The Ministry of Textiles tentatively proposes the definition of Handicrafts as

“Item or product produced through skills that are manual, with or without mechanical or electrical or other processes, which appeal to the eye due to the characteristics of being artistic or aesthetic or creative or ethnic or being representative of cultural or religious or social symbols of practices, whether traditional or contemporary. These items or products may or may not have a functional utility and can be used as a decorative item or gift."

The development commissioner of handicrafts

defined crafts as ‘items made by hand, often with the use of simple tools and generally artistic and /or traditional in nature. They Include objects of utility and objects of decoration’.

Medium of

1. Means to carry traditions

2. Means for self-expression

3. Medium to analyse the relations between different events and situations in life

4. Medium for artisans to adjust to life situations

5. Medium to provide employment opportunities

6. Medium to spend time in creating with materials.

1. Multifaceted concept which combines meanings with the usability and utility of an object

2. A symbol of status, economical

3. Decorative / ornamental

4. Religious

5. Ritualistic

6. Utilitarian

7. Cultural

8. Self expression

9. Economic

10. Value learning

11. Amusement

12. Gifting

1. Material/things people encounter, interact and use to make something out of it, seeing their own identities in them

2. Material can be the identity of the craft

3. Choice of material is dependent on makers and buyers need and availability

4. Material dictates the form

5. Properties of material determines the end product

6. Material adds aesthetic value

7. Materials determines longevity

8. Material determines persona of customers

9. Materials depends on duration of the process itself & vice versa

10. Material determines the value of the product

11. Material hierarchy determine social hierarchy and vice versa

12. Connection of artisan to material

13. Religious, cultural and traditional relevance of material choice

14. Availability of material depended on geography, region, climate/season

15. Materials determines kind of skills,equipment and tools

1. Craft as a process refers to the wholeness of a person’s life situation and to intuitive learning

2. Craft as activity based on both the intellectual and physical characteristics of the maker

3. Craft is process of creating a form, function and imbibing emotion

4. Crafts are a process to empower the individual

5. An action for putting a part of one's identity

6. Craft is a rejuvenating process

7. Use of manually operated machines/tools become a part of the making process

8. Small scale operations

1. Craft is based on knowledge and philosophy of the maker/community

2. A diverse array of practices and positions, which has persisted for some time

3. Fusion of discipline, imagination, dedication and inspiration

4. Sense of achievement gained in producing them

5. Properties & significance of materials plays a major role

6. An activity that contains emotional as well as intellectual and physical processes in the act of making, manipulating, articulating and sensory experiencing of materials

1. Self expression of the maker

2. Self expression of the user

3. Self expression of the community

4. Self expression of the spirituality

5. Expression and manifestation of a belief

6. Expression and manifestation of a religion

7. Expression through material

8. Expression of a lifestyle

1. Narration in craft captures glory of history, current affairs, social issues, victories and battles

2. It is a method of documentation

3. Mythological stories/ characters

4. Culture, tradition and religion narration

5. Family lineage

6. Narratives derive from their own environments

1. Visually appealing

2. Tactile

3. Auditory Experiences

4. Olfactory Experience

5. Crafts can evoke emotions and feelings

6. Therapeutic

7. Craft as a cognitive experience

8. Synchronization in senses

1. Craft as art that involves certain features that contribute to both looking and performing right in the mind of the beholder

2. Practice of art may evolve into a craft

3. A distinctive knowledge that is intuitive and expressed through making and doing

1. A skill in planning, making & executing

2. Collaboration between different stakeholders

3. Collaboration of different techniques.

4. Inter/ intra craft community based collaboration

5. Collaboration between castes

6. Collaboration between skill based communities

7. Collaboration between different professions

8. Collaboration between different institutions

Due to trade

1. Barter

Entertainment/ Recreation

1. Musical instruments

From another craft

Source of income

1. Due to livelihood

Geography

1. Mineral deposits

2. Climate

3. Flora and fauna

4. Topography

5. Language?

Due to material availability

1. Behaviour of material (Properties)

2. Local resources (Materials, labour, etc.)

3. Due to material knowledge

For ornamentation

Due to architecture

Due to religion

1. Festivals

2. Rituals

3. Mythology

4. Beliefs and practices

Due to basic needs

1. Re-usability

2. Economy

3. Lifestyle

Due to gender roles

1. Patriarchal society

2. Leisure

3. Physical strength

4. Social responsibility

Due to social structure

1. Wealth

2. Material hierarchy

3. Caste system

Royal demands & requirements

1. A medium to record warfare strategies

2. Documenting the glory

3. Used for diplomatic exchanges

4. Patronage

5. Medium to record history

6. Amusement and entertainment

7. Warfare commodities

8. Due to royal trends

9. Status symbol

10. Generation of wealth

1. Material based

2. Cultural significance

3. Geography based

4. Religious craft

5. Royal patronage

6. Monetary significance

7. Ornamental

8. Migrated crafts

9. Narratives

1. The overall form and visual aesthetics of the craft

The iconography used ,The colour palette ,Visual texture

1. Region the craft is practiced or originates from

2. The culture of the community making the craft

3. The material used in the craft

4. The skills and technique of the craft

Tools and equipment used in the craft process

1. The purpose of the end product

1. Strong dependence on indigenous mode of production to earn money

2. Imperfections of handwork and use of indigenous tools is what differentiates craft from commodity

3. Flexibility in customisation of tools as per need

4. Quality & volume of crafts in India & China are similar to mechanised products

Indus valley civilisation

• 1. The first references to Indian handicrafts can be found from the Indus Valley civilisation (3000 B.C.-1700 B.C.). The craft tradition in India has revolved around religious beliefs, local needs of the commoners, as well as the special needs of the patrons and royalty, along with an eye for foreign and domestic trade. (Rich craft tradition found throughout Indus Valley civilisation.)

Vedic

• 1. The Indus Valley civilisation was allowed by the Vedic age in 1500 B.C. when the Vedas were written. There are no. of references in the Vedas on artisans involved in pottery making, weaving, wood crating etc. In Rig Veda particular reference to a variety of pottery made from clay, wood and metal.

State Empires

• 1. The concept of state was ushered by the rise of the Mauryan Empire in the 3rd century B.C. It is said that during the time of Ashoka 84,000 3 Stupas were built in India, including the world-famous Sanchi Stupa, which has beautiful Stone Carving and relief work done on it. The iron pillars of Vaishali (Bihar) and Delhi, created during the time of Emperor Ashoka, are a marvel in the field of Metallurgy.

Post-Mauryan period

• 1. The period between the 1st century B.C. and 1st century A.D. was a period of political turmoil as a result of foreign invasions from central Asia.

  2. Jewellery, sculpture, textile making, leather products, metalworking etc. were the main handicrafts that inherited these foreign influences and assimilated them in accordance with the Indian milieu.

  3. Feudalism in post Mauryan era

Gupta Age

• 1. The points in the field of craft include the rock-cut temples of Ellora and the Ajanta murals.

  2. The craftsmen of this period, under royal patronage excelled in jewellery making, woodcarving, sculpture, stone carving and weaving. Trade links between India and the rest of the world were well established through various routes. Indian textiles and dyes were in demand in the global market. Silk export from India to from 6 century AD.

Medieval Period

• 1. The Medieval period of Indian history in the context of handicrafts showed a marked shift from north India to the Deccan and southern parts of the country, though the handicraftsmen under the Delhi Sultanate period flourished in the field of pottery, weaving, wood carving, metalworking, jewellery etc.

  2. The Medieval period the handicraftsmen flourished in the field of pottery, weaving, wood carving, metalworking, jewellery etc. The contribution of the Cholas and the Vijaynagar Empire in the field of bronze sculpture, silk weaving, jewellery, temple carving is simply unparalleled.

Mughals

• 1. The Mughals brought with them a rich heritage. Akbar, Shahjahan, and Jahangir invited skilled craftsmen from all over the world. The Mughals introduced methods like inlay work, glass engraving, carpet weaving, brocades, enamelling etc.

Colonial rule

• 1. British Invasion and struggles with exposure to foreign market. Craftsmen had to compete with machine-made goods and their quality suffered a lot.

Self-reliance movement

• 1. Swadeshi movement focused on the need of Indian craftsmen and for maintaining the ancient craft tradition.

Post-Independence

• 1. After Independence, Handicrafts board was set up to look into languishing crafts.

1. Material/things people encounter, interact and use to make something out of it, seeing their own identities in them

2. Material can be the identity of the craft

3. Choice of material is dependent on makers and buyers need and availability

4. Material dictates the form

5. Properties of material determines the end product

6. Material adds aesthetic value

7. Materials determines longevity

8. Material determines persona of customers

9. Materials depends on duration of the process itself & vice versa

10. Material determines the value of the product

11. Material properties determine the function

12. Material hierarchy determine social hierarchy and vice versa

13. Connection of artisan to material

14. Religious, cultural and traditional relevance of material

15. Availability of material depended on geography, region, climate/season

16. Availability of material depended on geography, region, climate/season

1. Post vedic period, most artisans were from Shudra caste

2. Weaver, potters, metal-smiths, jewellers, stone workers, and carpenters : clean shudras and allowed to associate with temple related activities

3. Artisans associated with 'unclean' occupations such as the curing of hides and leather work were considered polluting and were made to live in peripheries of cities and villages

4. Social status has almost remained unchanged in the traditional caste hierarchy of Hindu society.

1. The availability of raw material/resources

2. Change in purpose of the end product

3. Technological advancements in material

4. Required aesthetics of the craft product

5. Change in the market consumption pattern

6. Availability of synthetic material

7. Government rules and regulations on the material and material extraction

8. Consumer needs and preferences

9. Cost of the extracting the material

10. Skills of the craftsman

11. Experimental approach towards material

12. Availability of cheaper alternative

1. Type of location of the artisan

   1. Rural

   2. Semi-urban

   3. Urban

2. Employment status of craftsperson

   1. Self Employed

   2. Wage worker

   3. Co-operative member/ Self help groups

   4. Part-time artisan

   5. Seasonal artisan

3. Classification based on skill set

   1. Skilled master Craftsmen

   2. Craftsmen

   3. Apprentice

4. Type of artisanal group

   1. Textile artisans

   2. Cane, fibre, bamboo workers

   3. Metal artisans

   4. Leather workers

   5. Potters

   6. Wood artisans

   7. Jewellers

5. Where craftsperson sell

   1. Village (local)

   2. Urban (local)

   3. Export (international)

6. Depending on the sales channel

   1. Bigger brands

   2. Government emporiums

   3. Co-operative system

   4. E-Commerce or digital platforms

   5. Village haat or premises or markets

   6. Jajmani system - patron giving system

7. 
   

1. Interpersonal relationships in family

2. Responsibility of family and craft work

3. Knowledge transfer among family/community

4. Exposure to craft since childhood

5. Inclination towards craft to maintain family involvement through generations

6. Strong attachment on traditional skills and techniques

7. Close to nature

8. Finding opportunities for exposure

9. Unhealthy competition and no collaboration among various craftsmen of the community

10. Elders among the community are not willing to teach because of rivalry and competition among themselves

11. Younger generations uninterested to pursue

12. Migration for better opportunities through craft

13. Balancing craft as a tradition and an earning source

14. Difficult to maintain a minimum standard of living

15. Traditional Indian craft grew around religious values, needs of common people and ruling elites

16. No identity, recognition, value dignity for their work

    1. Artisans are looking for the identity, their name

    2. Production & influx of duplicate items harms livelihood of artisans

    3. A large number of artisans have moved to urban centres in search of low, unskilled employment in industry

17. They face struggle in investing in the business

18. Less income from craft sector

19. Low/No access to knowledge based economy

20. Informal skills and knowledge systems

21. Less control over the wages paid to the artisans

    1. For craftsmen, the driving motivation

       1. Initial stage - Money

       2. Later stage -Doing what they enjoy, with the help of design knowledge

22. Craftsperson has sufficient capability in taking decisions on designs

23. Expecting assistance from market/ middleman (“This is what we make. Please buy it” )

1. Use of ethical material

2. Authenticity of designs

3. Right techniques

4. Ethical ways of selling

5. Respect for others' products

1. Post vedic period, most artisans were from Shudra caste

2. Weaver, potters, metal-smiths, jewellers, stone workers, and carpenters : clean shudras and allowed to associate with temple related activities

3. Artisans associated with 'unclean' occupations such as the curing of hides and leather work were considered polluting and were made to live in peripheries of cities and villages

4. Social status has almost remained unchanged in the traditional caste hierarchy of Hindu society.

Farming communities

1. Symbiotic relationship between farming and pastoral communities

2. Caste system led to the division in labour

3. Interdependent

4. Fulfilling the needs of people around them

5. Each craftsmen specializes in certain craft

6. Around river basins- Practice mainly into agriculture

7. In turn led to different types of crafts along with service craftsmen like goldsmith, blacksmith etc.

8. Due to division, amount of time spent on craft is higher, hence better, finer quality of work, more involvement in the work

Pastoral society

1. Migrate during different seasons

2. Dessert regions Western India

3. Extreme weather conditions - people found ways in investing things like fine embroidery

Tribal society

1. Self sufficient

2. Self sustained

3. Women are into farming, weaving, house work ,jungle work with less time put into the craft is less, hence the lower quality of work

4. Mostly in the North East India

1. According to an ASSOCHAM (Associated Chambers of Commerce of India - Oldest, Leading, largest and Apex Chamber of Commerce and Industry of India)study, India's handicraft exports are likely to cross the Rs 17,000 crore mark by the end of the current fiscal year of 2015-16. It is further expected to cross Rs 24,000 crore by FY 2020-21.

2. The employment in this sector is 47.42 % women of which 37.11 % come under the backward communities like Scheduled Castes/ Scheduled Tribes.

3. The textile sector is one of the oldest industries in India estimated around US $150 billion & expected to reach US $250 billion soon. It contributed 7 % of industrial output, 15 % in export earnings & over 2% in GDP of India in 2017 - ‘18.

4. The sector employs about 7 million people directly and indirectly, which includes many women and people belonging to the weaker sections of the society.

5. According to UNESCO estimates, in 2013 CCI generated $2.3 trillion (3 percent of world GDP) and 29.5 million jobs (1 percent of the world’s active population).

6. The countries like USA, UAE, UK, Germany, Netherlands, France, Australia, Japan & Switzerland are among the top countries contributing to exports of handicrafts

7. Currently, India is leading the exports of handlooms. Handicraft and handloom sector in India are a ₹24,300 crore industry and contributes nearly ₹10,000 crore annually in export earnings.

1. Crafts fulfil everyday needs of people

2. Employment generation by craft industry

3. Higher wages accentuate rural-based livelihood opportunities

4. More opportunities in craft sector for urban people

5. High potential of employment opportunities for rural people

1. Growth in crafts marks cultivation of sensitivity in society

2. Craft sector has untapped economic potential

3. Craft address Social inclusion and social fragmentation

4. Emphasis on self and social relations through the making of physical things

5. Craft address social inclusion and social fragmentation

6. Growth in crafts marks cultivation of sensitivity in society

7. Craft sector has untapped economic potential

8. Handicraft contributes to GDP

9. Craft sector minimises the imbalance prevailing in the nation's economy

10. A key economic sector that promotes tourism

11. Major source of Foreign exchange in India

12. Ability to reach global consumers

13. Banking on the economic potential of creative industries

14. Provide employment to over 6 million people

15. Low capital required to start business

16. Zero-waste/minimum-waste production process

17. Thrives on cottage based industries

“Crafts and crafts knowledge are living links to the past and a means of preserving cultural meaning into the future” – Liebl and Roy

1. Craft is the new luxury

2. Use of machinery with substantial handwork

3. Crafts hold economic value

4. Informal & disorganized handicraft industry

5. Skills and knowledge of artisans are acquired over generations

6. Craftsmen seen as picturesque exhibitors instead of entrepreneurs

7. Craft has social and cultural relevance

8. Craftwork is labour heavy but a skill to be proud of

9. Craftwork is connected to the heart and soul of the maker

10. Craft termed as ‘thankless trade’

11. Craft sector uplift the regional growth

12. Considered inferior in developing world

13. Crafts are primarily utilitarian but evolved to be ornamental in usage

14. Handicraft depict cultural trait of a specific region/time

15. Craft products are viewed as precious/exotic species

16. Craft is considered historic and as heirloom

17. Customer expectations for cheaper and attractive products

18. Products viewed as decorative product

19. Considered inferior in developing world

20. Lack of information on sustainability among consumers

1. New practice Loss of market due to capitalism/globalization

2. Inability of village crafts to adopt modern selling techniques

3. Increased competition with other products in market

4. Changing taste of the customers

5. Unable to estimate exact cost involved in Craft business

6. Artisan-consumer relationship is interrupted by traders

7. Increased dependence on middlemen and traders who pay on piece rate basis

8. Industrialization has exposed crafts to exploitation

9. Technology and mechanized volume manufacturing replaced traditional hand production

10. Mechanized substitute for traditional crafts.

11. Lack of value centric products.

12. Decline in apex cooperative societies

13. Contemporization is unsustainable approach towards marginalized craft producers.

14. Autonomously decided prices don’t allow uniformity

15. High cost due to high demand

1. Access to urban markets through designers, NGOs and brands

2. Focus on upliftment of traditional skills

3. Migration towards other jobs threatens handicraft sector

4. Handicrafts have the potential to sustain existing and new artisans all over the country

5. Primary focus of government on crafts sector

6. Artifacts

7. Handmade is equal to luxury

8. Crucial interventions by institutions and organisations with access to new resources

9. Provides economic sustainability

10. Part of rituals (marriage, etc.)

11. Marginalised communities benefiting on innovative business models

12. Increased demand for craft based products

1. Special monetary benefits for the artisans provided by government banks

   1. Collateral free loan

2. Tourism increases customers for handicrafts

   1. Foreign exchange earnings & export

3. E-commerce is an improved platform for artisans

4. Putting traditional designs in the luxury market and not change the designs due to the market design

1. Increased demand for craft based products

2. Purpose and function initiates making of crafts

3. Indian handicrafts are much preferred in the fashion industry

4. Large number of new entrants in the craft sector, in recent years

5. Crafts are primarily utilitarian but evolved to be ornamental in usage

6. Shift towards eco-tourism, rural and cultural tourism from mass tourism

7. Increase in contemporization of craft products

8. Millennials are willing to pay higher price for sustainable goods that promises a better future

9. Increased value for handmade products

1. Manual

2. Machine-made

3. Semi-automatic

Type of raw material

1. Procured independently

2. Supplied by co-operative

3. Supplied by customer

4. Lack of quality raw materials

5. Procuring & processing raw materials

1. Ability to create a balance in family and work.

2. Understands market trend to inculcate in aesthetics, detailing, finishing and design

3. Working on a timeline to bring out work

4. Encourages innovation and independence

5. Financial empowerment and personal empowerment of artisans.

6. Become more independent

7. Crisis management

8. Decision maker

9. Develops Professionalism - Working with the family and market

Craftsmanship

1. The hard earned skills & knowledge are rendered by time

2. Skills and knowledge of artisans are acquired over generations

3. Traditional Craftsmanship knowledge is passed down generations

4. Craftsmanship is a form-giving activity

1. To preserve and keep the cultural heritage alive

2. Crafts are a part of our country's identity and heritage

3. Craft skills are an national resource that should be preserved

4. Craft sector is crucial for the country's economy

5. New skill education of younger generation and upgrading skills of existing artisans

6. Craft practices promote circular and sustainable use of resources and product development

7. Crafts are becoming more relevant now because of the shift towards the use of sustainable products and lifestyles

8. To encourage and support locally produced crafts that help cut down carbon footprint

9. Crafts are a great substitute for unsustainable, man made products

10. Crafted products have a sense of human-ness that machine-made products don't have

11. Crafts are revived and also reinvented

12. Millennial and the newer generations connect with craft based products

13. Helps uplift and promote the welfare of the artisanal communities

14. Crafts provide a livelihood for a lot of people in the country

15. Products and services tailored for the locals by the locals

16. Attitude shift of millennial towards community centric employment opportunities

17. Craft sector has a great employment generation potential

18. Millennial who are focused on community development, grassroots level development

19. Emergence of new types of craft forms

20. Community based crafts

21. Individual and studio crafts

22. Household / Do-It-Yourself crafts

23. Merging new age technologies with artisanal skills.

• • 1. Skills of artisan

• 1. Profession that favours patience and precision

     1. Inaccessibility/difficulty to access the funds allotted to crafts and the sector

  2. Poor entrepreneurial skills of artisans

     1. Low penetration of technology in craft sector

     2. Handicraft industry struggled to keep up through foreign market after British arrived

     3. Higher Indirect Taxes, Power and Interest Rates

     4. No resources put into studying and understanding the market and consumer needs

  3. Poor financial literacy of artisans to continue working as craftspeople

     1. Various financial incentives, benefits and reliefs are extended to encourage the organised sector to set up industries

     2. Preferential access to credit, raw material and infrastructure is extended to the organised sector

1. External support and opportunities

   1. Weakening of social structures and community spirit

   2. Younger generation seek other job opportunities because of the low incomes in craft sector

   3. The complex procedures and criteria of gov. schemes makes the process to strenuous for the artisans to access

      1. Poor utilization of government schemes

      2. Difficulty in getting trade related membership

2. Current work environments

   1. Inadequate medical facilities or healthy work environments are not provided

      1. Working and Body postures causes Chronic pain for the artisans

   2. Existing work environment: The artisans are mostly reduced to labourers and not creative skills men

      1. Exploitation of artisans by middlemen by paying fraction of fair wages

      2. Lack of recognition for the craftsmanship

      3. Most brands/designers treat craftsmen as mechanical laborers

   3. Occupational hazards

      1. Physical hazards - Light, noise, heat, vibration, height

      2. Chemical hazards - external gases, acids, chemicals etc.

      3. Ergonomic hazards - based on body activity and postures

      4. Introducing safety equipment that doesn't hinder the work of the craftsperson

      5. Providing easy and inexpensive access to healthcare facilities

      6. Making the raw material and extraction non hazardous

      7. Making craft processes safe and non hazardous

      8. Understanding craftsman’s Idea of safety

      9. Government / institutional support should focus on providing safety equipment

      10. Educating and raising awareness about use of safety equipment

      11. Implementing and encouraging the use of Safety equipment

      12. Providing easy and inexpensive access to healthcare facilities

3. Scope of work

   1. Working in the craft sector is not aspirational or prestigious

   2. Markets for crafts are decreasing because Knock-off products are cheaper and quicker to make and threaten the crafts

      1. Many crafts have lost their relevance with the consumer

      2. Diminishing demand for indigenous art & crafts

      3. Organised sectors have large funds and investments in product and design development, market research to understand and mould consumer psychology

4. Aspirations

   1. Effect of globalization

      1. Increase in western practices

      2. Increase in technology culture

      3. Influence of other cultures

      4. Influence of media

   2. Urbanization

      1. More job opportunities in the urban areas

   3. Parents want their kids to move out of the craft sector

      1. Aspirations to go to school and college and get a degree

      2. People want jobs that give them prestige in the society

      3. Increased competition in terms of making money

1. Consumers

   1. Audience specific crafts

   2. Product range for general audience

2. Artisans

   1. Formal training to educate artisan community

   2. Need of welfare support for the artisans

   3. Need for recognition and solutions for mental health problems

   4. Need for understanding craftsmen’s idea of safety

3. Product

   1. Classification of handicrafts based on purpose

   2. Differentiation for genuine handcrafted premium products

   3. Need of Continuous Quality Improvement

4. Business

   1. Need of long term handicrafts-based business

   2. Need for upgradation in design skills and understanding of global aspects

   3. Need of access to up-to-date market information

   4. Need of improved feedback mechanism (to make craft market ready)

   5. Need of access to internet linkage

   6. Need for understanding and making use of media to ensure commercial success

5. Governance

   1. Need strict measures to prevent misuse of handmade products

   2. Need for improvement in livelihoods and socio‐economic condition of the artisans

   3. Vital stakeholders should be part of meetings that address improvement of handicraft production

   4. Strategic design innovation in craft sector should integrate social, economic, ecological and cultural aspects

   5. Requirement of effective financial and administrative models

   6. Input from the artisan in formation of policy

   7. Documentation techniques vary for each craft

6. External inputs

   1. Cultural mapping to understand creative sectors

      1. Collaborations with designers can help contemporise and widen the craft vocabulary for the artisans

      2. Greater need to understand and develop existing handicraft producer clusters.

   2. Need of documentation and conservation of traditional knowledge and skill

      1. Greater need for clear and credible guidance about products that are eco- friendly.

7. Work-space and infrastructure

   1. Need for craftsmen friendly hazard control and measures

   2. Need for organized working environment convenient to craftsmen

8. Help to those affected by agricultural activities

9. Change due to Decentralized and unorganized sector of Indian economy

1. Migration of communities to find better work opportunities

2. Inadequate promotion and use of certifications

3. Infrastructural Bottlenecks

4. Material transportation and transfer of skill

5. Moving to different parts of country due to geographical adversities

6. By royal patronage

7. Less number of authorized GI certified craft

8. Diminishing demand for art & crafts

1. Entrepreneurship model vs cooperative model

   1. Entrepreneurship model works where there is a market with choices, available readily, back up choices/ support systems to fall back to i.e. when there are more than 1 takers and suppliers

2. Decentralized model used in Kutch

3. Cooperative model can take the shocks of less takers and suppliers or that of rejections

1. Newer channel of trade

2. Increased export opportunities

3. Higher demand in the global market

4. Major source of foreign exchange

5. Evolution of different craft forms due to foreign and domestic trade

6. Cross cluster influence

7. Intervention of design due to global visibility

8. Media facilitates crafts into new markets

9. Newer channel of trade

10. No standard definition of handicrafts

11. Increased job opportunity globally

12. Promotes tourism

13. Compliance to International Standards is emerging as a key determinant of the competitiveness of handicraft exports

1. Climate helps to grow the crafts

2. Healthy ecosystem

3. Responsible for resources of craft communities

4. Healthy way of living

5. Use of naturally available materials

6. Geography helps in providing wide range of materials

7. Backbone of craft

8. Inspiration for crafts

9. Triggers concept of sustainability

10. Zero waste production

1. Techniques of manufacturing

2. Causing air and water pollution

   1. Pollution by the use of toxic materials

   2. Following processes that release air pollutants

   3. Leather tanning and clay crafts cause significant air and water pollution.

3. Harmful impacts of mining extraction

4. Greater use of petroleum based chemicals in manufacturing process

5. Production of non degradable waste

   1. Improper craft product disposable system

6. Extinction of resources because of overuse

7. Irresponsible use of resources

   1. Excessive use of water in the manufacturing process

   2. Excessive cutting of trees

   3. Excessive animal poaching for leather

   4. Excessive animal poaching animal bones and horns

   5. Excessive Curing of wood in river

   6. Excessive extraction of clay from river basins

8. Excessive use of non-renewable resources

9. Unsustainable natural resource depletion

10. Craft products have started substituting natural and organic material with synthetics and plastics

1. Communities shifted due to natural calamities

2. Adverse effect of climate change on process of crafts

3. Extinction of resources by time

1. Limited access to quality raw material

2. Unorganized system of transport and storing goods

3. Disadvantages of geographical location of craft cluster

1. High excise

2. Low subsidy

3. Lack of access to raw materials

4. High cost of raw materials

5. Obsolete tools & equipment

6. Unorganized sector

7. Lack of government interventions

8. Lack of awareness of government schemes

9. Lack of motivation to continue craft

10. Government negligence

11. Government schemes are not properly reaching to craftsmen

12. Unfavorable labor laws

13. Lack of Funding

14. Limited accessibility of advanced technology

15. Dilemma of choosing education vs craft practice

16. Primary level education still an aspiration

17. The artisans do not have awareness about the new technologies

18. Lack of recognition for artisans

19. Low pay

20. Lack of challenging mind

21. Ignorance of artisans over quality of work

22. Involvement of child labour

23. No life savings post retirement

24. Health Issues with craftsperson

25. Inadequate medical facilities

26. Negligence on available health and life insurance

27. Need for understanding various types of health problems

28. Involves numerous risk factors in terms of injuries and self medications

29. Artisans do not take preventive measures while handling dyes and chemicals which leads to Infections (Short term convenience over long term Health)

30. Awareness of the side effects of the material

31. Health and hygiene issues, Slums are increasing, alot of trafficking

• 1. Unaware of trade membership

  2. The competition with big brands is huge and difficult to survive

  3. Competition with machine made products

  4. Lack of management skills

  5. Lack of marketing skills

  6. Lack of formal education

  7. Lack of access to export credit

  8. Lack of modern managerial skills

  9. Rapid evolution of consumer preferences

  10. Inadequate advertising & promotion of crafts products

  11. Limited marketing & export avenues

  12. Limited linkages

  13. Lack of knowledge about occupational safety provisions

  14. No knowledge of proper distribution channels

  15. Unable to reach a large audience

  16. Lack of negotiating power of the artisans for improved business and livelihood

  17. Shipping problems

  18. Air freight problems

  19. Lack of information about exports

  20. Lack of awareness of future potential

  21. Lack of knowledge about latest design

  22. Exploitation by the middle men

  23. Loss of patron-client business network

  24. No organized data exists on domestic sale of handicrafts

  25. Lack of knowledge about current market demands

  26. Limited market monitoring due limited access to advanced technology

  27. Lack of market feedback

  28. Vulnerable to exploitation

1. Deterioration of health of artisans

   1. Occupational hazards

2. Invasion of Chinese products

   1. Unhealthy competition in the market

3. Change in mindset of the people

   1. Lack of empathy and sympathy

   2. Lack of deeper connect to the sector

4. Change in context/ culture

   1. Modern living

   2. Increase in tech culture

   3. Utilitarian driven concepts

   4. Change in mindset of the people

   5. Cultural decline

5. Set benchmark

   1. Royal preferences were benchmark and pinnacle

6. Birth - death cycle

7. Lack of long run development strategies

8. Shift of community due to natural calamities

9. Unavailability of raw material

   1. Change in atmospheric conditions

   2. High price of material in the market

   3. Invention in new materials

10. Socio-political factors

    1. Political churning in the region

       1. High political influence in northern region

       2. Lesser political influence in southern region

    2. Demography

       1. Wider demography in northern region

          1. Migration to the region

          2. Availability of variety of resources

       2. Wider community with similar culture in southern region

11. 
    

1. Poor government planning

2. Increasing technological obsolescence

3. Disappearing markets

4. Unavailability of resources

5. Craftspeople shifting to newer and profitable work sectors

6. Increased migration of the craftspeople to urban regions

1. Higher impact of packaging on sale of product

2. Highly fluctuating sales taxes because of no formal standard

3. Higher impact of price on sale of product

4. Higher impact of colour on sale of product

5. High number of manpower to achieve a high production rate

6. Automation of production may hamper craft well-being

7. Identity crisis due to flattening the style

8. Lack of quality benchmark

9. Undervaluing the product

10. Slow production, increasing prices in raw materials worry bamboo sector

11. Knock-off products are cheaper and quicker to make

12. Identity of craft suffers because of fake products

13. Highly labour intensive exploitative craft practice still exists

14. Knock-off crafts threaten the craft itself

15. Gender role issues in each sector

    1. In terms of involvement

    2. In terms of payment

    3. In terms of exposure

16. Unorganized production

17. Poor packaging

18. Lack of design inputs

19. Lack of clear understanding & design element improvement

20. Time and energy consuming

1. Customers are confused due to lack of standardization of craft products

2. Inadequate knowledge of consumer purchasing patterns

3. Crafts suffer from charity syndrome

4. Communication gap between artisan and customer

5. No platform for the artisans to share their problem

6. Existence of stigma of inferiority

7. Lack of understanding about customer needs

8. Lack of information on sustainability among consumers

9. Information dissemination creating a no information state for customers

10. Consumer don’t understand what goes into the art

1. Quality

   1. The absence of brand name, value and therefore perceived quality of the craft based products

   2. Shelf-life: Consumers want more durable and long lasting products products

2. Style

   1. Style: Aesthetics of the craft are more traditional than contemporary

3. Media

   1. Attractive media campaigns are used to to sustain loyalty to create demand for new ones

   2. The aggressive marketing and advertising strategies used by the organised industrial sector have played a role in influencing consumer choice

4. Cost

   1. Cost: Plurality of choice for the consumers. Easy availability of cheaper goods

5. Usage

   1. Utility: Craft products are mostly obsolete in terms of utility and are irrelevant for the newer consumers lifestyles

1. Lack of explorations with material and techniques among artisans.

2. Similarity in designs copied from internet

3. Craftspeople are unable to realize or recognize the depth, value and impact in the ecosystem

4. Craft might be unable to keep up with rapid pace of urbanization

5. Inaccessibility of funds allotted to crafts

6. The hidden politics

7. Lack of exposure for the craftsman

8. NGOs - have helped them creating Self Help Groups

   1. They have not been able to take them to next level

1. No systematic database of existing certification agencies along with cost implications.

2. No comprehensive or updated data on artisans

3. No proper registration of artisan

4. Lack of knowledge on technological development affect productivity

5. No comprehensive and updated data on socio economic situation of artisan

6. No comprehensive and updated data on craft

1. Existence of idle instruments in household

2. Poor infrastructure

3. Craftsman’s Idea of safety

4. Inefficient productions methods

5. ill-suited workplace standards

6. Non ergonomic equipment

7. Lack of safety and health standards

8. Effect of Noise on Hearing & Oxidative Stress among the workers in certain craft industries

9. Chronic pain caused due to body postures

10. Nausea, Fatigue, lower back and neck pain common in female artisans

11. Musculoskeletal Disorders (MSD's) due to working postures & long working hours

1. Designers expect them to multitask

2. Designer try to impose their skills on artisans

3. Introduction of newer knowledge by designer into the system expecting artisans to understand

4. Expecting artisans to produce industrial level work

1. Difference in understanding the craft system

2. Understanding the timing of working in the system

3. Ego clashes between the designer and the artisans

4. Initial rejection on new ideas by artisans

5. Comparison between the skills of both parties

6. Understanding the lifestyle of the artisans

   1. Difficulty to adjust the lifestyles

7. Plagiarizing their skills

8. Trespassing their area

9. Difficulty to reach in the same platform

   1. Understanding in terms of skills both parties skill

   2. Understanding in terms of roles

1. Designers engage with local communities, create objects using the age-old knowledge.

2. Works towards reviving, restoring, celebrating and marketing these handicrafts.

3. Develop innovative ideas through understanding the importance of preserving traditional crafts.

4. Redefine existing local craft traditions and artisan communities by providing design,

5. Designers provide creative collaboration

6. Designers make the artisans familiar about technology.

7. Design can intervene in making innovative crafts viable in mainstream production and retail markets.

8. Design interventions widen the scope of artisans utility

9. Designers works towards reducing environmental hazards

10. Unification of craft forms into single brand “Handmade in India”

1. Constantly believe that Designer and artisan are equal

2. Swap roles to understand the system

3. Intervene in smaller levels

4. Provide time for the artisans to adapt to new ideas

5. Deep rooted understanding artisans problems and try to solve it

6. Provide time for the artisans to adapt to new ideas

7. Provides exposure to the artisans

8. Make artisans understand their own value

1. Choice of products need to be according to the material’s properties and craftsmen’s familiarity

2. As designer one has to look into,

   1. Social empowerment

   2. Social status

   3. Higher dignity

3. Designers are nobody to influence craftspeople of their own decisions on the craft

4. Understand the difference between “ Craft by tradition” vs “ Craft by technique”(hobby crafts)

5. Non industrial - Those that industry cannot offer in today’s way of life

6. Scaling should not be the vision

7. One has to realise the potential of artisans that they can design like designers

8. Spending valuable time with the cluster during the study.

9. Knowing the history and reasons of the particular craft.

10. Understand the natural scale of each craft, make it the strength, customize each piece

11. Cannot change - Practice, values, indigenous knowledge systems, processes, materials used(for their inherent properties)

12. Using material in the right way

13. Designing the product according to the artisans skill the base.

14. Few exhibitions make the customer understand the cultural context of the craft, the efforts that go into it

15. Execution capability along with value adding skills.

Negatives

1. Adapts western culture

2. Designers do not want to get hands on

3. Designers are selfish

4. Very few designers understand the clusters

1. Co learning

2. More innovation and helpful design

3. Value based aesthetics - support crafts with this, instead of just visual aesthetics

4. Centre of social innovation project should be the craftsmen (with them, for them) and not the craft form - “Co-creation, Co-Design”

5. Bring in exposure to sales and designs to craftsmen

6. “Need of the hour” - collaborate accordingly

7. Understand what do the craftsmen think the future can be

8. Looking at artisans as equals, collaborative work, equal knowledge partner

9. Make craftspeople aware of potential of design

10. Mutual understanding between craftsperson and designer

11. Design understanding the material will help in co-working

1. Reinvent

2. Restore

3. Renew

4. Revive

5. Re-imagine

6. Reuse

7. Re-purpose

1. Value addition to the product

   1. In terms of quality

   2. In terms of design

2. Combine craft with trend

3. Convey story behind craft

4. Cater a particular group of customer

5. Contemporaries crafts

6. Promoting traditional handicraft that are in danger of dying

7. Provide a unique selection of products

8. Creating a platform nationally and globally

9. Create micro entrepreneurs out of these artisans by increasing their visibility and wages

10. Promoting traditional handicraft

11. Present products nationally and globally

12. Protecting the heritage

1. Museums

2. Export houses

3. Users

4. Traders

5. Designers

6. Craftsmen

7. Middlemen

8. Influencers

9. Local Business

10. Trusts and Funders

11. Entrepreneurs

12. Craft enthusiast

13. Collectors

14. Social Innovators

15. Shopkeeper

16. Corporate

17. Government policy makers

18. Artisans

19. Researchers

20. NGOs

1. Anantaya by Ayush (designer) and Geetanjali (architect)

2. Sylvn Studio : Bandana Jain

3. Vaishali S. by Vaishali Shadangule

4. Bordoloi by Ronjon Bordoloi

5. Anu Tandon Vieira - Founder of The "Retyrement Plan"

6. Sangaru design objects pvt. ltd by Sandeep Sangaru

1. Khara Kapas

2. Sampada

3. Master piece crafts

4. Aaraa by Avantika

5. Ramnarayan blue art pottery

6. eCraftIndia

7. iTokri

8. Triveni Chikan Arts

9. Bandhej

10. Good Earth

11. The Khadi Cult

12. Fab India

13. Hastavem

14. Jayepore

1. DivineHaat.com

2. Trade India

3. The India Craft House

4. iCraft

5. AuthIndia

6. Alibaba.com

7. Coppre

8. Amazon Karigar

9. eMithilaHaat

10. Hands of India

11. Artyowl

12. Okhai

13. Chanderiyaan

14. Etsy

15. itokri

16. Unfactory

17. GetKraft.com

18. Lal10

19. QTrove

20. Indiamart

21. ecraftindia

22. Saffronart

23. KashmirBox

24. Engrave

25. Dastkar Andhra

26. emithilahaat

27. Gaatha

1. Surajkund Crafts Mela, New Delhi

2. Indian international Trade Fair, New Delhi

3. Dilli Haat, New Delhi

4. Shilpgram Fair, Udaipur

5. Crafts Bazaar, Kolkata

6. Crafts Vision, Jaipur

7. Dhrupad Mela, Varanasi

8. Cottage Handicrafts Textile Emporium, Jaipur

9. Indian Handicraft and Gifts Fair (IHGF), Delhi

10. Rakhiand Handicrafts Exhibition, Mumbai

11. India international Leather Fair, Chennai

12. Tourist Fair, Chennai

13. SIRPl's Handicraft Exhibition, Chennai

14. Times Art and Design Trade Fair, Mumbai

15. Food and Cultural Festival, Goa

1. Indira Gandhi National Open University (IGNOU)

2. The Handloom School

3. C-DAC: Centre for Development of Advanced Computing, India

4. Research Design and Technical Development Centres, (Ministry of Textiles)

5. NID- National Institute of Design

6. International Centre For Indian Crafts (ICIC), (NID)

7. NIFT - National Institute of Fashion Technology

8. Indian Institute of Technology

9. Centre for Regional Design and Technical Development

10. Indian Packaging Institute (Ministry of Commerce)

11. Mahatma Gandhi Institute for Rural Industrialization under MSME

12. Entrepreneurship Development Institute of India, Ahmedabad

13. Development Institute, Allahabad

14. Bamboo & Cane Development Institute at Agartala (Tripura), (Ministry of Textiles)

1. Sapti ( Stone artisan craft institute)

2. National Skill Training Institute under Directorate General of Training

3. All India Cottage Industries Board

4. Kala raksha Vidyalaya, Kutch

5. Industrial training institutes

6. Center for cultural resource and training

7. Metal Handicrafts Service Centre (Society), (Ministry of Textiles)

8. Somaya Kala Vidya

9. Barefoot College

10. All India Handicraft Board

11. Handicraft and Handloom Export Corporation of India

1. Ministry of women and child development- MWCD

2. Ministry of textile-MOT

3. Ministry of skill development and Entrepreneurship -MSDE

4. Ministry of Micro,small and medium Enterprise -MSME

5. Ministry of minority affairs-MOMA

6. Ministry of rural development- MORD

7. Ministry of power

8. Ministry of culture

9. Ministry of tourism

10. Ministry of development of North-east region - MDONER

1. Dilli Haat (Delhi tourism and transportation development corporation (DTTDC))

2. State Handicrafts Development Corporations (SHDC)

3. Directorate general of Training

4. Skill India

5. Ekamra Haat in Bhubaneshwar (Works under Orrissa state government)

6. Council for the Advancement of People’s Action and Rural Technology (CAPART), (Ministry of Rural Development.)

7. Beauro of Indian Standards (BIS)

8. NSIC (National Small Industries Corporation).Under MSME

9. Khadi and Village Industries Commission KVIC (MSME)

10. District Industrial Centre (DIC)

11. Gramin Vikash Bank

12. The National Bank for Agriculture and Rural Development (NABARD), (Ministry of Finance.)

13. The Small Industries Development Bank of India (SIDBI), Department of Financial Services, Government of India

14. NCDPD - National center for design and product development (by Ministry of Textiles)

15. Ministry of Textiles

    1. IICT - Indian institute of carpet technology

    2. Metal Handicrafts Service Center (MHSC)

    3. Development Commissioner Handicrafts [DC(H)]

    4. Research Design and Technical Development Centres

    5. MHSC - Metal Handicrafts Service Center

    6. COHANDS - Council of Handicraft Development Corporation

    7. Export Promotion Council for Handicraft (EPCH)

    8. CEPC - carpet export promotion council

    9. HHEC- Handicrafts and handloom export corporation of india ltd

    10. BCDI - Bamboo and cane development institute

    11. Sampoorn

    12. Power Grid Corporation of India

    13. Indian National Trust for Art and Cultural Heritage (INTACH)

16. All India Handicraft Board (Ministry of Commerce and Industry)

1. Power Grid Corporation Of India Ltd

2. Oil And Natural Gas Corporation Ltd (ONGC)

3. Vedanta Ltd

4. HDFC Bank Ltd

5. Wipro Ltd

6. Toyota Kirloskar Motor India

7. HCL Technologies Limited

8. Axis Bank

9. Hindalco Industries Ltd

10. Ambuja Cement Ltd

11. Hindustan Unilever Limited (HUL)

12. Reliance Industries

13. ITC Ltd

14. Indian Oil Corporation Ltd (IOCL)

15. National Thermal Power Corporation Ltd (NTPC)

16. Hindustan Zinc Ltd

17. Bharat Petroleum Corporation Ltd.

18. Tata Motors Ltd

19. Tata Chemicals Ltd

20. Mahindra & Mahindra Ltd

21. Infosys Ltd

1. Kala Madhyam In Bangalore

   1. NGO dedicated to supporting and empowering traditional (folk and tribal) artists and artisans

2. Industree Foundation (Pvt LTD)

3. Sasha Association for craft Producers (SASHA)

4. All India Artisans and Craftworkers Welfare Association (AIACA)

5. Craft Village

6. Dastkari Haat Samiti

7. Self Employed Women's Association (SEWA)

8. Sadhna A Women’s Handicraft Enterprise

9. DASRA

10. Gramshree

11. Khazana in Taj Group of Hotels (An initiative of Taj group)

12. Rangasutra (Community-owned craft company)

13. MESH in Hyderabad and Delhi (Indian organisation practicing Fair Trade with disabled and leprosy affected crafts artisans, for their rehabilitation.

14. Craft Council Of India (CCI)

15. Delhi Craft Council (DCC)

16. Paramparik Karigar

17. CIDCO Kalagram- Mumbai

1. International Monetary Fund (IMF)

2. World Fair Trade Organization

3. World Tourism Organization (UNWTO)

4. United Nations Development Program (UNDP)

5. UNESCO

   1. Culture as core for social development

   2. UNESCO helps and encourages the study of the creative industries sector

   3. Organisations under UNESCO give marketing, branding support for local products and handicrafts and helps create a local identity.

   4. UNESCO encourages local institutions to support handicraft businesses and enhance marketing services that currently exist.

International funding organizations

1. Grassroots Business Fund

2. Rothschild Foundation

3. Aid to Artisans (Washington, DC)

4. The Ford Foundation (American private foundation)

5. Federation of Indian Chambers of Commerce and Industry FICCI

1. HUDCO

2. Sir Dorab Tata Trust

3. Aavishkar

4. INTACH

5. Villgro Innovations

6. Index-C