Metamorphosis on the Rosewood Inlay Craft, Mysore

Metamorphosis of the Rosewood Inlay craft in Mysore



NATIONAL INSTITUTE OF FASHION TECHNOLOGY



JASLEEN ARORA
AD VI

Metamorphosis of the Rosewood Inlay Craft

by
Jasleen Arora

BD/14/391 Accessory Design Department (2014-2018) Project
work carried out at

Mysore, Karnataka, India.
Faculty Guide: Dr. Yathindra Lakkanna

(Asso. Prof. and Chairperson FnLA)

NATIONAL INSTITUTE OF FASHION TECHNOLOGY,
BANGALORE
Jan-June 2017

2

Acknowledgement

This research bears imprint of all those who have directly or indirectly helped and executed their
kind support in the completion of this paper. I am grateful to the National Institute of Fashion
Technology, Bangalore for providing me with this golden opportunity to visit Mysore and get a
glimpse into the life of the pioneers of Rosewood Inlay Craft and to interact with them. I would
also like to express my gratitude towards Dr. Yathindra Lakkanna (Asso. Prof. and Chairperson
FnLA) for guiding and mentoring me throughout the research. A vote of special thanks to the
artisans of Mysore, who took time out of their busy schedule to share their skills and knowledge
about Rosewood Inlay with us. It was a truly intriguing experience that helped us in seeing the
intricacies and immaculate detailing that is done while doing Rosewood Inlay.

3

Index 5
5
I. Abstract 5
II. Keywords 6
III. Objectives 6
IV. Limitations of the Research 6
V. Mysore and Rosewood Inlay Craft 7
VI. Origin 10
VII. Structure of the Craft 15
VIII. Metamorphosis of the Rosewood Inlay: The trajectory of the craft 16
IX. Experts View 18
X. Humans of the Craft 19
XI. Conclusion 21
XII. Progressive Application of the Inferences 22
XIII. References 31
XIV. Appendix I
XV. Appendix II

4

Metamorphosis of the Rosewood Inlay craft in Mysore

Abstract: Mysore has a rich tradition of handicrafts that have their roots back to generations. The
nostalgia of the unadulterated past is fascinating. This paper focuses on the metamorphosis of
the craft thus determining the origin, changes, and differences that have transformed the
Rosewood Inlay craft to its contemporary form. To understand the life cycle of a craft from its
inception reveals various facets and dimensions of the craft. The aim is to trace back this journey
and follow the trajectory of the craft. This research holds significance, as it will help in
understanding the essence and the texture of the craft that may have been affected due to the
various changes that occur to the functioning and structure of the ever-changing forms and
modes. This paper attempts to evaluate the impact of the external factors on the craft itself.
These external influences include, socio-historic, technological, political factors and changing
trends. The idea is to compare the core values of the craft and its performing artisans to its
contemporaries. The objective is to closely study the Rosewood Inlay craft and the artisans
involved; informative interactions that will help us gain a perspective towards all the questions that
arise during the research process. The nature of the research is exploratory with qualitative
analysis employing mixed methods such as surveys, questionnaires and interviews combined
with secondary research of any folklore, textual data or manuals used by the artisans as well as a
comparative analysis of the outputs. The findings of this paper help in establishing the major
trends within the structure of the craft, while using the acquired data and inferences to determine
the metamorphosis of the craft. The utilitarian approach towards the discourse enables a
research based on the qualitative/quantitative changes through the trajectory of the craft. The
results of the research determine a structured approach towards the furtherance of the craft.

Keywords: Rosewood Inlay craft; essence; evolution; factors; effects; furtherance.

Objectives:
1. Study the craft from its possible inception and the various changes in a chronological
order through primary and secondary sources.
Attributes: Inception; History of the craft; Fundamentals; Initial growth and
boom; Culture; Product; People

2. Study and evaluate the factors affecting the craft that cause the subsequent changes.
Attributes: Acceptance; Livelihood; Dormant phase; Radical changes; Socio-
economic factors; External factors: Socio-historic, Technological, Political factors
and Changing trends; Evolution of Products; Contemporary phase; Process-
materials, manufacturing process, power tools; Reshaping; Texture of the craft;
Artisan’s perspective

3. Analyze the trajectory of the craft and present a “cause and effect” relationship model that
determines the growth and changes with reference to the major graph curves in the life of
Rosewood Inlay craft.
Attributes: Contextual importance in the contemporary market; Questioning the
identity and depth of the craft; Future; Graph with current scenario; Effect on the
current holders of the craft; Responsibility towards the craft; Fish bone diagram

5

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which rosewood inlay work is pre-eminent and unique, thus receiving the Geographical Indication

(GI) tag.3 T h e r o o t s o f t h e c i t y h o l d t h e c r a f t , which is nurtured with the unique appeal of the cities'
culture and12234hhhhhtittttstttppppt:sos:///::/1r//w//y4eww..n1ww.3ww.9ti.hk.c1ieap1hue1ivdn.e2idar6uy./o.hxcrmaognm/lwud/iiit/ckobrid/iatIasnfttylsrase.yn-apemat/p/pheaargn/tepdsl-e/fre/o1as/t3eu7wre6os/oF/tdCp--%pdri2os0tdrBuiccatptnslgu/pasgl/onidroe--1%s1u29c00cC0e9lsu.sasotserpsrx/%ar2ti0cDleo5c0u0m76e9n7t%.e2c0eGroup%205%202015.
Origin:
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technique can be
Japan in the Tang

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also

required technical carving knowledge and a deep understanding of Chinese tradition.

Rosewood inlay was introduced in India in Srirangapatna in the 18th Century patronized by
Hyder Ali and Tipu Sultan. The geographical location of Mysore next to a rich forest hinterland
abundant in tropical timber and the migration to Mysore of artisans provided a fertile situation for
the practice of Wood and Ivory Inlay and so on at the 19th century. The first historical records
trace the practice of marquetry to the family of Zainullla Abdul who had migrated to Srirangapatna
from Persia during the period of Tipu Sultan.4 After the demise of Tipu Sultan, artisan activity
shifted to Mysore that became the royal city of the Wodeyars.5


1 https://en.wikipedia.org/wiki/Inlay
22 https://www.cauveryhandicrafts.net/pages/rosewood-products/pgid-119009.aspx
3 http://www.thehindu.com/todays-paper/tp-features/tp-districtplus/no-successors/article5007697.ece

4http://14.139.111.26/xmlui/bitstream/handle/1/376/FC%20Bangalore%20Cluster%20Document%20Group%205%202015.
pdf?sequence=1
5 http://www.deccanherald.com/content/127955/here-tipus-legacy-lives-on.html

6

Eventually during the reign of Jayachamarajendra Wodeyar several artists started practicing
Rosewood Inlay, as the materials were available in abundance. The craft was it its peak as
caskets and frames made of Rosewood Inlay were in demand.6 Abidi’s son Yusuf Ali opened the
first inlay workshop, ‘Yusuf Ali and Sons’, in Mandi Mohalla and trained a number of artisans,
mainly from the Muslim community, in the intricate skills of inlay.7 This Rosewood Inlay business,
which thrived in the 1870’s, continues to be one of the patrons of the art form. The crafts
popularity declined and rose up again in 1990’s when the Chamarajendra Institute Of Technology
(CTI) introduced traditional inlay into their curriculum. The students continue to design patterns
and motifs for inlay artists.8

Structure of the Craft:

Fig. 1: The collection of pictures gives a glimpse of the various stages involved in the structure of the craft ranging from
raw material to the tools and techniques employed.

Raw Material: Different color woods like rosewood, rubber wood, red sandal, jackfruit wood etc.
are used to add multiple colors to the art piece. A mixture of wax and charcoal is used to fill fine
details. The wood, plastic sheets (for white), and other materials procured from the local market.
Initially, Rosewood and Ivory was used for the inlay works but now, white and beige plastics have
been used as substitutes. (Ivory ban, 1972) Plywood is used for the base frame of the artwork.9

Rosewood Honne

Neeli Padak



6http://14.139.111.26/xmlui/bitstream/handle/1/376/FC%20Bangalore%20Cluster%20Document%20Group%205%202015.
pdf?sequence=1
7 http://www.deccanherald.com/content/127955/here-tipus-legacy-lives-on.html
8http://14.139.111.26/xmlui/bitstream/handle/1/376/FC%20Bangalore%20Cluster%20Document%20Group%205%202015.
pdf?sequence=1

9 http://www.dsource.in/resource/mysore-rosewood-inlay-works/raw-materials
7

Jackfruit wood Slate Matti

Teak Ebony

Maddi Imli

Fig. 2: Different kinds of woods used with their respective names.

1

2

3

4
\
4
5
\
4

S. No. Color Wood
1. Light Brown/Yellow Jack Fruit
2. Off-white Doodi
3. White Acrylic (traditionally: mother of pearl)
4. Brown Rosewood
5. Orange Patang (Kerela)

Fig. 3: Shows the assembly of varied woods in a motif with their respective names and colors.

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Tools Used:
• Sandpaper
• Cutting Bow
• Hacksaw frame
• Hand Drill used in making holes to fix small pieces
• Pakka Chiran to make outlines
• Kurva Chiran to make bigger lines
• Kurthi used to block of wood used as a hammer
• 1/2 inch Chiran to cut around corners
• 1 inch Chiran is the biggest chisel for carving
• Vat Chiran is a chisel at a slope
• Barrik Chiran used to make small carvings
• Halak is a saw
• Kala Mome is the wax to make black outlines and detail

The production of Inlay work is a multi-step process. From sourcing raw materials to the final
production, a number of tools are used by the artisan. At first Rosewood and Ivory was utilized for
decorate meets expectations however when ivory was banned in India white and beige plastic
has been utilized as substitutes. Plywood is utilized for base edge of the craftsmanship piece.
Distinctive shading woods like white cedar, rose wood, chill pine, elastic craftsmanship piece. A
blend of wax and charcoal is utilized to fill fine subtle elements. The wood, plastic sheets, and
different materials are purchased from the neighborhood market. The favored colors utilized as a
part of the work pieces are orange, light blue, medium blue, dull blue, yellow, green (not
common), chestnut, dim cocoa, maroon and so on.

Pre-Production: Creating a Rosewood Inlay piece is a meticulous process. Artisans pay great
attention to the details and intricacy involved in the task. Craftsmen who have spent years honing
their skill produce the designs. The Rosewood, amongst other types of wood is obtained from
government-organized auctions. Rs. 90,000- 1 lakh is the spending on a 20 ft. log of wood. They
buy 5-6 logs of wood annually. However in many areas pre-cut planks of wood are also available
at subsidized rates from the government. The colored specimens are cut into planks (1/4” thick)
and rosewood is cut into planks (3/4” thick) from the logs, and left to dry out in the sun. Once the
plank is cut, their edges are smoothened based on the final shape of the surface that the design
requires which is typically a basic shape such as square, rectangle oval or circle.

Technique:

1. The template is pasted on the required piece of wood so that it can be sawed out. During
this initial process the wood must be fixed to a vice. To create a single design various
sizes of wood are required. This stage requires high level of patience and skill. It is a
difficult and tedious process.

2. Once all the design pieces have been sawed, they are placed on a rosewood based their
outline is created using pencil. Following this, the design is etched on rosewood. Using a
chisel (chirana) and a hammer, the wood surface is carved out with the outline of the

9

design drawn. Different widths of chisels are used create more intricate details in the inlay
work.

3. The colored wood pieces that have been cut the appropriate design are placed on the
slots etched on the surface of the rosewood. They are fixed in place using Fevicol.

4. Sometimes a crevice is left unfilled and to fill it, a mixture of rosewood, sawdust and glue
is rubbed over the surface so that it settles and the gaps are eliminated. After this
process the piece is left to dry for a few hours.

5. The inlay surface is then smoothened out in the next step, done by scraping with fine-
grade sandpaper.

6. The intricate details such as the, folds of the dressed, veins of the leaves and flowers or
engraves or punched. Then black wax (mome) is applied on the surface so as to fill up
the grooves. It is wiped off by using a dry cloth, leaving behind residue as details. The
design of the product is complete with a coat of varnish.

Post Production: The postproduction process involves measures to ensure the finished product
meets the standards of quality, packaging, export, pricing and marketing. Given the historic
significance of the craft, its presence is the market is irreplaceable. Considered a work of art, it is
sought after not only by collectors but also curious visitors to natives who pride in their heritage.
Be it patchwork paintings, dining sets or ornamental boxes or elephant sculptures, the rosewood
industry covers all bases of home decor.10

Metamorphosis of the Rosewood Inlay: The trajectory of the craft
To study the metamorphosis of the Rosewood Inlay craft of Mysore, a precise timeline of the

craft is created from its possible inception and the various changes in a chronological order.
Subsequent evaluation is done of the factors affecting the craft that cause the various changes
and a graph is plotted showing the trajectory of the craft with its possible future.

Early 18th Century: Introduction of Rosewood Inlay craft in Srirangapatna, patronized by
Hyder Ali and Tipu Sultan. The geographical location of Mysore next to a rich forest hinterland
abundant in tropical timber and the migration to Mysore of artisans provided a fertile situation for
the practice of Wood and Ivory Inlay and so on at the 19th century.

4th May 1799: Demise of Tipu Sultan: artisan activity shifted to Mysore, which became the
royal city of the Wadiyars.

1870: Yusuf Ali (son of Abidi): opened the first inlay workshop, 'Yusuf Ali and Sons', in
Mandi Mohalla and trained a number of artisans, mainly from the Muslim community, in the
intricate skills of inlay. This Rosewood Inlay business, which thrived in the 1870’s, continues to be
one of the patrons of the art form.



10http://14.139.111.26/xmlui/bitstream/handle/1/376/FC%20Bangalore%20Cluster%20Document%20Group%205%20201
5.pdf?sequence=1

10

1897: Mysore Palace construction and considerable amount of wood inlay work done during
the reign of His Highness Maharaja Jayachamarajendra Wadiyar, the last Maharaja of Mysore
Kingdom. This increased the employment rate around Mysore. With the patronage of the Mysore
Palace, the workshop started producing decorative embellishments to objects like musical
instruments, photo frames, rose wood doors and furniture for the palace and rich local patrons.
The fine doors inlaid with ivory at the Mysore Palace are attributed to their workmanship.

1908: Mysore city got its first electricity supply, which helped the growth of mechanical tools
and eventually to faster production.

1914: Establishment of Chamarajendra Technical Institute made some bold experiments with
the inlay pattern and mythology was also introduced alongside geometric patterns. To provide
formal training in traditional arts and crafts like wood inlay, which, up to that time, had been
entirely family based.

1940s: Patronage by Jayachamaraja Wodeyar Bahadur was the 25th and the last Maharaja of
the princely state of Mysore. During his reign artisan practiced several crafts including ivory
inlay in rosewood, as rosewood was available in abundance locally.

1940-1960 (qualitative peak of the craft): Inlay artistes like Mir Shaukat Ali took the art of
pictorial marquetry and countryside scenes to another level, incorporating contemporary
themes, his works becoming collectors’ items. This boosted the popularity of wood inlay works.
The study report points out that from a mere two units producing wood inlay works in the early
1940s, it increased to 65 units in the 1960s.

1964: Establishment of the KSHDCL under the Companies Act, 1956. The objective of the
Karnataka State Handicrafts Development Corporation Limited is to preserve, develop and
promote handicrafts. Government of India and Government of Karnataka are the shareholders in
the organization.

1968: A panel called “Submission with Devotion” created, the first ever relief work in wood
collage by Puttaraju for which he won the prestigious first prize at the Mysore Dasara Exhibition.

1972: Ban of Ebony and Ivory under the Wildlife Protection Act. Initially Rosewood and Ivory
was used extensively for inlay works, which can still be seen on Mysore Palace doorframes.
When ivory was banned in India white and beige plastic has been used as substitutes. Plywood is
used for base frame of the art piece. Different color woods like white cedar, rose wood, chill pine,
rubber wood, red sandal, jackfruit wood etc. are used to add multiple colors to the art piece.

1972-1980: Decline due to the ban on ivory and repercussions: increased demand and
escalating cost combined with the degrading quality because of the shift to cheaper alternatives
caused a steep fall in the trajectory of the craft.

1990: CTI introduced traditional inlay into the curriculum. The crafts popularity declined and
rose up again in 1990’s when the Chamarajendra Institute Of Technology (CTI) introduced
traditional inlay into their curriculum. The students continue to design patterns and motifs for inlay

11

artists.
1990s (quantitative peak of the craft): 300 units sold because of increase in popularity. The
students continue to design patterns and motifs for inlay artists.
2005: Geographical Indication (GI) registered in 2005; under the name of Mysore for its well
known Rosewood inlay craft. 30thJanuary 2006, GI tag gave the craft its legal protection to
reinforce the products uniqueness.
In the recent years master craftsperson Mr. Shaukat Ali sparked a new trend in the craft by
introducing colored wood to create exceptional Rosewood Inlay pieces. This revolutionized
the world of art and craft as well as that if artisans. The detailing on Rosewood was initially done
with ivory however due to the ban on procurement of ivory, materials like acrylic and marble are
used as substitutes. This has also reduced the sale price of Rosewood Inlay prices commercially.
Current: Steady growth of technology reducing manual labor.

Machine work: 60%
Manual labor: 40%
Craft has survived mainly because of the rich legacy of craftsmanship and the availability of the
unique colored wood in this area. Mechanized cutting and other processes facilitated the growth
of the craft over the years but the craft has reached a stagnant position.

1 2

Fig. 4: Metamorphosis of the Rosewood Inlay Craft: The trajectory of the craft.

Findings and Trends (Current):
The graph in Fig.1 measures the trajectory of the craft to evaluate and understand major

events and factors, which have affected and caused the metamorphosis of the Rosewood inlay
craft in Mysore. On the X-axis is the timeline of the craft from its possible inception in the early
18th century with the following major events and on the Y-axis; the qualitative and quantitative
momentum is represented.

12

The graph sees two peaks, one being 1940-60s and the other being in 1990.
1) 1940-1960 (qualitative peak of the craft): Inlay artistes like Mir Shaukat Ali took the art
of pictorial marquetry and countryside scenes to another level, incorporating
contemporary themes, his works becoming collectors’ items. This boosted the popularity
of wood inlay works. The study report points out that from a mere two units producing
wood inlay works in the early 1940s, it increased to 65 units in the 1960s. This brought
about the qualitative peak in the trajectory of the craft, which was marked by innovation
and extraordinary craftsmanship thus, paved ways, which would take the craft into
positive directions and give it its individuality and character.
2) 1990s (quantitative peak of the craft): Chamarajendra Institute Of Technology (CTI)
introduced traditional inlay into the curriculum. The crafts popularity declined and
rose up again in 1990’s when the students continue to design patterns and motifs for
inlay artists. 300 units sold because of increase in popularity. This brought about the
quantitative peak of the craft with the highest number of produced works.

Current Position of the Craft:
As mentioned by Eric Sakellaropoulos, an art expert practicing marquetry in Mysore, “The

craft has reached a stagnant position.” A fish bone diagram is developed to study the cause and
effect relationship concerning the various external factors over time that have caused the craft to
reach this inert state.

Fig. 5: Fish Bone Diagram: Stagnant Position of the Rosewood Inlay Craft, Mysore.

Stagnant Position of the Craft due to the following reasons:
a) Imitations in the market.
b) Feasible and cheaper alternatives to the end product, already available in the market.
c) Increasing price of wood.

13

d) Rampant exploitation of sandalwood, smuggling and illegal activities resulted in the
decline of sandalwood carved handicraft items.

e) Lack of implementation of laws and protection acts.
f) Rigidity of artisans and refusal to adapt to changing times.
g) Resistance against mass production through machines.
h) The talent pool within the craft is scarce. (Rigidity in creativity and traditional practices

limit the variety in the talent pool)
i) Few youngsters are learning the craft. (This may be a big factor in the possible decline of

the craft in the near future).

Possible Future Trends:
On the basis of the above analysis, and keeping in mind the current stagnant position of the

craft, the possibilities that linger in the future may depend on the positive and negative factors. [A
green dashed line marks the future positive trends where as the future negative trends a red
dashed line represents].

Fig. 6: Metamorphosis of the Rosewood Inlay Craft: The trajectory of the craft and its possible future.

Positive trends that can favor the craft and will help facilitate the growth of the craft in the future
are:

a) Exploration of the craft and innovation.
b) Inclination of the next generation towards the craft.
c) Government subsidiaries and support.
d) Artisan upliftment and positive attitude.
e) Creating a global identity.
f) Balanced consumption of raw materials and natural resources: sustainable development

of the craft.
g) Increase in exports and local business.

14

Negative trends that might bring about the downfall/ extinction of the craft in the future are:
a) Imitations in the market.
b) Increasing price of wood.
c) Rampant exploitation of sandalwood, smuggling and illegal activities resulted in the
decline of sandalwood carved handicraft items.
d) Rigidity of artisans and refusal to adapt to changing times.
e) Resistance against mass production through machines.
f) Few youngsters are learning the craft. (This may be a big factor in the possible decline of
the craft in the near future).

*The study is made on the following assumptions keeping the factors isolated from any other
external forces. The future trajectory may/may not act voluntarily with combinations and cross
mixing of both negative and positive factors. (Limiting the scope of this study).

Expert Views:
The Craft, Identity and Artisans:

Explaining the significance of the art form, J. Vijay Mohan, officer-in-charge of the IGRMS,
said artisans focused on themes reflecting Mysorean lifestyle, traditions and culture, such as the
Dasara processions, rural landscapes, animals, and hunts, among other subjects. The royalty’s
lavish patronage of this art form has given it a unique identity.

What is worrying is that while this art form has evolved to become part of Mysore’s culture,
there are less than 4,000 artisans today skilled in the craft. Like many others, this particular art
form is on the decline, according to Mr. Mohan.11

As S. Ramu, President, Handicraft Manufacturers Association, explained: There is no artisan
in the age group of 18 to 25 years who has joined us in recent years. The crisis will manifest fully
when the present crop of senior artisans retires from the profession.12

Raw Material and Costing:
In recent years, the wood-based inlay works as also other handicraft forms are facing a

decline. While there is a demand for these products, it is the escalating cost of rosewood, the
primary raw material for wood-inlay works, that is the contributory factor. While the artisans are
prepared to shift to cheaper alternatives such as Shivane wood etc, the crisis is fuelled by the fact
that there are hardly any new entrants to the field.

Mr. Ramu pointed out that inlay works look good and have a high aesthetic factor when
rendered on rosewood. Use of cheaper form of wood diminishes the art. “While Chinese products
have also entered the world of handicrafts, theirs is only a cheap imitation and discerning
customers can see through the lack of quality. They are not a threat to us but to ensure our
presence in the market, the Government should come out with a subsidy or financial schemes for
new artisans to take up the work and ensure that the craft form does not flounder,” said
Chandrashekar, a senior artisan specializing in wood inlay works.13



10http://www.thehindu.com/news/national/karnataka/mysores-inlay-woodwork-gets-a-boost/article4745706.ece
12 http://www.thehindu.com/todays-paper/tp-features/tp-districtplus/no-successors/article5007697.ece
13 http://www.thehindu.com/todays-paper/tp-features/tp-districtplus/no-successors/article5007697.ece

15

Current Market Scenario:
“The export market for wood inlay items is around Rs four crore today,” says Devaramani,

Deputy Director of the Handicraft Marketing and Service Extension Centre. “Domestic sales are
much larger,” the deputy director adds.14

Local customers look for volume and size, not quality, he says, resulting in mass-produced
work with little or no handicraft in it. So much so, much of the container loads of handicraft
shipped to Germany, the US and Japan have found their way into the basement bargain shops,
he adds.15

Prospects of Decline:
And the fears that the day is not far when wood-based inlay works will face the prospects of

terminal decline and the art form disappear from the region, are real. For, from a peak of 300
units manufacturing these items, their numbers have come down by 50 per cent, according to Mr.
Ramu.

P. Shashidhar, Assistant Director, Handicrafts Marketing and Service Extension entre,
Mysore, pointed out that the artisans too were rigid in their approach and refused to adapt to the
changing times. Use of machines could eliminate the drudgery and help in mass production of the
product, which could help reduce the cost of production. “But there was resistance to it.”

R. Krishna Kumar, author of the article "No successors", The Hindu, says, "Wood-based inlay
works face the prospects of terminal decline, as few youngsters are learning the craft."16

Humans of the Craft:
The artisans are dominantly in the business for the ancestral skills that they possess and the

legacy of their families. The financial aspect seems to hold them down and create stagnancy in
the craft. Their views on the future of the craft reflect this. They believe the designs and motifs will
remain the same, with little or no change. The future looks good, however, they remain under
adverse conditions. The future generations don't seem all that interested and aren't influenced by
the going legacy. Work situations are complex, they suffer through various work related ailments
like; respiratory problems, skin issues and other work place related hazards. The employers don't
look after the needs and seem to exploit them, with little focus on facilities and provisions i.e.
health insurance, PF, pension. It's difficult to meet ends but the strong bond between the
communities keeps them going. They are willing to pass on the legacy to the future generation
but not from their own bloodline. Maybe, they have seen more darkness than light, which makes
them cautious about their children's future. A little more effort from the employers and the
government may help the situation get better. Empathizing with the craft isn't enough; those who
create should be looked after for.



14 http://www.deccanherald.com/content/127955/here-tipus-legacy-lives-on.html
15 http://www.thehindubusinessline.com/todays-paper/tp-life/colours-of-wood/article1682310.ece
16http://www.thehindu.com/todays-paper/tp-features/tp-districtplus/no-successors/article5007697.ece



16

Fig. 7: Humans of the Craft.

Humans of the Craft (Info graphics):

Female Around 64% of the total Rosewood
Male inlay artisans and workers are male
(varying ages from 14 to 65) where as
the rest 36% are female.

Illiterate The primary level of education
Primary accounts to 42% of the total education
Secondary level of the artisans in Mysore, where
as illiteracy accounts for 36% of the
Training same. Only 22% of the artisans prefer
Average or have gotten the opportunity to study
Skilled a little higher i.e Secondary Education.

Maximum number of artisans falls
under the category skilled and high
skilled in the profession (34% and
26%). The averagely skilled artisans
add up to 16% and the rest 24% are
under the training for the same, as they
are mostly young workers.

17

2500-5000 A majority of 36% of the total artisans
5000-7500 on between Rs. 2500- Rs. 5000 per
7500-10000 month, where as 30% of them earn
More than more than Rs. 10000. 20% of the
10000 same earn between Rs. 5000-
Rs.7500. Rest 14% earn 7,500-Rs.
10,000. Income level depends on if
they are private owners/workers at a
manufacturing unit that has gained
recognition, or if they work at small
handicraft.

Yes The government provides Health
No Insurance to hardly 36% of the local

Rosewood inlay artisans, while the
rest 64% of them suffer without any
Health Insurance mainly because
they work in private firms.



Conclusion
Rosewood inlay, as a craft, has no end of potential due to its unique nature and level of skills

involved. This craft has a rich history of royal patronage, revival and the royalty has always
provided the boost of the craft. The conclusive evidences push us in the direction of
understanding and unraveling the issues that surround the craft. One major setback is due to the
declining patronage and ignorance towards the craftsmen. When compared to the onset of royal
patronage, we find out that the craft had a solid backbone that nurtured the craftsmen and
provided room for innovation and growth. However, with the end of the royal era, we see a
downfall in the number of people involved with the craft and a total commercial exploitation of the
natural resources by illegal means for other purposes. The government needs to intervene and
inject funds and subsidiaries to the craft that becomes essential for its survival. Current scenario
shows a stagnant position, which is never healthy for a craft as the people involved become
complacent, and push the craft into a comfort zone that isn’t conducive of any growth. The factors
involved with such trajectory are unsatisfied craftsmen, mediocre level skills, rigidity to adapt to
changing times, mere commercialization with no significant qualitative growth, outrageous
exploitation of the exclusive resources which lay the foundation of the craft might be the last nail
to the coffin.

This is a crisis situation and longs for help. This research project aims at resolving certain
aspects of the craft, which coaxed it into isolation. Various individual handicraft entities need to
come together who face similar fate and create a community, which facilitates growth and
opportunity, by creating cooperation and a community to raise funds and reach out to the officials
to maintain and sustain the craft. The educational institutes like NIFT and NID need to come
forward in support of the craft by introducing disciplines, which promote awareness, and
opportunities that lie in this field. This will provide employability to skillful craftsmen who will make

18

the young generation equipped with required skills and a creative mind to innovate and bring this
form of handicraft to the global level by infusing contemporary design sensibilities and aspirations.

Research and development work needs to be done to understand new ways to conserve the
craft and sustainable development. The following segment ventures into a multi-faceted approach
to solve the con-current issues within the craft i.e. limited application of the craft, isolated position,
misdirected energies.

There should be provisions and studies to understand the functioning of the market to create
a positive environment, which strikes a balance between qualitative and quantitative factors of the
craft, opening new opportunities. The public needs to be aware of the importance of this
indigenous craft, which is of cultural significance, and we need to come together in support of the
community to keep the soul and texture of the craft intact.

The metamorphosis of the Mysore Rosewood inlay craft has been eventful and significant to
the backdrop of our countries heritage and history. Amendments need to be made to prevent its
corrosion and possible extinction.

Progressive Application of the Inferences:
Mysore rosewood inlay as a craft longs for innovative solutions to grow with the contemporary

times and accommodate trends that safeguard its future position in the craft sector as well as the
commercial market space. There is an immediate need to realize the importance of exploiting the
potential of the craft within the realm of the Indian market. Rather than focusing outwards towards
a market, which isn't accustomed to the heavy furniture and the concept of heirlooms. The priority
should be given to the localized demand and the secondary focus should be on exports. To
increase the reach of the craft, there is a need of restructuring while retaining the roots of it. To
create a niche in the international we should re-adjust the structure of the products to the
contemporary international needs retaining the essence of the craft. Eric Sakellaropoulos says,
“The need of the hour is to give the craftspeople in Mysore a fighting chance in the global market
and make the artisans aware of Western design sensibilities.” 17

The business nuances need to be re-calibrated to ensure a strong position in the market. The
current focus is localized around the exports, which are interpreted as a safe space to make
profits. However, it is important to note that the clientele is limited to the NRI's (non-residential
Indians) and very few foreign clients. This overshadows the current market space that the Indian
market has to offer. The priority should be shifted to the Indian market by appealing to the Indian
client base, as this space remains unexploited. The secondary focus should be on
accommodating the contemporary international trends while retaining the essence of the craft.
These changes should restructure the craft in a way that appeals to the foreign customer base, as
the heavy furniture and heirlooms aren't the common trends in the western market. This two-fold
business model will help expanding the craft within the commercial space, providing incentive to
the craftsmen to better the craft and create a safe future.

Beyond the quintessential: The craft conjures primarily in form of wooden furniture works,
portraits and artworks. To reimagine the craft into different forms can help the craft/craftsmen



17 http://www.thehindubusinessline.com/todays-paper/tp-life/colours-of-wood/article1682310.ece

19

explore uncharted territories and subsequently create a wide niche for the craft within which it can
grow. The craft can be molded in to other zones, i.e. Lighting, wooden panels, flooring, false
ceiling etc. The elements of the craft which are quintessential to the furniture works can be
deconstructed into individual elements, which can be fused with the above mediums and expand
it's horizon of reach.

The peculiar factors like the availability of the localized unique materials, natural color
variations and the kind of indigenous skills/techniques involved make it a GI which provides it
recognition and individuality. These elements are specific to the craft of Mysore rosewood inlay,
which distinguishes it from any other inlay craft practiced in different areas of the world. The
intriguing choice of storytelling within the designs of the craft gives it a certain character. This
element has cultural and mythological roots specific to the Indian subcontinent. Mythology plays a
significant role in the sub tones of various forms of art in India. It is a mode of expression within
the realms of Indian culture, which speak a lot about the values, and the rich heritage of the
country. The evident use of mythology in rosewood inlay adds a cultural dimension to the craft,
which gives it the individuality that it holds within the culture and forms of craft. The question of
contemporizing is natural, and the way to realize the idea of contemporizing the art is by
contemporizing these stories to the modern times.

Taking the craft forward, it is necessary to accommodate contemporary ideas to reshape
traditional elements of the craft. Symbolism is a way of expression that squeezes the extensive
stories into particular cryptograms, which demonstrate the Indian mythological culture in novel
means.

Apart from mythology, products can be designed to tell stories of the clientele. This being a
design centric approach requires a large collaboration with the designers to customize the
storylines of the people for the people and by these master storytellers of the craft. This is a
certain way to take the craft forward, bringing the locus of stability and expanding beyond the
current space.

The introduction of concepts such as minimalism, into the craft, which are distinguished in
their approach of storytelling, can lend a sense of “je ne se qua” to the craft and manifest a wider
appeal to a more sophisticated space. Likewise many other art forms have adopted contemporary
restructuration to reinvent themselves in the modern times.

20

References:
[1]https://en.wikipedia.org/wiki/Inlay
[2]https://www.cauveryhandicrafts.net/pages/rosewood-products/pgid-119009.aspx
[3]http://www.thehindu.com/todays-paper/tp-features/tp-districtplus/no-
successors/article5007697.ece
[4]http://14.139.111.26/xmlui/bitstream/handle/1/376/FC%20Bangalore%20Cluster%20Document
%20Group%205%202015.pdf?sequence=1
[5]http://www.deccanherald.com/content/127955/here-tipus-legacy-lives-on.html
[6]http://www.thehindu.com/news/national/karnataka/mysores-inlay-woodwork-gets-a-
boost/article4745706.ece
[7]http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=India&CraftCode=001313
[8]http://www.downtoearth.org.in/indepth/artisans-the-untold-story-25620
[9]http://www.thehindubusinessline.com/todays-paper/tp-life/colours-of-wood/article1682310.ece
[10]https://issuu.com/aarushisaxena/docs/mysore1
[11]http://www.craftandartisans.com/rosewood-inlay-of-karnataka.html
[12]http://mysore.ind.in/architecture-of-mysore-palace
[13]http://www.deccanherald.com/content/246965/F
[14]http://cauverycrafts.com/about_us.php
[15]https://en.wikipedia.org/wiki/Kingdom_of_Mysore
[16]http://www.dsource.in/resource/mysore-rosewood-inlay-works/products
[17]www.cohands.in/handmadepages/pdf/366.pdf

21

Appendix I

Questionnaire:

Demographical questions+ Ethnographical questions:
Name:
Age:
Level of education:

1. Where are you from?
2. Are you a native of this place?

If not,
a. Where do you belong?
b. How many generations have been staying here?
c. What was the purpose of migration?
3. Which community do you belong to? (Caste)
4. What languages are you acquainted with?
5. How many members are there in your family?
6. Employment Status: Are you currently___?

Employed for wages
Self-employed
Out of work and looking for work
Out of work but not currently looking for work
A homemaker
A student
Retired
Unable to work

7. Do you have any/all of the following?

H card
Medical facilities
Grocery
Clean water
Easily available loans
Incentives
Aadhar card
Ration Card
Education facilities
Electricity

22

Hygienic washrooms

Govt. beneficiaries

8. Have people moved out of the artisan profession in the Rosewood inlay craft sector?
If yes,
a. How often does this migration happen?
b. What percentage of people migrate every year?
c. What was the purpose of migration?

9. What is the approximate percentage of seasonal migration of the artisans with respect to the
craft?

If any,
a. Are there any particular seasons for migration?
b. What percentage of people migrate every year?
c. What was the purpose of migration?

Skill related questions:
10. How long have you been practicing this craft?
11. How were you first introduced to the craft and how did you learn?
12. Did you receive any formal training for the craft?
13. Did your parents or anyone in your family practice this craft?

If yes,
a. How many generations in your family have been into this profession?
b. Did everyone in your family practice this craft?
14. What all stages of the manufacturing process are you well versed with?
15. What stage of the manufacturing process do you specialize in?
16. How many products do/can you make per day/month?
17. What kind or tools are you more comfortable with and why?

Manual tools

Semi-electric tools

Electric tools

18. Do you face any problems while practicing any stage in this craft?

Craft related questions:
19. What are the different phases of the craft?
20. Can you define the journey of the craft and how, why is it different today?
21. What (according to you) is the USP of the craft?
22. What aspect of the craft do you appreciate?
23. What are the different materials involved?
24. What are the limitations of these materials?
25. From where are the above materials procured?
26. Is there a particular season for procuring the materials?
27. How often are the materials procured?
28. How big do the quantities weigh?
29. What affects the process of procuring materials?

23

30. How well can you evaluate the quality of raw materials?
31. What are the different techniques employed?
32. What are the different stages of the manufacturing process?
33. What are the different finishes for a product?
34. What are the different tools used?
35. From where are these tools sourced?
36. How are the tools different from the ones that were used by the earlier generations?
37. What are the various kinds and levels of packaging?
38. How are the different products (of different sizes and function) packaged?
39. Where are these products packaged?
40. What will the rise of digital technologies do to the concept of craft?
41. Has there been any innovation in the craft in the recent years?

Product related questions:
42. Do you make anything else but furniture with this craft?

If yes,
a. What are these products?
b. What is the variety of the products that you sell?
c. What caused the demand of these products?
d. When did you start making the above and why?
e. Will more products come in the future?

43. What kinds of products do the customers prefer?
44. How have the products evolved due to the customer preferences over the years?
45. How has design intervention modified the products and the process?
46. How has commercialization modified the products and the process?
47. How has industrialization modified the products and the process?
48. Have your products “contemporized” in any manner? If yes, why and how?
49. Does design intervention affect the demand for the products in any segment of the market?
50. Does commercialization affect the demand for the products in any segment of the market?
51. Does industrialization affect the demand for the products in any segment of the market?
52. What is the sentimental value of the product?
53. Does the “handcrafted” factor of the product bring more value to the product?
54. How are Internet and digital technologies shaping craft practice?
55. To what extent are issues of sustainability affecting practice in the sector?
56. Is this implemented in your products?
57. Can you tell me the top three iconic designs/products that are sold here
58. Why are the above so iconic?
59. Are your products customizable?

If yes,
a. On what basis would it be customizable? (order based?)
b. From which stage to which stage are the products customizable?

60. What are the quality criteria for the products that are manufactured?

Cultural questions:
61. What are the various inspirations for the products?
62. Have these inspirations evolved over time?

if yes,

24

a. What are the new inspirations?
b. What were the old inspirations?
c. What were the causes for this change/transitions?
63. Do you sing/ know of any folklore music that has reflected in your products?
64. Are there any frequent motifs/ patterns used in your products?
65. Are there any religion biases that reflect in the craft?
66. Does mythology play any role in the making of the products?
67. How do they think the designs and forms of the products have changed over time?
68. Do you refer to any design manuals/ journals/ sketches to make your products?
69. How are your products different from that of your ancestors?
70. Why are the streets called “Mohalla”?
71. What is the significance of fruits and other food items that are replicated with this craft?
72. What is the national significance of the Rosewood inlay craft?
73. Are there any stories/ customs that reflect in the products very often?
74. Is Rosewood inlay craft, a part of any specific celebration of cultural significance in the
villages around?

Social questions:
75. Did you play with these products too as a child?

If yes,
a. Have they changed/evolved over time?
76. Is there a specific work hierarchy maintained?
If yes,

a. How does the hierarchy work?
b. Can you elaborate on the different roles of the people?
c. Where do you belong in this hierarchy?
77. Do ladies work in your family?
if yes,
a. What profession are they into?
a. If they are into the craft sector, how long have they been working here?
b. Have women in their culture always been working?
b. For how long have they been working in the same?
78. Could you describe a typical day of your week?
79. What is your and your fellow artisans’ preferable work-time schedule?
80. What is your daily attire to go to work?
81. Are there any special prerequisites for the work?
82. What is the work environment in the market?
83. How competitive are you?
84. How positive/negative are you towards competition?
85. Do you think competition brings out the better of everyone?
86. Could you describe a typical day of your weekend?
87. What are the leisure activities you indulge in, while not at work?
88. What kinds of tasks or activities were difficult for you?
89. What kinds of tasks or activities were rewarding for you?
90. What kinds of tasks or activities were enjoyable for you?
91. Are there any important community holidays/ festivals?
92. Could you describe an important holiday or festival and how it is celebrated?

25

93. Who would you contact if you needed assistance (with the language, medical help, etc.)?
94. What are the facilities you are provided with? (if any)

Provident fund
Work Insurance (against work hazards)
Health Insurance
Govt. beneficiaries

95. To what extent does the craft other craftsmen affect each other’s work?
96. What are the kinds of social groups you are a part of? (if any)

Economical questions:
97. How much is your wage per day?
98. What is the average monthly income of your family?
99. How many people in your family work to earn?
100. How much do you spend on basic needs for a month?
101. How do you manage overhead major expenses? (if any)

Education
Health care
Electronic
Weddings

102. How much would be your discretionary income per month? (if any)
103. Can you afford a vacation/trip?

if yes,
a. How often can you afford a vacation?
b. How far do you usually go?
104. How regularly do you get any increments?
105. Are you satisfied with the living conditions?

If no,
a. What is your future plans to improve them?

106. Do you get any bonuses?
If yes,
a. When and why?

107. How do the market fluctuations affect you?
108. Do you benefit from govt. policies in place for people in craft sector and lower income
groups?
109. Do you have any other jobs apart from being an artisan?
110. On a level of 1-5 how easy/difficult is it to register and get a loan?
111. Do the following pose as a problem?

Non-availability of loans

26

Delay in sanction of loans
Inadequacy of amount of loans
Absence of cash loans
High interest rates

112. What kind of problems do you face while raising a loan?
113. Do you prefer organized or unorganized loans? Why?
114. What are the wages of different workers in the market with regards to their role/work?
115. Is the minimum wage that is set by the govt. met?
116. Do the market conditions cause exploitation of labor?
117. What is there future plans towards Economic welfare?
118. What are the different opportunities available in the market and are they better? (According
to you)
119. Does this field have a lucrative future for you?
120. What kind of job security comes with the profession?

Business related questions:
121. Why was Rosewood inlay known as a flourishing center for craft?
122. Does it remain to be the same still?
123. What changes do you notice in the current scenario of the craft?
124. How dependent is the craft on the current structure of the market?
125. Can you reface the craft to enter the global market while retaining the authenticity and
individuality of the craft?
126. To expand the knowledge and reach of the Rosewood inlay craft, are there any training
centers in and around the sector?
127. Is there a specific business model for the Rosewood inlay craft as a whole/your personal
industry?
128. Could you explain the monetary system?
129. Does E-commerce have an impact on the craft sector?
130. How have recent economic changes affected the sector?
131. Which areas is the craft most popular in?
132. Do people in the community still buy these products?
133. How many outsiders buy these products?
134. Where is the strongest customer base?
135. Can you differentiate between demographic types of the customer base in different phases
of the craft?
136. Why do you think it has evolved in this manner?
137. Do you do anything else for a living? (Apart from this craft)
138. Since how long has this industry been active?
139. Could you explain the transportation system and logistics?
140. Do the following affect your business and how?

REASON YES NO HOW?

Rapid changes in consumer preferences and
tastes

27

Inadequate advantage and publicity
Unremunerated pricing
Exploitation by middlemen
Losing its attraction from the buyers due to
its impurity
Quality Control
Market is not organized
Inefficient equipment
Lack of capital in the hands of the craftsmen
to modernize t
he equipment
Lack of education among the craftsman
Large-scale inflow of machine made
products at relatively lower making charges
compete with the hand-made products.

Market is totally controlled by the outside
traders
Aged craftsmen are not being protected by
the state government
Unavailability of Design registration

Duplicating of designs

Unskilled craftsman releasing the products to
the market with lowest quality by using
cheapest materials
Because of the above: the foreign buyers
who take high quality products are no more
interested to purchase
Affiliation with the craft emporiums of self
employed artisans
Workshops arranged by the Govt. for the
artisans
Inefficient working hours
Inefficient working space/scenario
Quality of materials used

141. How different was the scenario before industrialization and commercialization?
If yes,
a. Has the demand increased?
b. Since the demand has increased are there any changes in the raw materials
involved?
c. Since the demand has increased are there any changes in the processes involved?
d. Since the demand has increased are there any changes in the equipment involved?

142. Is the demand met by the supplies?
143. How many orders do you complete in a month?
144. How are the orders based?
145. Has the need for the customers changed over time?

28









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Aplnpaylnasnnuinngiggnegosnotiongnegstettitontwignagardalaslsatehsreecrbuecttuttettrewr orking and development? – government should provide

mWWehdahtiacptarplorhfoitefsiltpsdodoyoyuoummakaekeouotuotfoift?it?– –303000000/0- /m- monotnhtlhyly(fa(fmamilyilyowownsnscacrasrsbibkiekse;sw; welel-ltlo-t-od-od)o)

_NA_nuAN_ymnu_ymbb_ee_bbnr_eeeo_nrff_eiotw_fsfi_towsr_reok_rcrie_nkec_iginve_gehiv_doeh_udo_frru_sofr?_rmso_?–m_th–1_te0_h1_e0hg_orhg_svor_esv_ren_rm_n_me_ne_tn?_t_?–__–_h_ah_sa_sH__-Hc_-a_cr_ad_r,d_a,_a_ad_ah_d_ah_ra_rc_ac_ra_dr_,d_a,_ra_tir_st_ias_na_n_c_ac_rad_r_,d_b, abnaknk

acaccocuonutnatnadndATAMTMcacradr;ds;uspupplpielisestotogogvoevrenrmnmenetnetmempoproiurimums s

DoDoyoyuouknkonwowofoafnaynygogvoevrenrmnmenetnstcshcAehgmeeme: s2e5sfofroyroyuoruwr ewlfealfraer?e?– –isisawawaraere
Education: 7th standard
FuFtuutruer:e:
Native to: Mysore Rajunagar
WWhahtaftuftutrueredodoyoyuouseseeefofrotrhtehecrcarfat?fNt?–um–evbeeevrregorrgferyeeenea,nrns, onofocphcraahncagtniceginebgubttuhitet iwct rwiallfitlg:l o6goonon
WWouolduldyoyuorukridkisdsjoijnoinyoyuouininit?it?- n- ono

WWouolduldyoyuoubebeinitnetreersetsetdedtototetaecahchthtePhesakssitlkl:iolluotustidsiedeif ifnivnitveitde?d?ToTostsutduednetnst/sin/itnetreersetsetdedpepoepolpe.le-. y-eyses
WWhahtaptrporbolbemlems sdodoyoyuoucocuonutnetreirninthteHhecorwcarfdat?ifdt?–y–onuongoperptoirnbotlboelmtehmsisscraft: started working in a factory
AnAynysusguggegsetsiotniosnstotwoawradrsdsthtehebebtetettrewr owrokrinkignganadndedveevloeplompmenetn?t?– –

tDinhetiDtenheteatecretiealrscrasielrtfsaastn”atfatdun”atdpuoetpmoresmarostnaiocatnialcalcallyolclmyoamaatmeaanteahtnsaht:si“a”:bi;“”ob“;ANPWrokerr“ohrieek.denosiosydaenafohsnwalmulithpwi:ehliarlmioahlnsltcboattseuitincatrhdudesayheditinpah,yfeieiet,rfhnxsiceerdptrxseaefaptanfrtnemati?edrnwiin–ledytnconh:eortcekh6eenaoe(rcnnau,ihefcnwaihtfmhoahtreahakhyreiirna”yi;wgie”“;dwasf“)noaastrlnaettlhhehteehohyetofaayctcaahctnoaahrinayjtoiojiotonhorinh

FaFcatcotroyr-yM- MajaejeededFiFnieneArAtsrts working under government? – works in a factory

_________________________________________________________hW__e_h__ka__nt__do__ow___ys__o_t_uh__e_k__n_w_o_hw__o__a_l_eb__o_p_u_r_to__tc_h_e_e_s__cs__r_a__f_t_,__p__r_o__d__u__c__t_i_o__n___a__n__d___p__r_o__c__e__s_s_? –
Are you aware of the new technolAoggAieeg:se3:i0n30the market? – doesn’t have any idea
What profits do you make out of itE?dE–udc4ua0ct0aio0tni/o-:nm8:th8otnshttsahtnlaydn(adorawdrnds a bike and cycle)
Number of working hours? – 10 hNrsaNtaivteivetot:oM: MysyosroereRaRjaujnuangaagrar
Any benefits received from the goNveuNrmunmbmeberenort?foyf–eyaehrasarssofaopafrdpahrcaatcircticncaignrgtdhtehecrcarfat:ft6: 6
Do you know of any government schemes for your welfare? – no

Future: PaPsats: t:

HoHwowdididyoyuougegteitnitnotothtihsiscrcarfat:fts:tsatratertdedwworokriknignginina afafcatcotroyry
What future do you see for the craft? – no idea

Would your kids join you in it? - noPrPerseesnetn: t:
Would you be interested to teach NthoNe.oso.kfoimlfl moeumetmsbiedbreesrisifniinnthvteihteefdaf?mamTilyoi:lys:5tu5dents/interested people. - yes
What problems do you counter inWthWheohcoaralalftpl?lrpa–rcatncictoeicpethrteohbeclrecarmfat?fst?– –nonoonoene
Any suggestions towards the bettAerrAewreoyrokyuionugaananndindidneedvpeeeplnoedpnemdneetnntwt?ow–rokrekre, r,wowrokrinkigngfofrorthtehefafcatcotroyryoror

_NW_uNWh_mua_hmtb_ape_tbrr_peoo_rrfoif_tofsw_ift_sdow_ordok_oryi_nko_yignuo_ghum_oh_mauo_krau_sekr_?seo_?–u_ot–_1uo_0t1f_o0hi_ftwoWAr?h_isntrowAoW_r?h–elsrn_royakh–ey5_lrtiyanhok0_y5dtiuga0_nho0on0d_ugaau0/od_ynwn0-au_od/dmawynw-_ueordmawoo_eruekrr_ngooeronk_tkornfgoho_nklvAENNttowilf_hoehkylvdguat_ewirelhekueanymt(_iedrnec:vbcm_an(beoae6oudn_bcmeewte0uteo_itounrtooetsw_ieutttonn:nn?tet_sfih:Mtgt’cn_n?e–ttye5hh_gy’ceot–tnweh_shcawoo_rosnworcalswn_torrrofaek_agltonaor,ns_fifkRgetdpa_c,psisiaraen_yrpcojiarsi_curnnydadco_lnicuenttda_fihlac)acue_tetgfichci)n_aoatetmg_coniro_tmartonha_yrarken_ayred_knct_e?rdpa_t?r–f_potn:_r–coo4_nec0_soess?s?– –
DAnoADynoyyboyeuboneukennkfeointfswoitsrwoerfcoeaefcniaveyenivdygeodgfrvoofervmroenmrmtnhmteehneegtnogstvcosehvcreenhmrmenmemesneetsfn?otfr?–oyr–ohyuoahrusaPwrsaaewasalefdtaal:hfrdaeahr?rea?c–rac–nraodnrod

3 32 2

How did you get into this craft: started working in a factory

Present:
No. of members in the family: 10
Who all practice the craft? – no one else
Are you an independent worker, working for the factory or working under government? – works
in a factory
What do you know about the craft, production and process? – he knows the whole process
Are you aware of the new technologies in the market? – knows about the new machines;
What profits do you make out of it? – 8000/- monthly (owns a bikes)
Number of working hours? – 10 hrs
Any benefits received from the government? – has H-card, aadhar card, artisan card, bank
account and ATM card;
Do you know of any government schemes for your welfare? – is aware

Future:
What future do you see for the craft? – it’ll go on till people find it attractive
Would your kids join you in it? - no
Would you be interested to teach the skill outside if invited? To students/interested people. - yes
What problems do you counter in the craft? – dust; respiratory problems; monthly clinic
visits
Any suggestions towards the better working and development? –

Details and personal comments: hes trying to get a pension but its not going through;
according to him the future of artisan can be described by the following lines: “bigad jati
hai kismet toh bashar lachar ho jata hai, nikal jati hai khushboo toh voh gul bhi bekar ho
jata hai”

__________________________________________________________________________

Age: 49
Education: has no education but daughters are engineers
Native to: Mysore Rajunagar
Number of years of practicing the craft: 30

Past:
How did you get into this craft: started as a factory worker

Present:
No. of members in the family: 4
Who all practice the craft? – second generation; has taught his
kids
Are you an independent worker, working for the factory or working
under government? – works in a factory
What do you know about the craft, production and process? – he
knows the whole process
Are you aware of the new technologies in the market? – knows about the new machines;

34

What profits do you make out of it? – 15000/- monthly (sent both kids to college)
Number of working hours? – 10 hrs
Any benefits received from the government? – has H-card, aadhar card, artisan card, bank
account and ATM card;
Do you know of any government schemes for your welfare? – is aware

Future:
What future do you see for the craft? – evergreen, no change but it will go on “yahi craft acha
lagta”
Would your kids join you in it? - no
Would you be interested to teach the skill outside if invited? To students/interested people. - yes
What problems do you counter in the craft? – artisans don’t get paid enough and that’s why
people don’t want to work in crafts
Any suggestions towards the better working and development? –

Details and personal comments: his finger got cut 12 years ago but he’s still working; he
has a cat, his daughters love the cat “Minna” and sleeps next to him.

__________________________________________________________________________

Age: 58

Education: 3rd standard
Native to: Mysore Mandi Mohalla
Number of years of practicing the craft: 45

Past:
How did you get into this craft: started working with only
hard work; now works on lathe

Present:
No. of members in the family: 10; 3 daughters and 5 sons
Who all practice the craft? – no one
Are you an independent worker, working for the factory or
working under government? – works in a factory
What do you know about the craft, production and process? –
he knows the whole process, can make big shapes on lathe but cant do intricate work
anymore because he has a weak eyesight
Are you aware of the new technologies in the market? – knows about the new machines; but
not about automatic machines
What profits do you make out of it? – 5000/- monthly
Number of working hours? – 10 hrs
Any benefits received from the government? – has H-card, aadhar card, artisan card, bank
account and ATM card;
Do you know of any government schemes for your welfare? – is aware; wanted to work as an
independent artisan but couldn’t get a loan

Future:

35

mumorddienywaesesodiaeyndtiuefeoreidvisdcucnefsaoaovtilmonuoltrithnppettieehtetmdr?eeoa?bre-cbecniThnnltrtetoa?oettmfhhrst–?eetswu–scodkrrewakiAWWWWlnlfiinnttlohooh?slgyuuuaa/r–itsenallttddsutnmpfieumdgyydrrtaoeoogueedibuuersndieelfrstebievistckmndieedoaiavodlsnmoilipnstysppedeteojemdroootuoor?pieenywblsnsoTelaeytteu.oe?ore-mdducs–fysotostiueonutrdhsnttieehtet?eneabrt-csecihnn/tritanoettfhthrte?eewre–scoskrrwtakiellfiidntlo?lgupr–teaesonmimdpdaeleedindi.ef i-viscneyaavlemolitsppeemdro?ebnTlteo?ms–tsudents/interested people. - yes

npnthtrahoalsbctloaoemghmomspaerbnonudbtstl:fehe“meeblqisrdueaiihtpaDlto4aenetedmttabthahioelasant”ttvhta;eheanrhsdtnethaooprguhweoosra.psetaordnpondrbatoollfebecsmloeemmlmsromesakheebltnoauttsttb:hhe“aebt”tqi;edurhiinetpo4euwemst.eaodnthtthoastsaomghoopkarenodblfeemelsreahltoat tha”; he used to smoke
better now.

_______________________________________________________________________________________________________________________________________________________

Age: 16 Age: 16

nyeogsaneoretsrienotfKopetrhsaiacstriaccrinagfEPNHNt:adtuoahisumwtneicvttb:ardeceoitrditradoofonyu:t:fo:Mc1yuneyeodgsaneobretsryienohtfKoipsetrhsabiacrsotriaccthrinaegftr:thinetrcoradfut:c1NPHNEedaduaosumwtbicvtb:yadeeithdtirooiosny: fo:MbyunryeoogsanetorhetsreienortfKopetrhsaiacstriaccrinagft:thinetrcoradfut:c1ed by his brother

wnwocgbuovueoytwaneeoinrhiucknmrrdogrtoegenrsmdkhoauofobweitlrvkurnvhyowoapseeeecefmne?trl(rfhhanfonkancta–ebmthudrrmahmaeaoetef1beecae?fuoni0tnolcmnt?gfnty–tuohtotiei?–sthwlotunr?vywcesPAdwNoWWAwt–ebnoo:hh–norrrrrrtoocnewhh7nteeekeole8er.romsyao;emaksot0csomrhtriy4fyeeaDNAWrhnahe0nf,tioeokd,ansndgln0nmas’ouclurhuwsotcptot/ynimfpy:u?-aesyohkrolfdyrocobnaotmtmbaroniar–oegnldednkupewywreocbuoriuienerroetn)swatnkeooincsreihucsokgnnrroftrtafegenrisefimdoikhtotnosoibwwfsewitlnnfoundvhyowaapdoerrecefoanceeotrl(1trfhhakfhfntcntkanctahoyeibbeaheddnrrmamoeareaoneriegfbvyupcoae?fuymnietoflrhcmntt?nmtayod–ghauoottecic?–oherawloutufnytwkerverokrwt–bnooo:essehermrrttscyn?rw7tek?oner?oos;ea–otmtcumorhhr4f––arht,rt1eieek,andos0cnrwscpogfiytshhroloifocosttoirr?vegnlcdksodWAAwWPNreehriuie–ennor)rsrrtooechhnseehesgle8.rmtayaomksei0sootniyyeiefnhae0nfnnfoooddnsagln0ma’rluuotatct/nf1tp:u?-eohknttdyrhnaommarbenda–oednrwywrocbuoypeootmwaneoinfrritucknarorohrategenrsmdckhceroobwtekeitlrounvhyowaepserecefntseytl(?rfhhaf?nkanctaebhodrrmam––aeaoerefbca?efunitolcmnt?nty–uottei?–hwlotunywewt–bnoo:hrrtcnw7tekoeros;eaotcmrhr4farh,tiek,andscrwscpoiyshrolfocotoiregnldkreriuieen)stcshsgtaeionifnnfodarac1thntthobederrypomfrtaohaccertkeroesrtsy??o––r

Future:

unotrddihenywoesesodaeytipuefeosrerdviduacnoefsomovbtilonuotrilthenpeettiehtetmmd?eea?bres-cecnTihnntrttoa?oettfhhrst–?eetwu–scodkrreiakiWAWWWtnl’lfilnnttolhooh?sgyubuuaa/i–stnalltteddsutnpfieuntdgyydrhrtooeoogueedbuuersipeelfrsstebrevitakmnodieedoimvobdlsnoiipnslteyspeedetojemmdoootuor?pieenyswlsnsoTeaeyttu.oe?ore-dducs–fsyototiueonutrdhsnttieehtet?eneabrt-csecihnn/tritanoettfhthrte?eewre–scoskrritakitel’lfilndtol?gubp–taeesnointddphoeleedip.efsr-vianoeymvbleoiltesepemmd?esnTto? students/interested people. - yes
–

naslocnogmsmaenndtsw: ahtcehleisstDeTenVtsafitolosrasenondntegprsetarasinnonmdaewl ncatotcmhmeesnTtsV: fhoer elinstteerntsaitnomseonntgs and watches TV for entertainment

___________________________________________________________________________________________________________________________________________________________________________________________________

Age: 52 Age: 52 the craft: 40; 30 yrs as an artist
eofRparjaucntiacginagNNErdtuahumteicvbaecetrtiraoofon:t:f:M4yye0sa; or3sr0eoyfRrpsarjaaucsntiaacginnagarrtthiestcraft: Education:
Native to: Mysore Rajunagar
4N0u;m3b0eyrrosf ayseaarns aorf tpisrat cticing

36 36 36

Past:
How did you get into this craft: he started working in a factory and learnt drawing and
motifs; has been working as an artist for a factory, makes patterns and designs.

Present:
No. of members in the family: 5
Who all practice the craft? – second and last generation
Are you an independent worker, working for the factory or working under government? – works
for the factory as an artist; makes all the designs for the factory
What do you know about the craft, production and process? – he knows the whole process
Are you aware of the new technologies in the market? – knows about the existing machines
What profits do you make out of it? – 10000/- monthly (family owns a bike)
Number of working hours? – 10 hrs
Any benefits received from the government? – no bank account or id
Do you know of any government schemes for your welfare? – no

Future:
What future do you see for the craft? – it will stay the way it is. The good thing about this
craft is that it is exclusive.
Would your kids join you in it? - no
Would you be interested to teach the skill outside if invited? To students/interested people. - yes
What problems do you counter in the craft? – dust; has to go for check up every 2-3 months
Any suggestions towards the better working and development? – training programs

Details and personal comments: “Zarurat interest ban gaya hai”; “TV par news dekhte hain
koi movie dekh lete hain”; “koi batata nahi hai government schemes k bare me”; “hum
padhe likhe nahi hain, akhbar nahi padhte, choti moti baaten toh pata nahi chalti”; “sab
workers dost jaise hain, Ramzan sath me manata hai factory me”.

He has learnt the traditional Dusera motifs and Mughal motifs, he looks at existing
designs and does a few changes and designs new motifs and uses those.

__________________________________________________________________________
Age: 52

Education: none
Native to: Coorg
Number of years of practicing the craft: 20

Past:
How did you get into this craft: came to the village in 85 and
then joined the craft complex in 2001; learnt while watching;
husband didn’t let her work before but then he passed away
in 2007; after that she started working in the house; son
does most of the work

Present:

37

No. of members in the family: 8
Who all practice the craft? – son
Are you an independent worker, working for the factory or working under government? –
independent artisan
What do you know about the craft, production and process? – knows the whole process
Are you aware of the new technologies in the market? – doesn’t know much about machines
What profits do you make out of it? – 1000/-
Number of working hours? – 8hrs
Any benefits received from the government? – has a band account and id; used to go to
exhibitions when she had a membership in Avik (awake or something)
Do you know of any government schemes for your welfare? – no
Future:
What future do you see for the craft? – it’ll be the same
Would your kids join you in it? - no
Would you be interested to teach the skill outside if invited? To students/interested people. - yes
What problems do you counter in the craft? – very less pay; cant join a factory and doesn’t
want to work as an independent artisan
Any suggestions towards the better working and development? –

Details and personal comments: she listens to songs for entertainment; spends time with
the ladies. “ ’85 me jab yahan aaye the toh 100 ghar the, 65 Hindu aur 35 Muslim, sab mil
julke rehte hain” “Hindu hain toh dur nahi Muslim hain toh dur nahi sab mil julke rehte
hain”. They go to each others place to enjoy.

__________________________________________________________________________

Age: 35 going to
Education: 7th standard; planning on
college
Native to: Mysore
Number of years of practicing the craft: 10

Past:
How did you get into this craft: learnt from a factory

Present:
No. of members in the family: 5; husband is an auto-driver
Who all practice the craft? – 2 daughters help her out

38

Are you an independent worker, working for the factory or working under government? –
independent worker, works at home, receives orders of 10 pieces at once.
What do you know about the craft, production and process? – only hand work
Are you aware of the new technologies in the market? – doesn’t know much about the
machines, uses hand jigsaw to cut wood
What profits do you make out of it? – 15000/- monthly (family owns a cycle); both daughters
will finish their primary and secondary education
Number of working hours? – 10 hrs
Any benefits received from the government? – has a bank account, artisan id, aadhar card
Do you know of any government schemes for your welfare? – no

Future:
What future do you see for the craft? – it’ll be the same
Would your kids join you in it? - no
Would you be interested to teach the skill outside if invited? To students/interested people. - yes
What problems do you counter in the craft? – loan
Any suggestions towards the better working and development? –

Details and personal comments: “udhar ka pareshani bohot hai, sanga se loan liya (Gram
minakuta) 30000/- school ki fees ka problem b hai; kaam se bezar ho jata hai (she gets
really bored while working and her hands hurt)

-Subsidy loan, study loan, sangya maaf should be provided.

__________________________________________________________________________

Age: 19

Education: SLC 10th standard
Native to: Mysore
Number of years of practicing the craft: 5

Past:
How did you get into this craft: taught at home by her father

Present:
No. of members in the family: 8
Who all practice the craft? – 5 sisters and father
Are you an independent worker, working for the factory or working under government? –
independent worker, works at home, takes orders
What do you know about the craft, production and process? – knows handwork, can do
intricate inlay work
Are you aware of the new technologies in the market? – doesn’t know much about the
machines
What profits do you make out of it? – 10000/- monthly (family owns a cycle)
Number of working hours? – 8 hrs
Any benefits received from the government? – has a bank account and aadhar card
Do you know of any government schemes for your welfare? – no

39

Future:
What future do you see for the craft? – it’s a good business
Would your kids join you in it? - no
Would you be interested to teach the skill outside if invited? To students/interested people. - yes
What problems do you counter in the craft? – Hairfall and pimples
Any suggestions towards the better working and development? –

Details and personal comments: she is part of a family of 7, all of them know the craft all the
sisters sit together in the day and work, listen to hindi songs, dance and cook together.
They have a pregnant cat named Ruby.

__________________________________________________________________________

Age: 60

Education: 5th standard
Native to: Mysore
Number of years of practicing the craft: 40

Past:
How did you get into this craft : Learnt over the years from
working at various places and under different artisans. Was
very young when he learnt it, found it interesting, so he pursued
it.

Present:
No. of members in the family: 4 [wife, daughter (pursuing BA
and son (engineer)]
Who all practice the craft? none
Are you an independent worker, working for the factory or working under government? Factory
worker (last 10-15)
What do you know about the craft, production and process? Knows the process, however works
only with finishing.
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 200 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Feels like export should resume to encourage sales and
revenue
Would your kids join you in it? No, would not encourage until initiated by the kids. He feels that
since he chose this profession on his own, he should give his children the same choice.
Would you be interested to teach the skill outside if invited? yes
What problems do you counter in the craft? Has worked in the craft too long to have complaints.
He has no expectations from the craft cluster or the government.
Any suggestions towards the better working and development: better utilization of H-Card

40

Details: h-card, bank account, atm. Travels to work by bus or auto.
__________________________________________________________________________

Age: 51
Education: did not attend school
Native to: Mysore (craft complex)
Number of years of practicing the craft: 40

Past:
How did you get into this craft : Learnt at manjunath fine
arts, started working ealy in life and has worked in the craft
since then.

Present:
No. of members in the family: 4
Who all practice the craft? 1st generation
Are you an independent worker, working for the factory or
working under government? Factory worker (last 15)
What do you know about the craft, production and process? Knows the entire process, works
on polishing and finishing
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 200 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Newer design and awareness
Would your kids join you in it? No, would help if they were interested.
Would you be interested to teach the skill outside if invited? Would be interested in giving
demos and showcasing the skill.
What problems do you counter in the craft? No effective policy or plan from the government
Any suggestions towards the better working and development: Accessible health and school
facilities near the craft village
Details: h-card, bank account, atm. Travels to work by bus or auto.
__________________________________________________________________________

Age:40
Education: did not attend school
Native to: Bangalore (in-laws are in mysore)
Number of years of practicing the craft: 6 (1 ½ years in the
factory)

Past:
How did you get into this craft : Had a tempo business in
Bangalore, shifted to craft for change in employement. Wife

41

still stays in Bangalore. Feels like this a more stable job as there are paid festival holidays.

Present:
No. of members in the family: 4
Who all practice the craft? 1st generation, and son works in the same factory
Are you an independent worker, working for the factory or working under government? Factory
worker (last 1 ½)
What do you know about the craft, production and process? Works on finishing, and helps in
loading, unloading and transport chores.
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 200 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Export
Would your kids join you in it? Yes, (son works in the same factory), he encouraged and
provided exposure.
Would you be interested to teach the skill outside if invited? No, as he is moderately skilled, he
would encourage his son to teach and give demos etc.
What problems do you counter in the craft? None as such, all disagreements or arguments
within the community are solved within the community. There is consistent back ache.
Any suggestions towards the better working and development: the government should help
maintain contestant work, don’t stop exports as they give better returns and promote the craft
globally.
Details: h-card, bank account, atm. Travels to work by bike, with son. He doesn’t take Sundays
off, finds odd jobs to work on as he also has to send money back home to Bangalore. He feels it
is his duty to his home and family. Wasn’t very troubled by demonetization except for the atm
queues.
__________________________________________________________________________

Age: 35
Education: 8th
Native to: Ooty
Number of years of practicing the craft: 12

Past:
How did you get into this craft : learnt as a child. Used to
work in weldin and soldering, had an eyesight orblem
hence shifted to the craft.

Present:
No. of members in the family: 5
Who all practice the craft? 1st generation

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Are you an independent worker, working for the factory or working under government? Factory
worker
What do you know about the craft, production and process? Knows the entire process, works
on finishing
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 200 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Newer design and awareness
Would your kids join you in it? Would help if they were interested.
Would you be interested to teach the skill outside if invited? Would be interested in teaching
What problems do you counter in the craft? No effective policy or plan from the government.
Joint pain.
Any suggestions towards the better working and development: better placement in the market
Details: h-card, bank account, atm. Travels to work by bus or auto.
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Age: 20
Education: SSC Pass
Native to: Mysore (hossanagr)
Number of years of practicing the craft: 4

Past:
How did you get into this craft: learnt as he was required to
start working. Learnt under Ustaad at the factory itself

Present:
No. of members in the family: 7
Who all practice the craft? 1st generation, 2 brothers also
work at the same family
Are you an independent worker, working for the factory or
working under government? Factory worker (last 4)
What do you know about the craft, production and process?
works currently in carving, also knows inlay.
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 200/300 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Newer design and awareness
Would your kids join you in it? Wouldn’t encourage as he finds it troublesome
Would you be interested to teach the skill outside if invited? No

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What problems do you counter in the craft? No effective policy or plan from the government
Any suggestions towards the better working and development: Accessible health and school
facilities near the craft village
Details: h-card, bank account, atm. Travels to work by auto with brothers.
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Age: 33
Education: SSC Pass
Native to: Mysore (Mandi Mohalla)
Number of years of practicing the craft: 20

Past:
How did you get into this craft: Father taught

Present:
No. of members in the family: 3
Who all practice the craft? 2nd generation, (father)
Are you an independent worker, working for the factory or
working under government? Factory worker
What do you know about the craft, production and process? Cutting inlay pieces, also knows
the procces.
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 200/300 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Encouraging innovation
Would your kids join you in it? Would encourage if interested
Would you be interested to teach the skill outside if invited? Yes
What problems do you counter in the craft? No effective policy or plan from the government.
The accommodations are often not enough- the artisan gives the house to the parents and
rents out an place for themselves.
Any suggestions towards the better working and development: artisan upliftment, and job and
wage security
Details: h-card, bank account, atm. Travels to work by auto. He believes that factory working is
better and more convenient and secure. The h-card used to have medical reimbursements and
advantages while buying medicines- that also has stopped.
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Age: 50
Education: 3rd standard
Native to: Mysore (Mandi Mohalla)
Number of years of practicing the craft: 40

Past:
How did you get into this craft: learnt amongst other artisans
and different factories.

Present:
No. of members in the family: 5 (3 children)
Who all practice the craft? 1st generation
Are you an independent worker, working for the factory or
working under government? Factory worker (7-8 months)
What do you know about the craft, production and process?
Cutting, inlay and finishing.
Are you aware of the new technologies in the market? Yes,
there aren’t many
What profits do you make out of it? 300 per day
Number of working hours? 8 hours
Any benefits received from the government? None
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Encouraging innovation and better wages
Would your kids join you in it? Would encourage if interested
Would you be interested to teach the skill outside if invited? Yes, at school level (for
awareness)
What problems do you counter in the craft? No effective policy or plan from the government.
Design constraints are there due to factory work.
Any suggestions towards the better working and development: encourage newer techniques,
styles and needs. Has no expectations from the government.
Details: h-card, bank account, atm. Travels to work by auto. He keeps changing work places, has
changed close to 7-8 factories. He is interested in individual work, and would pursue it when time
serves right. He would like to explore more and different forms.
The riots caused the factory to shut down- this was highly inconvenient.
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Age: 45
Education: 6th standard
Native to: Mysore
Number of years of practicing the craft: 35

Past:
How did you get into this craft? Father taught basics, and
learnt in different craft centers.

Present:
No. of members in the family: 3
Who all practice the craft? 2nd generation
Are you an independent worker, working for the factory or
working under government? Factory worker
What do you know about the craft, production and process?
Inlay, carpeting and finishing.
Are you aware of the new technologies in the market? Yes, there aren’t many
What profits do you make out of it? 300 per day
Number of working hours? 8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? Modern designers would sell better
Would your kids join you in it? Would encourage if interested
Would you be interested to teach the skill outside if invited? Yes
What problems do you counter in the craft? There are no schools, parks or hospitals near the
craft center. The government efforts don’t reach the artisan.
Any suggestions towards the better working and development: encourage newer techniques,
styles and needs. Medical and gas subsidy. Exports should be allowed. Mixing the crafts and new
material may help.
Details: h-card, bank account, atm. Travels to work by bike.
__________________________________________________________________________

Age: 52
Education: 6th standard
Native to: Mysore (resident of the craft center)
Number of years of practicing the craft: 15

Past:
How did you get into this craft? After marriage. Government
trained and certified.

Present:
No. of members in the family: 4 (daughter-in-law and two
kids), 2 daughters, who stay in the same locality, keep
visiting

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Who all practice the craft? Husband, both daughter.
Are you an independent worker, working for the factory or working under government?
Independent
What do you know about the craft, production and process? Cutting and sticking
Are you aware of the new technologies in the market? No
What profits do you make out of it? 100-150 (3000/- per month)
Number of working hours? 6-8 hours
Any benefits received from the government? none
Do you know of any government schemes for your welfare? None

Future:
What future do you see for the craft? If the problems are resolved, there is a good scope for
growth and development.
Would your kids join you in it? Yes
Would you be interested to teach the skill outside if invited? Yes, would like to help teach
ladies.
What problems do you counter in the craft?

o The raw material is expensive (5/- per plank)
o The products made by independent artisans are not accepted at government

emporiums, so they have to find vendors on their own.
o Ownership of the house is still with the government, there is no official paper

work that serves as address proof. This is the scenario in every household in
the craft center
o Subsidies are also underutilized due to this.
o General expenses are extremely high
Any suggestions towards the better working and development: addressing problems faced would
encourage the artisans to work better. There should be other organizations (other than the
government) that help artisans with new innovations, better designs and sales.
Details: h-card, bank account, atm.
She has roamed around the country- Hyderabad, Nagpur, Bombay, Delhi, and Ahmedabad. Sits
with friends and neighbors and watches TV.
Electricity and water supply is consistent.
Peaceful and cooperative neighborhood.
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