85 Problems: • After talking to the artisans and also the analysis The main and the most common problem which we tried to find a solution for was Marketing. Almost all the artisans expressed their concerns and difficulties in understanding the market and promotion. • Artisans do not have any organized marketing process, also due to weak financial conditions they cannot take help from marketing organizations or market their work on a larger scale. • Most people of the village are afraid to use any social media platform as they think their work would be copied, the younger generation of artisans are well accustomed to technology but still, most of them don’t want to use the online platform, but some artisans think it’s very helpful and has a great scope in future. • Lack of proper place for product display is one of the main issues. The craftsmen utilize their homes as both a workstation and a showcase area. • Artisans are hardworking but they ain’t gaining deserved recognition due to a lack of branding. • Apart from lack of proper marketing, artisans face major health issues while creating pattachitra like back pain due to bending for long hours, and other issues like numbing of hands and eye strains. • Youths are involved in non-productive work. • Artisans lack the specific provision of secured financial aids which creates limited resources and lower returns. • Due to the existence of businesspeople on the village’s outskirts who pose as authentic artisans and deceive tourists and customers, the real artisans lose out on income. • The government has announced low-cost loans and financing, but the people of the village do not want to take loans from the bank and also they are difficult to avail due to the excessive paperwork involved. • Artists also doesn’t want to leave the village and open a proper shop or a place to sell and promote their goods. • During the cyclone, Fani the artisans suffered a huge loss, but there is no solid solution if the same situation arises in the future. •
86
87 Brochure Design Fig. 104
88 Fig. 105
89 Fig. 106
90 Graffiti We thought of making graffiti as promotion as the younger generation and people outside India will get more attracted towards the craft, In Raghurajpur people have done advertisement on wall in pattachitra style and this gave us idea of doing Graffiti on wall as if we’ll make graffitti using a character which is more modern and close to younger generation for e.g. Avatar, the youth and people from outside the country will get more curious to get to know about painting style which they have never come across. Fig. 107
91 Fig. 110 Fig. 108 Fig. 109 Fig. 107 Graffiti design Fig. 108, 109, 110 Mockups of graffiti on walls
92 Branding Despite working hard, artisans aren’t getting the credit they deserve because of a lack of branding. Branding is crucial for giving craftspeople the recognition and respect they deserve for their dedication. A client cannot identify the artist when purchasing a product. Therefore, branding is necessary artists to have their own identity. Branding is important to provide artisans a proper representation and tribute for their hardwork. When a customer buys a product, he isn’t able to recognise the artist. So , in order to get deserved recognition branding is needed. We created logos, packaging and branding for the same. We thought of making Raghurajpur a brand and designed few of the packaging mockups and collaterals so that the craft gets recognised as brand and a proper marketing would be possible Fig. 111 Branding mockups on collaterals and packaging
93 Fig. 111
94 • Animation Video for promotion There is gap among generations, as the older generation is more inclined towards the craft because of their religional beliefs, and the youths who are directly linked to the craft making, generally focus on market and economical factors but the younger generation who don’t know much about the craft, it’s very difficult to attract their attention towards this craft so we decided to create a promotional video which depicts a story of an outsider who comes to Odisha and gets attracted towards the culture of Odisha, so basically a video which promotes tourism and unique points about Odisha, the animation video mainly focuses on connecting the youth of our society to the ancient crafts, so that they’ll acknowledge the craft and promote it to the upcoming generations. In order to do so, we took inspiration from Avatar and recreated the character as pattachitra character. The story behind the animation is how an outsider visits a place and gets inspired and loved the culture so much that it tries to adapt them . Odisha is rich with culture and craft , so initially when avatar lands in Raghurajpur through his spaceship with minimal clothing, he lands in local market where he gets excited while seeing the natives , their food , their attires and he tries the local food and adapts the attire. After this ,he joins the Rath Yatra and gets inspired from people to see them extremely devoted towards their deities . He enjoyed rath yatra so much that he adopts their attire and culture. Lastly, he visits Jagannath temple, and by seeing people praying their deities , he got inspired to pray . He also saw traditional odissi dance and tries to replicate the steps for fun. We chose Avatar as our main character as it is something which will intrigue the younger generation more and will compell them to look up about the craft as it is very unconventional to use a modern character in an ancient painting style. Fig. 112 Story board of animation and few process sketches of promotion
95 Fig. 112
96
97 Raghurajpur is a happy place with very cheerful people, they welcomed us wholeheartedly and made us feel at home, our five days visit to the village was full of enjoyment and new experiences, we got to know the beautiful culture and lifestyle of the villagers. The artisans or better known as chitrakaras are very proud of their legacy of pattachitra and each member of each and every family has some input in the making of this craft, the artisans told us about their experience and extensive knowledge about pattachitra. They also showed us each and every process involved in the making of the painting and showed us some of their and their ancestors’ marvelous creations and gave us detailed knowledge about them. They answered our questions very calmly and were very understanding and supportive of our research work. Upon entering the village we witnessed each and every house of the village having beautiful pattachitra style murals painted on their walls and doors and many of them working on in the verandah and threshold of their doors. During our visits, they greeted us happily and gave us a generous amount of time, despite them being very busy. They were as much excited to share their knowledge with us as we were to know about the craft and their culture. We also had the opportunity to meet the artisan who does the ‘Anasarpatti’ and decorates Lord Jagannath’s rath during rath yatra, one artisan also sang beautiful folklore in Odia and narrated his story by singing and enjoying. It was really a wonderful experience and we got the opportunity to know about the craft Pattachitra and the community lifestyle of the Raghurajpur people. Our Experience : Fig. 113 A group photo with the artisan family (Right page)
98 Team Members Ankita Kumari Promotion Layout Illustration Anubhav Jain Photography Video editing Anushka Sharma Video Editing Illustrations Avantika Sinha Photography Video editing
99 Garvita Srivastava Illustration Documentation Interview Pallavi Malwa Translation Interview Tanupriya Yadav Documentation Interview Layout
100 Glossary: • layer of lacquer coating (made from resin seeds). M • Motakala- Thick black lines are given to those portions like hair, borders of the garments, etc P • Pakhala: The main component of pakhala is rice, which is fermented with water over night and eaten with fried vegetables and fish as a side dish. • Pithas: Pitha, a sort of rice cake composed of wheat or rice flour and loaded with various savoury and sweet components. • Pitta basana: a yellow cloth. R • Rangalekha- Rangalekha or red lines is done over ornaments to stabilize the effects produced by the white ornamentation. • Ranga Banaka, which is a character painting. S • (sadhei) A coconut shell • Samudra sankha (conch shell) • Skandpurana : It is one of the 18 sacred Puranas of Hindu T • Tuli - Different sizes of brushes. • Tippana- The images’ outlines are in the following phase. U • Uttari: all male deities are shown as having only the long, folded cloth known as the uttari on their shoulders for the upper half of their bodies. A • Adivassis- Tribesman • Anasarapatti: • ashadha (June-July). B • Bageiba – Before giving finishing, if some defects notice although it doesn’t happen if happens then they try to cover with coloring, touching up is done which is called bageiba. C • Chhau- a sort of masked dance of odissi culture • Kartika • Chaitra Parva • Chungdi Malai: . This meat-based meal is a thick and creamy curry made with prawns. • Pithas: Pitha, a sort of rice cake composed of wheat or rice flour and loaded with various savoury and sweet components • Chenapoda: The classic dessert dish from Odisha • Malpua: One of India’s oldest desserts, malpua is a little deep-fried pancake that is served hot after being covered in a sweet syrup • Chena Jalebi: Chhena Jalebis differ from conventional ones in that they are larger, thicker, and contain the distinctive ingredient Chhena, a fresh curd cheese • Chitrakara D • “Dastakar,” a non-governmental organisation that works with artisans all throughout India to promote and revive traditional Indian crafts • Dalma: Dalma is a traditional lentil dish from Odisha • Dhandimara- Drawing the borders is the following phase in the Pattachitra Odisha process G • Ganjapa- Ganjapa Circular paintings with a diameter of 1.2-2 cm were once used as playing cards. • Gotipua dance H • Hangul (Hingulal stone) • Hingula Banaka, which is filing in the backdrop J • jyestha (May-June) • jautuka Pedi (dowry box) When brides left their parents following the wedding ceremony, they used to get a variety of clothing and home items • Jaulasa: a process in which protects and gives a pleasing shine to the piece. K • Kainchi (scissors) • krishnapatti (Painting of Lord Krishna) L • Lacquer – the painted patis is given a uniform
101 • Existing craft documents from NIFT library • https://www.researchgate.net/publication/338598895_A_POLICY_FRAMEWORK_FOR_THE_CREATIVE_ PATTACHITRA_ARTISANS_AT_THE_CROSSROAD_OF_FINANCIAL_SCARCITY_AND_CHANGING_ TRENDS • https://gaatha.com/pattachitra-story-orissa/ • https://sambadenglish.com/odisha-designer-showcases-pattachitra-on-global-platform/ • https://www.culturenorthindia.com/guru-shishya-parampara-master-to-pupil-tradition-scheme/#:~:text=Government%20of%20 India%2C%20Department%20of,field%20of%20art%20through%20some • https://www.downtoearth.org.in/news/economy/covid-19-lockdown-hits-patachitra-artisans-of-odisha-crafts-village-hard-70656 • https://journalsofindia.com/guru-shishya-parampara-scheme/ • https://www.newindianexpress.com/states/odisha/2015/apr/30/Daru-for-Lord-Jagannath-Identified-at-Kharipadia-748954.html • https://owlcation.com/humanities/Life-and-Teachings-of-Sri-Adi-Sankaracharya • https://www.exoticindiaart.com/blog/the-heritage-of-pattachitra-paintings/ • https://www.britannica.com/place/Odisha • https://www.mapsofindia.com/orissa/ • https://theculturetrip.com/asia/india/articles/pattachitra-a-spectacular-folk-art-form-from-odisha/ • https://www.livehistoryindia.com/story/living-culture/pattachitra • https://www.kalantir.com/blogs/art-is-us/pattachitra • Behance.net • Patta Chitra–It’s Past and Present by PK Samantaray - Orissagov. nic. in, 2017 - Citeseer • Socio-economic condition, welfare schemes, and occupational structure of ‘pattachitra’ artisans in Odisha, India by P Kanungo, N Sethi, P Biswal - Creative Industries Journal, 2021 - Taylor & Francis • Pattachitra–an indigenous technique by T Mohapatra - Orissa Review, November, 2005 – Citeseer • A policy framework for the creative Pattachitra Artisans at the crossroad of financial scarcity and changing trends by P Kanungo, N Sethi, P Biswal - Creativity Studies, 2020 - journals.vgtu.lt • The symbiotic relationship between art and religion: A case study of Pattachitra of Odisha by M DASH - MAN IN SOCIETY, 2014 - website.stlindia.com • Pattachitra”-a traditional hand painted textile of Orissa by A Pareek, S Pant - 2014 - ijrra.net Reference:
102
103