.
?
The village have adequate space for studio or manufacturing unit set up.
Weakness
?
The Weakness would include limited product range, limited surface finishes
and quality in the products.
?
Use of traditional equipments leads to less production and less quality also
creates the concern for ergonomically issues.
?
The craftsmen have ego and less trust on each other therefore creates
competitions for themselves which gives negotiation power to buyers which
effects their profit, therefore the livelihood and society.
?
The craftsmen are not updated with latest technology and working process.
They Don't have proper storage facility to store the raw material and fired
products which maximize the production breakage.
?
They don't have quality control system for their products.
Still using the old traditional packaging which is not up to the mark and
cause for transportation breakage. They are still making the same traditional
products which are getting out dated.
?
Production process is lengthy due to old technique and equipment.
Most of craftsmen selling their products locally or via traders therefore they
lack in making product pricing as per the market demand and supply.
?
The craftsmen are lacking of adequate knowledge of market trends and
urban life style.
?
There financial condition is not up to the mark.
?
Opportunities
?
Asharikandi terracotta as a brand needs to be developed by maintaining
their characteristics and excellent work.
?
Terracotta craft has substantial market demand and customer for its
unique value.
?
Considering the skill of artisans, environment and temperament it has
tremendous opportunity to develop the cluster.
?
Taking into consideration the unique characteristics of Asharikandi
terracotta there is possibilities of lunching new products for domestic as
well as global market.
?
Technical intervention and product diversification for sustainable
growth and contemporary market.
?
Aadvantage from the government and banks as they are providing
leverage in their finance option.
?
Number of local NGO's are working for the uplifting the condition of the
craftsmen.
?
Golokganj port is under construction (will provide route to international
markets).
?
The area attracts religious tourists and has tourism infrastructure
available
78
Threats
?
The craftsmen trapped in the traders and middlemen's strategy therefore not
getting the right value and money for their work.
?
New generation is looking for other source of income rather than their
traditional work for their livelihood.
?
Local source of raw material in disputed area (due to settlement of migrants
resulting in craftsmen needing to buy clay at exorbitant prices).
?
Wood is the basic firing material which is used by tradition can face the
environmental law in coming future.
?
The area is flood prone due to which makes the situation bad during rainy
season.
?
Due to the technological development different kind of cheap and durable
material introduced in the market.
Step by Step Concern Issues and Intervention Possibilities For
Future Development
Raw materiallow Quality & not specified, contain impurities, don't have proper storage
place, manual process to make clay body. Required equipment to process and
making clay body as well as technical help from CGCRI for clay specification
and development. Lab facility can be created
Terracotta clay,low
temperature,lot of impurities
and stored in open space.
CGCRI, Kolkata
79
Raw material processing equipments
Lab facility at CGCRI
Ball MillTo grind
materials
Pug Mill
Filter Press
80
Ergonomically designed tools
Tools
The Asharikandi craftsmen are making their own tool by using local resource
which not only lacks in quality but also effects the production and finishing of
the products, therefore good opportunity to introduce ergonomically designed
tool.
Existing tools
81
Process of making products
Different Types of Potter’s Wheel
On traditional wheel by throwing also use the beating, coil and mould
technique, quality control needs to be done also required using different
equipment to increase production and decrease physical labor.
Traditional Wheel
Electric wheel
with regulator
Painter’s Wheel -Badly manufactured
Electric Wheel
with paddle
control
Poor quality
control,Finishing
Problem
82
Kick Wheel
Painter’s Wheel
Slab Roller
Kick Wheel
83
Tiles Manufacturing machine- Manual
Tiles Manufacturing
machine - electrical
Gigger and Jolly for mass production
84
Working place
They don't have proper studio or working unit most of them either using open
bamboo shed or doing it in their home. It's too dark as they don't have good
lighting inside also don't not have enough space to store the raw products.
Working inside the house is creates lot of health issues which is a big concern for
craftsmen. Ergonomically design working unit or studio with required space
and proper light arrangements should be introduce. A good working
environment not only increase the production but also will be beneficial for
health concern.
Poor light, ventilation & congested space
Proper Working studio
Broken shed, less space and
cluttered working arrangement
85
Firing Kiln and Techniqu
Different types of kiln
All the craftsmen are using traditional open firing technique and they have
traditional low temperature kiln which destroyed easily and have limitations to
increase the temperature therefore hard to create variation in terms of clay body,
effects, glaze and surface finish. So there is a possibility to create high
temperature kiln which will gives the enormous possibility to create new and
better products also better result, production, less breakage, new techniques to
do firing as well as alternative source of energy like gas, electrics etc.
Electric Kiln
Low temperature traditional kiln,
Poor Shed & badly maintained
Gas Kiln
86
Storage Space and Packaging
They don't have any storage place where they can store their fired products so
most of the time its lie down on nearby open space. For packaging just use rice
straw and plastic bag which leads to transport breakage therefore have
opportunity to design storage room to store fired products also have possibilities
to design innovative packaging for the contemporary market and hassle free
transportation.
Products are stack up on kiln
Products are stack up in home
Safety issues with traditional packaging
Products are stored in working area
Poor packaging leads to breakage
87
Marketing
as most of them selling their products via middleman (self- in local market and
very few in fairs) so got trapped in their strategy and negotiation therefore profit
is minimum which has become a big threat for the growth of this cluster.
A marketing and sells channel is required to break this scenario also it will help
to create Asharikandi terracotta as a brand which will help to generate more
value and awareness in the market as well as demand and trust.
Their own web site and E-marketing will be also useful for future growth and
direct contacts with the craftsmen. Later on it can lead to have their own MIS
system for this cluster.
E- Marketing
88
End user
So far end users are getting all old and traditional products very few new design ,
creates kind of monotonous which affects the demand therefore it has
tremendous opportunity for the product diversification as per the market need,
trends and contemporary life style. Also as the craftsmen have great skill gives
the opportunity to look into new product areas like terracotta tiles ,garden
products and lifestyle products etc.
Mural by André Léonard
Apart from this Skill up gradation training to cope up with new technology &
technique along with design process inputs and innovation management, so that
craftsmen can come out with contemporary innovative products for the market
is needed for sustainable growth of the cluster.
A common facility center should be introduce which can be use by all craftsmen
and it will be easy to install new equipments there such as raw material
processing equipments, lab testing equipment, firing kiln, skill up gradation and
training place. It has to be build up in such a place which can be reachable by
everybody.
Terracotta tiles
Mural By Mr;Jinan
89
Vision
To re-establish and develop the cluster in such a way that in the beginning, it
provides financial security to the craftsmen and then later on creates a global
market for them.
To provide different opportunities to this cluster for a better livelihood of the
craftsmen.
To sensitize and create an awareness among the artisans, by which they can
generate ideas for new products.
Development Plans
The cluster development plan aim will be to reincarnation the existing craft and
improve the social - economical conditions of the craftsmen.
The need assessment survey of the Asharikandi Terracotta and its analysis
brings out sufficient insight into the current status of this cluster. The basic
primary issue facing by the craftsmen are a financial security and need a
sustained program of activities for their development.
Quality improvement, new product development, skill up gradation, marketing
linkages and strategies are which would need attention. A sustained
development initiative would get into new and contemporary product range,
this would fulfil market demand and market strategies would stretch the market
span.
PROPOSED COMMON FACILITY CENTER
The LocationThe location of the common facility center could be at Asharikandi where
craftsmen could have easy access to the center for their needs.
The Activities of the CFC
The common facility center would be the focal point for the cluster
development programmed. The main activities of the CFC will be:
Product development and new product innovation.
Meeting the market demand.
Training for glaze and glaze making.
Training programs for skill up gradation Material testing for quality sustenance.
Market information collection and linkages.
Publicity planning.
The significance of all the activities to be carried out at CFC will be of equal
importance. All the activities are to be carried out in coordination. All the
areas of function will work in harmony and will be supported by others. The
designer should be well connected with the artisans and his requirement all
with the market to understand the needs and transfer it to create new
products continuously. The designer should also be well connected to all the
departments of the CFC.
PROPOSED WORKSHOPS AND TRAINING
Objective
Redesigning of the existing product range Value adding to the existing
product range in terms of finishes, color, glazes & decoration.
Looking into the existing range of products and making necessary changes
as per the market requirement.
Product diversification & Product development for future growth.
Finances involved
Machinery and Equipment, Test Kilns to develop glazes and colors .Color
and Glaze grinding equipments, Weighing equipments, Tools required for
the color and glaze application, Tools required for the plaster model and
mold making, process, raw materials.
Proposed Inputs
Up gradation of skill in terms of quality & technique.
Design development for different range of products.
Various techniques of finishes & decoration Prototype of new designs.
Use of design thinking for development of new products.
Market trend and urban life style knowledge.
Establish research and development process.
Quality controls and standardization of products.
Production process management.
Importance of identity and branding.
Marketing strategy and possibilities.
Use of new technology for sustainable growth.
90
Improvement & opportunity areas:
Raw material improvement:
Reduce impurity, quality check, improve clay bodies.
Product improvement:
Product diversification, redesign existing products, up-gradation, New
innovative product range as per the market trend waste material reused in
other products like- murals & decorative products etc.
Process improvement:
Traditional techniques need to modernize with better practices & precision,
moulds, better tools & equipment to reduce hard labour, new techniques
training needed such as- mould making/casting, reduction-oxidation firing,
glazing and surface decorating techniques etc.
Production process improvement:
Clay body preparation:
Clay body should be prepared in a lot & stored for further production.
Form & finishing improvement:
Traditional forms required value addition to compete in the market, traditional
figurative & decorative products can be redesign by incorporating functional
value in it to be more useful, finishing is time consuming needs focused
attention, traditional tools implies the human error, rough finish works, time
consuming, improvise the skill for mould casting & surface treatment.
Drying improvement:
Weather (rainy season) cause moisture and aging decrease the material
quality, drying time cause reduced production concern and need to avoid it
by- improving the clay body (adding grog or fillers).
Surface improvement:
Different texture, pattern, engobe as a colour can be use to make
products more attractive, different glaze technique can be use for surface
improvement i.e.- majolica, feathering etc.
Colour application improvement:
Dipping, pouring, spraying, brush & wax colour application techniques,
various colour and patterns can be develop keeping in mind usages and
market trends.
Packaging improvement:
Lack of proper packaging, no visual identity, grading and quality, so
possibility to redesign packaging for products which can also create brand
identity for the cluster as well as awareness about the craft to consumer.
Loading & transportation improvement:
Hand cart can be redesign for loading purpose, transport and roads condition
are not good enough, need to avoid improper loading which caused the
damage of the products, internal roads need to be metalled.
Exhibition & displays improvement:
Display system can be introduce at rural tourism place in the cluster, only
one-two units have display racks, need to understand display and have to
be proper awareness regarding visual merchandising and its effectiveness.
Cluster need to be encourage to participate in national & domestic level
trade fair and exhibitions.
91
Conclusion
The NSA for Asharikandi terracotta, Dubri, Assam have enriched my
experience and knowledge from the scratch to their final products, throughout
the process, characteristics of the work, their life style, culture, tradition,
environment and thinking everything gives me a new understanding not only
for this craft but also for the reality of life and facts.
With the strategic development planning and right approach one can take this
cluster to a new platform for a stainable growth and great handmade skills of the
craftsmen will provides the enormous possibilities to develop not only the new
products but also gives new area of product line to expand their market.
These craftsmen should get exposure to contemporary market and urban cities
for their understanding of current situation of the market, trends as well as
consumer preferences and likings.
Also they required time to time basis design , technology and skill up gradation
workshops or seminars to break their mind set up and continuous growth. On
the same way they should also get more opportunity and facility to attend trade
fairs and exhibitions with the help of government or NGOs or any other body
with the possible financial help will update them to analyze their market stand
as well as it will keep up date them latest happenings.
Market link up , formations of group or cooperation will be help full to tackle
the middlemen and traders.
With the help of government initiative link ups with design, craft,
entrepreneurs institutes as well as craft council and other departments,
organizations and tie up with experts in different field will act as a catalyst for
the sustainable growth and development of the vary craft cluster.
92
References
Form and Many Forms of Mother Clay by Haku Shah
Indian Terracotta Art by Ordhendra Coomar Gangoly
Traditional pottery in India by Susan Peterson
http://assam.gov.in/
http://www.assamtourism.org/
http://en.wikipedia.org/wiki/Assam
http://aakritingoindia.wordpress.com
http://www.assam.org/
http://newsblaze.com
http://dhubri.nic.in
http://www.onefivenine.com/india/villages/Dhubri/Debitola/Asharikandi
http://newsblaze.com/story/20100413070836shan.nb/topstory.html
http://www.telegraphindia.com/1111102/jsp/northeast/story_14694530.jsp
DESIGN CLINIC WORKSHOP REPORT
For Asharikandi Terracotta Cluster
Held on 07th March to 11th March 2013 at Asharikandi, Dhubri,
ASSAM
Organized by- Indian Institute of Enterpreneurship,
Lalmati,Basistha Charali,
GUWAHATI-29,
Assam,India.
Conducted by- Mr. RAKESH SAH (Design Expert)
along with Guest SpeakerMiss. Sukanya B Saikia
In Co-ordination withNational Institute of Design (NID), Ahmedabad
Supported byMINISTRY OF MICRO SMALL & MEDIUM ENTERPRISES (MSME)
DESIGN CLINIC WORKSHOP SCHEDULE for
Asharikandi Terracotta,Dhubri,Assam:
Date- 7th March to 11th March 2013
Day 1 - 7th March 2013
PRESENTATION/NATURE OF WORK
Time -11am to 4pm
?
?
Inauguration and Welcome byMr.A.B.Siddiqui and Mr.D.N.Paul.
?
A brief information about MSME Presented by - Mr. Rakesh Sah.
?
Various issues and concern in the cluster by the participants.
?
Future Trends & Design development for the cluster by Miss.
Sukanya B Saikia.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Day 2 - 8th March 2013
?
Details on packaging by Miss. Sukanya B Saikia.
?
A Brief talk on Branding and Identity, its need, purpose and
benefits by Mr. Rakesh Sah.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Day 4 - 10th March 2013
?
Talk on value addition to attract consumer by Mr.Rakesh
Sah.
?
A brief about consumer behavior and contemporary market
as well as strategy by- Mr. Rakesh Sah.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Day 5 - 11th March 2013
?
New products in the market (competition) by Mr.Rakesh
Sah.
?
New areas for product development and new market
possibilities for further growth by- Mr. Rakesh Sah.
?
Use of Technology for the development of the cluster ByMr. Rakesh Sah.
?
Closing Ceremony by Mr.D.N.Paul.
Lunch Time - 12.30pm to 01pm Every Day.
*****************************************
Day 3 - 9th March 2013
?
A detailed talk on Design Thinking and its importance for the
cluster By Mr.Rakesh Sah.
?
Design Process, how do we find opportunity areas for
development and further how to get benefitted from it by
Mr.Rakesh Sah.
?
Discussion on Design and Design process.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Time Duration of All Guest / Member Presence
1234567-
Mr.A.B.Siddiqui (Guest) for 1day.
Mr.D.N.Paul (Guest) for 2 days.
Mr.Nath (IIE) for 1 day.
Miss Sukanya B Saikia (Guest) for 2 days.
Miss Nilufar (NID) for 2 days.
Mr. Rakesh Sah (Design Consultant) for 5 days.
Mr. Devdas Paul(Artist) for 5 days.
Activities during Five Days
(7th March to 11th March, 2013)
Design Clinic Workshop
Date: 7th March 2013
1. At the outset Mr. Devdas Paul artist and coordinator from
Asharikandi village welcomed the participants and
introduced Guest Speaker, Design Experts and other
invited guests in the opening ceremony of Design Clinic
Workshop.
2. The traditional Gamcha were presented to Mr. A.B.Siddiqui
(President gram sabha panchayat), Mr. D.N.Paul (National
award winning artist), by the craftsmen.
3. Then the seminar were inaugurated by Mr. A.B.Siddiqui, Mr.
D.N.Paul, Miss. Sukanya B Saikia (Invited Guest Speaker)
and Mr. Rakesh Sah by acknowledging the participants in a
traditional manner .
4. Mr. Devdas Paul in his address delivered brief information
about workshop schedule and activities for the next five
days. Also he appealed the cluster to take part with their full
presence in the deliberation of the Design Experts to make
the programme success. He has also promoted the scheme
enthusiastic for taking it further as an initiative.
5. Mr. Rakesh Sah delivered detail speech on MSME and
explained how participants can get benefited from it.
6. The participants presented their issues and concern in the
cluster.
7. Presentation and Discussion upon Future Trends & Design
development for the terracotta cluster by Miss. Sukanya B
Saikia (Guest Speaker).
Date: 8th March 2013
1. Details on terracotta product packaging and
possibilities which is not only important for avoid
breakage but also important for look & feel to attract
consumer by Miss. Sukanya B Saikia.
2. Presentation & Discussion by- Mr. Rakesh Sah on
“Branding and identity especially focus on why we need
it, the purpose behind it as well as how cluster will get
advantage from it.
3. One to one interaction with the participants and
discussion regarding the covered topic so far.
Date: 9th March 2013
11. A brief talk on Design Thinking and its importance byMr. Rakesh Sah , .
12. Presentation on Design process, to identify opportunity
areas and how to get advantage from it by- Mr. Rakesh Sah.
13. Discussion On design Process and how to implement it.
14. After the discussion participants started to create some
product with their idea.
Date: 10th March 2013
15. Talk on value addition to the product, consumer
behavior, contemporary market and marketing strategy by
Mr. Rakesh Sah.
16. Discussion upon the topic as well as on the new created
products (during the workshop) for value addition,
refinement, material issues, technical and mechanical
lacking, new design intervention, quality control and
marketing strategy.
Photo of Banner-
Date: 11th March 2013
17. Presentation – about the new products in the market example - discussion by- Mr. Rakesh Sah.
18. New areas for product development, new market to foster
the business and use of technology for further growth of the
cluster by- Mr. Rakesh Sah.
19. Discussion on prototype for better result and
implementation of design.
20. Mr. Rakesh Sah have presented about the design clinic
scheme and further design project application process and its
details.
21. Concluding Session, "feedback, Suggestion and Future
Direction for the
Cluster".
22. A warm thanks giving speech by the Artist Mr. D.N.Paul.
Detail Profile of Guest Speaker & Topic
Covered:
1. Name
: Sukanya B Saikia
Edu. Qualification : GDPD Industrial Design (Specialized in
Product Design)From NID,Ahmedabad,India.
Working Experience
: 5 years
Topic Covered:
· Future Trends & Design development for the terracotta
cluster.
· Details on packaging
Photographs of workshop (61 Photos are
enclosed):
Designer's fee statements
Designer's fee statement (Mr.Rakesh Sah):
Sl. No. - Mode of payment -
Amount -
%payment by organization.
01
-Cheque ( 040461 from Bank of Baroda
- Rs-45000/-
30% of fees payable(Rs.150,000/-)
Received
02
-Cheque ( 065993 from Bank of Baroda
- Rs-45000/-
30% of fees payable(Rs.150,000/-)
Received
- Rs- 60000/-
40% of the payable(Rs.150,000/-)
Not yet received.
03
Registration/list and details of participants for Asharikandi Terracotta DCS workshop.
Kindly attach.(Name of the participants and address)
.
Expenses Bills for Workshop.
Kindly attach.
DESIGN CLINIC WORKSHOP REPORT
For Asharikandi Terracotta Cluster
Held on 07th March to 11th March 2013 at Asharikandi, Dhubri,
ASSAM
Organized by- Indian Institute of Enterpreneurship,
Lalmati,Basistha Charali,
GUWAHATI-29,
Assam,India.
Conducted by- Mr. RAKESH SAH (Design Expert)
along with Guest SpeakerMiss. Sukanya B Saikia
In Co-ordination withNational Institute of Design (NID), Ahmedabad
Supported byMINISTRY OF MICRO SMALL & MEDIUM ENTERPRISES (MSME)
DESIGN CLINIC WORKSHOP SCHEDULE for
Asharikandi Terracotta,Dhubri,Assam:
Date- 7th March to 11th March 2013
Day 1 - 7th March 2013
PRESENTATION/NATURE OF WORK
Time -11am to 4pm
?
?
Inauguration and Welcome byMr.A.B.Siddiqui and Mr.D.N.Paul.
?
A brief information about MSME Presented by - Mr. Rakesh Sah.
?
Various issues and concern in the cluster by the participants.
?
Future Trends & Design development for the cluster by Miss.
Sukanya B Saikia.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Day 2 - 8th March 2013
?
Details on packaging by Miss. Sukanya B Saikia.
?
A Brief talk on Branding and Identity, its need, purpose and
benefits by Mr. Rakesh Sah.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Day 4 - 10th March 2013
?
Talk on value addition to attract consumer by Mr.Rakesh
Sah.
?
A brief about consumer behavior and contemporary market
as well as strategy by- Mr. Rakesh Sah.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Day 5 - 11th March 2013
?
New products in the market (competition) by Mr.Rakesh
Sah.
?
New areas for product development and new market
possibilities for further growth by- Mr. Rakesh Sah.
?
Use of Technology for the development of the cluster ByMr. Rakesh Sah.
?
Closing Ceremony by Mr.D.N.Paul.
Lunch Time - 12.30pm to 01pm Every Day.
*****************************************
Day 3 - 9th March 2013
?
A detailed talk on Design Thinking and its importance for the
cluster By Mr.Rakesh Sah.
?
Design Process, how do we find opportunity areas for
development and further how to get benefitted from it by
Mr.Rakesh Sah.
?
Discussion on Design and Design process.
?
Question-Answer & Discussion.
?
Refreshments (Tea / Snacks Break).
Time Duration of All Guest / Member Presence
1234567-
Mr.A.B.Siddiqui (Guest) for 1day.
Mr.D.N.Paul (Guest) for 2 days.
Mr.Nath (IIE) for 1 day.
Miss Sukanya B Saikia (Guest) for 2 days.
Miss Nilufar (NID) for 2 days.
Mr. Rakesh Sah (Design Consultant) for 5 days.
Mr. Devdas Paul(Artist) for 5 days.
Activities during Five Days
(7th March to 11th March, 2013)
Design Clinic Workshop
Date: 7th March 2013
1. At the outset Mr. Devdas Paul artist and coordinator from
Asharikandi village welcomed the participants and
introduced Guest Speaker, Design Experts and other
invited guests in the opening ceremony of Design Clinic
Workshop.
2. The traditional Gamcha were presented to Mr. A.B.Siddiqui
(President gram sabha panchayat), Mr. D.N.Paul (National
award winning artist), by the craftsmen.
3. Then the seminar were inaugurated by Mr. A.B.Siddiqui, Mr.
D.N.Paul, Miss. Sukanya B Saikia (Invited Guest Speaker)
and Mr. Rakesh Sah by acknowledging the participants in a
traditional manner .
4. Mr. Devdas Paul in his address delivered brief information
about workshop schedule and activities for the next five
days. Also he appealed the cluster to take part with their full
presence in the deliberation of the Design Experts to make
the programme success. He has also promoted the scheme
enthusiastic for taking it further as an initiative.
5. Mr. Rakesh Sah delivered detail speech on MSME and
explained how participants can get benefited from it.
6. The participants presented their issues and concern in the
cluster.
7. Presentation and Discussion upon Future Trends & Design
development for the terracotta cluster by Miss. Sukanya B
Saikia (Guest Speaker).
Date: 8th March 2013
1. Details on terracotta product packaging and
possibilities which is not only important for avoid
breakage but also important for look & feel to attract
consumer by Miss. Sukanya B Saikia.
2. Presentation & Discussion by- Mr. Rakesh Sah on
“Branding and identity especially focus on why we need
it, the purpose behind it as well as how cluster will get
advantage from it.
3. One to one interaction with the participants and
discussion regarding the covered topic so far.
Date: 9th March 2013
11. A brief talk on Design Thinking and its importance byMr. Rakesh Sah , .
12. Presentation on Design process, to identify opportunity
areas and how to get advantage from it by- Mr. Rakesh Sah.
13. Discussion On design Process and how to implement it.
14. After the discussion participants started to create some
product with their idea.
Date: 10th March 2013
15. Talk on value addition to the product, consumer
behavior, contemporary market and marketing strategy by
Mr. Rakesh Sah.
16. Discussion upon the topic as well as on the new created
products (during the workshop) for value addition,
refinement, material issues, technical and mechanical
lacking, new design intervention, quality control and
marketing strategy.
Photo of Banner-
Date: 11th March 2013
17. Presentation – about the new products in the market example - discussion by- Mr. Rakesh Sah.
18. New areas for product development, new market to foster
the business and use of technology for further growth of the
cluster by- Mr. Rakesh Sah.
19. Discussion on prototype for better result and
implementation of design.
20. Mr. Rakesh Sah have presented about the design clinic
scheme and further design project application process and its
details.
21. Concluding Session, "feedback, Suggestion and Future
Direction for the
Cluster".
22. A warm thanks giving speech by the Artist Mr. D.N.Paul.
Detail Profile of Guest Speaker & Topic
Covered:
1. Name
: Sukanya B Saikia
Edu. Qualification : GDPD Industrial Design (Specialized in
Product Design)From NID,Ahmedabad,India.
Working Experience
: 5 years
Topic Covered:
· Future Trends & Design development for the terracotta
cluster.
· Details on packaging
Photographs of workshop (61 Photos are
enclosed):
Designer's fee statements
Designer's fee statement (Mr.Rakesh Sah):
Sl. No. - Mode of payment -
Amount -
%payment by organization.
01
-Cheque ( 040461 from Bank of Baroda
- Rs-45000/-
30% of fees payable(Rs.150,000/-)
Received
02
-Cheque ( 065993 from Bank of Baroda
- Rs-45000/-
30% of fees payable(Rs.150,000/-)
Received
- Rs- 60000/-
40% of the payable(Rs.150,000/-)
Not yet received.
03
Registration/list and details of participants for Asharikandi Terracotta DCS workshop.
Kindly attach.(Name of the participants and address)
.
Expenses Bills for Workshop.
Kindly attach.