The stakeholder map for the Variya Prajapati Pottery Craftsmen from Shaktinagar Society, Gujarat is depicted below. The most supporting components to the craftsmen includes the family of the craftsmen, who are invloved in the multiple processes of pottery craft, and the familty of potters around in the community. Other stakeholders include the middlemen conducting the marketing part of the pottery pieces. The Maruti Suzuki Foundation under CSR project has provisioned the construction of sanitary houses in a couple of families in the community. The Bahuchar mata Mandir in near vicinity being one of major tourist attracts for the location. The interconnection between the multiple stakeholders show the dynamics of the relationship amongst the components and the sustainance factor for one another.

1. Procurement of Raw Material
   1. Raw Material: ' Maati ' (soil) - ' Kaali Mitti ' (black clay), ' Laal Mitti ' (red clay), also used for colouring, Saw dust, Water
   2. Source: Dried Local Ponds & Lakes for clay, water available at houses
   3. Tools/ Machines used: Tractors, Spade (fawra), Shovels (kudaal)
   4. Stakeholders: Pond owner, Tractor owner, Tractor Driver, Potter
   5. They require 8-10 trips of tractor loads each of capacity ½ ton
   6. Each tractor load costing Rs.1000 - Rs.2000

2. Procurement of fuel for firing
   1. Dried wood branches, husk and straw as fuel for firing
   2. Women of the family gather them from forests around the society
   3. Difficult to maintain in monsoon as moisture makes it difficult to burn

3. Storage of Raw material
   1. Stored in front and around the house in open
   2. They are heaped beside each other
   3. Covered with ' taad patri ' (tarpaulin) during monsoon
   4. Enough for 8 months
   5. Firewood stacked and stored in front of the house, around the house, on top of the roofs of houses and toilets

4. Preparation of mitti
   1. Bigger impurities are removed by hands
   2. Bigger chunks of clay are hammered/rammed into powder form as much as possible using a hammer or dhokena(wooden mallet)
   3. Unbroken bigger chunks are filtered out using ' challni '
   4. The clays are mixed along with water and kneaded by hand to create a consistent lump
   5. Saw dust is added as tempering material, makes the pot pliable without cracking. Tempering process gives strength to the pot
   6. The process is mainly done by the men

5. Shaping of the pottery
   1. Done by the men in the family
   2. The process uses a manual throwing wheel called ' chaak ' with pivoted base
   3. The wheel is rotated manually using a long bamboo or wooden stick called ' laathi '.
   4. One end of the stick is made pointed to be fixed in a hole on the top surface of the wheel
   5. Once the wheel receives its maximum speed, the lump of moist clay is placed on at the center of the wheel
   6. The potter uses his fingers and gives the clay definite shapes by manipulating
   7. Once the clay receives its final shape, a thread soot is used to detach it from the rest of the lump of clay
   8. The pot is then dried by keeping it in ash which absorbs the moisture.
   9. In a single day, a potter can finish upto 15-20 pots

6. Enlargement of the pot
   1. The pot is taken out after it gets hard and enlarged by beating with the help of a wooden anvil called as ' tapla '
   2. The pot is patched with clay lumps wherever necessary while beating
   3. This is done by the men, sitting on the floor

7. Drying of the pots
   1. The pot is then let to dry further in ash indoors, for about 2-3 days based on size
   2. It is difficult to dry in monsoon

8. Baking or firing of pots
   1. This is a laborious job
   2. Improper heating leads to cracked or unbacked pots
   3. It is done in an open kiln built near the respective houses
   4. The kiln cylindrical in structure, is built with bricks, roughly the diameter of 12-14 feet and height of 2 feet
   5. The wood, bushes etc are placed inside the kiln over a set of iron rods
   6. The pots ready to be baked are piled up carefully on each other inside the kiln
   7. Old broken pieces are used as support structure, stabilising the pots and finally to cover over the top of the pile, to form a dome structure
   8. The mouths of the pots are faced downwards
   9. Smaller pots are always kept over the bigger ones
   10. The fuel inside is fired up through channels at the bottom of the kiln while another channel releases excess heat
   11. This piled up structure is called 'limdhada'
   12. Firing is done for around 2-5 hours based on season
   13. Firing is not done on certain dates of the month based on traditional gujarati calendar

9. Cooling and painting of the pots
   1. The baked setup is then cooled down in open or ash
   2. The pots are hand painted by elder women in the family
   3. The red colouring is done using 'laal mitti with water solution
   4. The top half of the pots are coloured red
   5. This setup is rubbed with a stone for allowing it to be absorbed by the pot
   6. This is then let to dry in open

10. Final product and marketing
    1. The pots are used for various purposes locally
    2. A vyapari comes fortnightly to pick up 100-150 pots of various sized from all the houses from the society to sell it at the market around 10km from the society,
    3. The money received by the potter ranges from Rs 10-100 per piece based on the size

During Summer and winter season, pottery creation is carried out by the artisans due to favourable conditions of climate in regards to favouring open firing, availabilty of dry brances to use for fire and clear weather to open dry the pottery pieces. Firing is done once in almost 10-15 days.

The creation of pottery process invloves multiple number of steps which involves almost all the family members from both males and females in the house. The marketing and selling of the pieces are not done by the artisans and is collected in bunch by Vyaparis/middlemen who sell the pieces in different cities.