 APPENDICES

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 APPENDIX-I
BIBLIOGRAPHY

 Books, Articles in Books/Journals and Government/Non-Government

Reports & |Studies

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Jena, P. K. (2010). Impact of Globalisation on Handicrafts and Rural Artisans: A Case
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(2012–2017). VSE Division, Government of India.
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Solanki, S. S. (2002, August,31). Migration of Rural Artisans- Evidence from
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Solanki, S. S. (2008). Unorganized Sector of Workers: Rural Artisans, India, Science
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Sankaran, P. N. (2011). Intergenerational Occupational Mobility of Villages of Artisans
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Saraf, D. N. (1985). Indian Crafts: Development and Potential. Vikas Publishing
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978-969-9948-22-0, Vol.1, 1-8. Retrieved from the website
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Saxena, S. (2012, July-August). Problems Faced by Rural Entrepreneurs and
Remedies to Solve it. IOSR Journal of Business and Management, 3(1), 23-29.
Shah, A. & Patel, R. (2016, December). E-commerce and Rural Handicraft Artisans.
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Shetty, S.V. (1994). Bank Finance for Rural Artisans and Modernization, Jaipur.
Sikdar, M. and Chaudhuri, P. (2015). Pottery Making Tradition among the Prajapati
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states of Arunachal Pradesh Rajasthan, Uttaranchal and Chhattisgarh.
Sponsored by Planning Commission, Government of India.
Sood, A. Crafts a Sustainable Livelihood Option in Rural India. Asia InCH
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Tiwari, A. & Dutta, B. (2013). Indian Handicrafts Industry: Evaluating Inclusivity of
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Viswanathan, B. (2013, February). Enumeration of Crafts Persons in India.
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Mahindergarh District. International Journal of Research in Economics &
Social Sciences, 2 (11), ISSN: 2249-7382.

 Websites and Internet Links

www.censusindia.gov.in
www.cohands.in
www.cottage.gujarat.gov.in
www.cottageemporium.in
www.craftofgujarat.gujarat.gov.in
www.craftrevival.org
www.craftroots.org
www.epch.in
www.estoregurjari.com
www.euroasiapub.org
www.grimco.co.in
www.gurjari.co.in
www.handicrafts.nic.in
www.hhecworld.com
www.ijsrp.org
www.indiastat.com
www.isca.in

A Study on the Sustainability of Rural Artisans in Handicraft Sector 278

www.kala-raksha.org
www.khadigujarat.in
www.khamir.org
www.kvic.org.in
www.msme.nic.in
www.ncdpd.in
www.nift.ac.in
www.rtigujarat.org
www.shodhganga.inflibnet.ac.in
www.sristi.org
www.texmin.nic.in
www.voiceofresearch.org
http://economictimes.indiatimes.com/topic/handicraft-artisans
http://gurjari.co.in/
http://ncdpd.in/
http://planningcommission.nic.in/plans/stateplan/upsdr/vol-2/Chap_b4.pdf.
http://surendranagardp.gujarat.gov.in/surendranagar/english/sitemap.htm
http://www.census2011.co.in/census/district/189-surendranagar.html
http://www.censusindia.gov.in/2011census/dchb/2408_PART_B_DCHB_SURENDR
ANAGAR.pdf
http://www.censusindia.gov.in/2011census/dchb/DCHB_A/24/2408_PART_A_DCHB
_SURENDRANAGAR.pdf
http://www.culturalindia.net/indian-crafts/
http://www.gujarathandicrafts.in/
http://www.gujaratindia.com/about-gujarat/handicraft.htm
http://www.gujarat-tourism.net/Gujarat_Handicrafts.htm
http://www.humanitiesjournal.info/index.php/ijhr/article/download/18208/9257
http://www.india-crafts.com/business-reports/indian-handicraft-industry/handicraft-int
roduction.htm
http://www.india-crafts.com/indian_states_crafts/gujarat.html
http://www.india-exports.com/handicraft.html
http://www.mapsofindia.com/maps/gujarat/districts/surendranagar.htm
http://www.stonafigsi.com/figsi/statewise_resources.html
http://gaatha.com/applique-rajkot-ahmedabad/
http://www.theindiacrafthouse.com/
https://en.wikipedia.org/wiki/Handicraft
https://en.wikipedia.org/wiki/Handicraft

*****

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 Limdi Dasada (Patdi)

Wadhwan

Sayla

Lakhtar
Surendranagar District

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 311
 APPENDIX-VI
MAPS

Thangadh Dhrangadhra

Chotila

Muli

Chuda

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 310
 8. Other Handicrafts

Horse Decoration Work at Navi Morvad

Umbrella Decoration for Artisans of Ranagadh Participating in

Tarnetar Folk Fair Handicraft Exhibition

Jewellery Making at Monpar and Golida

Bangle-work at Pipaliya Quilt of Patchwork-Best out of Waste

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 7. Bead Work

Application of Beadwork on 'Chakla' Traditional Beadwork in Group

Traditional Three Dimensional Beadcraft

Articles of Beadwork to be Given as Trousseau in Daughter’s Marriage

Discussion with Artisans at Dhandhalpur and Doliya

A Study on the Sustainability of Rural Artisans in Handicraft Sector 307

 6. Embroidery and Crochet Work

Traditional Embroidery of Zalawad

Wonders of One Needle: Kachchh Style Embroidery in

Crochet-Craft Pandavara Village

Stitching and Embroidery Classes at Deaf & Dumb Artisans of

Chotila Dhandhalpur-Art Itself is A Language

Discussion & Demonstration with Artisans

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 307
 5. Tie & Dye Work (Bandhej)

Bandhej Tying Process

Dying Process at Wadhwan

Plastic wrapping for

Drying Process
Multi-Coloured Bandhej

Group Discussion with Artisans Stock of Products at Selling Centre

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 306
 4. Mud-Work/Pottery and Wood-Work

Traditional Potter at Navi Morvad Painting on Matka at Reshamiya

White Matka from Black Soil of Thangadh (With Decorative Painting)

Conventional Style of Finishing Firing Process with Conventional

with Hand Tools at Vijaliya Kiln Known as ‘Nimbhado’

Traditional as well as Contemporary Moods of Wood

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 305
 3. Stone Carving Work

Modern Art on Stone

Stone Carving on Various Designs

Measurement and Marking Process Stone Carving at Chuli

Designing and Carving with Visit to Stone Carving Site at

Traditional Tools Devcharali

A Study on the Sustainability of Rural Artisans in Handicraft Sector 303

 2. Patola

Pre-Weaving Processes for Patola

Tying Process on Wefts According to Designs

Single Ikkat Patola Weaving

Double Ikkat Patola at Somasar Traditional Hand Loom Setting

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 303
 APPENDIX-V
PHOTO GALLERY

1. Weaving and Tangaliya Work

Hand Woven Shawls Tangaliya Weaving

Warps Making for Shawl at Vastadi Spinning of Raw-Wool at Bajana

Traditional Hand Loom Setting Khadi Weaving

Tangaliya Designs

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A Study on the Sustainability of Rural Artisans in Handicraft Sector 302
 APPENDIX-IV
SUCCESS STORIES

1. Shri Rajesh Muliya

Rajesh Muliya is a sculpture artist of Thangadh, who has given a new shape and form
to his hereditary art of pottery. He is blessed with this art from his forefathers who are
‘Prajapaties’ by caste. In the words of Haku Shah, one of India’s most eminent
authorities on folk and tribal art, Prajapatis are traditionally known as ‘Kumbhars’ and
enjoyed a special place in social structure. The ‘Kumbhakar’, potter, is often
compared to a god, for out of simple clay he creates many forms which meet the most
important needs of man. First in importance is the pot, in which man can carry water,
store this precious liquid and preserve the fruits of his labour. The potter makes the
tiles for the roof which provides protection from the elements. He also creates the
ritual objects and votive forms with which the gods that govern not only this life but
also the life to come, are propitiated. (Shah, 1985)1

But today the scenario is changing very fast. It is a general observation in the society
today that education drives the rural young generations away from their hereditary
occupations and traditional vocations. But there are still a few examples who nurture
and flourish own traditional work with innovative participation by applying latest
knowledge through education in this field. Mr. Rajesh Muliya is one of them, who is a
rare combination of hereditary skills and educational qualification. Mr. Rajesh Muliya
has completed his master degree (Master in Fine Arts) in sculpture from Maharaja
Sayajirav University of Baroda in Gujarat. Today he has earned a special status and
fame by cultivating his hereditary art with inherent talents and innovative hard-work.

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Being a sculpture artist, he is a creative art lover. His father observed his natural skill
and interest in innovative pottery practices and inspired him to study this art
systematically and scientifically. During his study at Baroda, he found opportunity to
study various art forms of India and of foreign culture. And such knowledge is
reflected in his creations today.

Sand Sculpture Sculpture of Lord Budhdha

He shapes his thoughts with various forms of art such as Sculptures, Statues, Sand
sculptures, Fiber idols, Paintings, Rangoli, etc. He has started spreading social
messages by making wonderful sand sculptures on various social issues such as ‘Save
girl child’, ‘Save water’, ‘Stop smoking’, etc.

He has made statues of great personalities and famous celebrities like Zaverchand
Meghani, Hemu Gadhavi, Amitabh Bachchan, Baba Ramdev, etc. These unique
creations have become very popular and appreciated at a great extent.

Statue of Baba Ramdev by Artist Rajesh Muliya

A Study on the Sustainability of Rural Artisans in Handicraft Sector 291

 Statue of Hemu Gadhavi Statue of Zaverchand Meghani

He has been participating in art exhibitions and events as well as he has been awarded
and appreciated many times for his best creations of handicrafts. Recently he has been
honoured with the award ‘Surendranagar nu Sonu’ (Gold of Surendranagar) for his
invaluable contribution in the field of art and culture. Besides he has been awarded
with Shilp-Kala Ratna Award and many more by various authorities and groups like
Lalit Kala Academy, Rotary Club of Surendranagar, etc.

Awards to Artist Rajesh Muliya

At present he is the owner of Apple Ceramics at Thangadh and arranges workshops

and training programmes for promoting handicrafts. He told that each and every
artisan is blessed with equal opportunity to carve his/her own future, but one must
work hard with involvement, patience and faith in own art and talent.

A Study on the Sustainability of Rural Artisans in Handicraft Sector 292

 2. Shri Merubhai Raval

Merubhai Raval is a famous name of Lakhtar block of Surendranagar district, who is

involved in a unique occupation of handicraft- ‘Horse Decoration’. His whole family
is involved in this work and each has his/her defined role and contribution. Merubhai,
an artist of 48 years studied up to primary level and accepted the responsibility of his
ancestors’ business.

Merubhai was born and brought up at Devaliya (a village of Lakhtar block) and
shifted to Lakhtar before 17 years. Today he has become a famous artisan providing
employment to more than eighty people living in Lakhtar and Devaliya. A
Sakhi-Mandal is registered under Mission-Mangalam Project of Government of
Gujarat in the name of Merubhai’s wife Hansaben. Hence, they all get opportunities
to participate in fairs and marketing events. His son Bharatbhai and daughter Payal-
both are now ready to share the responsibilities from the shoulders of their father.
Moreover their relatives living in Devaliya village are also directly or indirectly

A Study on the Sustainability of Rural Artisans in Handicraft Sector 293

involved in this line of activity. Hence, Merubhai gives all the credit for his success to
his family and relatives, as all are actively involved in this work at their capacity.
Involvement of Family Members

Traditionally, they used to make decorative articles for animals like cows and
bullocks for a limited market. But now horse decoration has become his identity and
recognition; however he makes some of the items for decorating camels too. He told
that there are about 20-25 types of products used to decorate horses, they are locally
known as Dali (used as a ‘Seat’ put on the back of horse; made of Namda-a sheet of
compressed wool), Movad, Lagam (hunter), Ageval (neckline decoration of horse),
Kotiya, Tangi-set (Leather seat and paddles), Morda, Chokdu (face decoration of
horse), Umbrella, Stick, Frills, etc.

A Wide Range of Products for Horse Decoration

A Study on the Sustainability of Rural Artisans in Handicraft Sector 294

An artistic application and creative combination of raw-material like wool, rope,
beads, sea-shells, etc. give birth to a wonderful collection for horse decoration.
Merubhai told that traditionally only Kathi Darbars used to keep horses but now many
communities keep horses for hobby or as status symbol. Even horse decoration is
demanded during wedding seasons, when horse of groom is decorated heavily with
various decorative and colourful articles.

He supplies the products to Kachchh, Surat, Vapi, Rajkot, Bhavnagar and Jamnagar in
Gujarat; Badmer and Pali (Rajasthan). He regularly participates with his teams in
Tranetar folk fair of Thangadh, Rannotsav of Kachchh and in various horse racing
events held at Gondal, Bhuj, Amreli, Gandhinagar, Ambod, etc. in Gujarat. However,
he had never got a chance to participate in such fairs/exhibitions outside Gujarat.

According to Merubhai, the investment is about 6 to 7 Lacs and requirement of

working capital is Rs. 10 Lacs per annum. His annual turnover reaches up to Rs.
20-25 Lacs/Year which keeps fluctuating with time and demand. Still he expects
government’s financial assistance to purchase advance machines like rope making and
other tools for his business.

Thus, the future of such handicraft seems quite safe and prosperous as compared to
other languishing handicrafts of this region.

A Study on the Sustainability of Rural Artisans in Handicraft Sector 295

 3. Ratanben Devaliya (Ratanba)

Can anyone imagine an old lady of more than 100 years busy wholeheartedly in
embroidering a Ghagra-Choli for her fifth generation? And this is also with great
enthusiasm and zeel??? Yes, Ratanba is the answer.

Ratanba, an energetic ‘Young’ lady, of more than 100 years lives in Dhandhalpur
village of Sayla block of Surendranagar district. She is indeed a wonder who is expert
in hand embroidery and has embroidered numberless articles with traditional designs
since her childhood.

During the field visit, researcher came across this wonderful and talented personality
and found a newer sight of peeping in to this inherent art in women of this region and
also the economic and social barriers inhibiting their development. Ratanba belongs to
Koli Patel community and used to embroider various products since her early
childhood. She has completed a century and experienced many ups and downs of life
even before the independence of India. Presently, she doesn’t even remember the
source of her learning but told that just by watching and imitating others she might
have learnt this. She has beautifully embroidered a number of products using mainly
mirror (Aabhla) embroidery, Rabari stitch, Satin stitich, Herring bone stitch, Feather
stitch, Stem stitch and Chain stitch with eye catching colour combination.
Surprisingly, she has still been continuing with such work. Her colour pattern,

A Study on the Sustainability of Rural Artisans in Handicraft Sector 296

selection of designs and perfection as well as neatness in work tells the whole story
about her patience and love towards art and dedication towards deeds.

She told that such handicrafts were very common in her generations when handicraft
activities were an inseparable part of their routine life. Girls from their childhood used
to make various creative articles of day to day use or of aesthetic nature for their
dowry to be given at the time of their marriage. There was no formal training or
classes though it was taught and learnt automatically from generations to generations.

But, it is really an astonishing to know that the present generations of such talented
artist have not learnt this art purely. Surprisingly, they all answered that they had
learnt a little but not perfectly, as it is now not affordable to ‘waste’ the time in such
unproductive work; and ‘Art alone can’t satisfy the hungry stomach’. This answer is
full of irony, which is a sign of negativity for sustainability of such craft. Because
majority of family members are engaged in agriculture or labour work to earn
livelihood; while children are busy with their studies.

With changing village economy, life style and social structure, rural handicrafts are
languishing due to lack of due recognition and economic privilege. The art of women
like Ratanba is vanished at many corners of the country. Actually, such great artists
are the real preservers of great Indian culture who have never been focused and
recognized even after a century of life because their art is not marketized and such
women had never got a chance to come out of home for own identity.

This is not a story of Ratanba only but many of the women artists who live with the
burden of social responsibilities and die with dreams in their heart. Their art, talents
and skills are not encouraged, motivated and promoted even within or outside home.
Still they wish to remain attached to such handicraft till the last breath of life.

A Study on the Sustainability of Rural Artisans in Handicraft Sector 297

 4. Shri Mukeshbhai Rathod (Nageshwari Patola)

It is really very astonishing to know that the great legendary-play back singer- Lata
Mangeshkar buys Patola Saree from directly a rural handcraft artisan living in a
backward village of Surendranagar district..! Yes, this artisan is Shri Mukeshbhai
Rathod.

Lata Mangeshkar in Patola Saree National Award Winner Mukeshbhai

Mukeshbhai has given a new style and recognition to his hereditary art of Patola. He
makes very distinctive and unique micro designs on Patola. Micro design Patolas of
Rathod family are now very famous for their uniqueness of designs, quality of
material and dexterity of artisans. They have made wonderful design of the historical
monument ‘Sidi Saiyyed ki Jaali’ (world famous for unique carving designs) at the
Sidi Saiyyed Mosque of Ahmedabad; and even portrait of famous American actress
and model Marilyn Monroe. Such creations are really wonders on fabric through
weaving art.
Design of ‘Sidi Saiyyed ki Jaali’ Design of Marilyn Monroe

A Study on the Sustainability of Rural Artisans in Handicraft Sector 298

Mukeshbhai believes in innovations and creating something extraordinary by
applying constant efforts and creativity. This is the reason behind his success today.
On 7th March, 2016, he has been honoured with the National Award by Ministry of
Textiles, Government of India for his outstanding skill and contribution to the
development of handloom weaving of Single Ikat Micro Design Saree.

National Award by Ministry of Textiles, Government of India

According to him, quality is his recognition and he never compromises with it. That’s
why he has received India Handloom Brand registration number too. India Handloom
Brand is an initiative of Ministry of Textiles, GOI for branding of high quality
handloom products. It is an endorsement of the high quality of the handloom products
to which it is applied in terms of raw materials, processing, embellishments, weaving
design and other quality parameters besides social and environmental compliances in
their production for earning the trust of the customers.

His ancestors were also expert in Patola making from many generations. But, they did
not have much knowledge about marketing opportunities. With the help of Weavers’
Service Centre, Mukeshbhai came across various programmes and schemes of
government for handloom and handicraft promotion and became capable of spreading
his business through marketing platform provided by government. Gradually, he has
developed good contacts with some NGOs, institutions and consumers. Mukeshbhai
and his team have participated in various fairs and exhibitions many times at regional
and at national level too. Now, he is planning to participate in International exhibition
in nearer future and has started procedure for that.

There are 40 members in his family, among them most of all are directly or indirectly
involved in this handicraft work, as this craft includes various sub-activities such as
preparation of yarns, design making, yarn tying and dying, winding bobbins,
preparing warps, weaving, finishing and many more. 20 family members remain
constantly busy with weaving work on 10 looms.

A Study on the Sustainability of Rural Artisans in Handicraft Sector 299

 Involvement of Family Members in Various Processes of Production

Mukeshbhai has never tried to create monopoly in market, as he has been imparting
training to five young artisans of his own village with a noble cause of providing
employment and sharing knowledge and artistic vision.

*****

End Note:
1
Shah, H. (1985 ). Crafts of Gujarat: Living Traditions of India. Dhamija, J. (Ed.),
Mapin International, New York, p.139.

A Study on the Sustainability of Rural Artisans in Handicraft Sector 300

 APPENDIX-III
SELECTION OF RESPONDENTS FROM DISTRICT
(Handicraft Categories, Talukas and Villages)

Handicraft Categories

Stone Carving

Crochet-work
Embroidery/

Handicrafts
Tie and Dye
Wood-work
Mud-work/

Bead-work
Sr.

Tangaliya
Weaving/
Talukas

Selected Villages Total

Patola

Other
No.

1 Bhethsuda 0 0 0 0 0 0 0 2 2
2 Chotila 0 0 0 2 0 2 2 0 6
3 Golida 0 0 0 0 0 0 0 2 2
1. Chotila

4 Mevasa 0 0 0 0 0 0 0 2 2
5 Monapar 0 0 0 0 0 0 0 2 2
6 Panchavada 0 0 0 1 0 0 0 1 2
7 Pipaliya 0 0 0 0 0 0 0 5 5
8 Reshamiya 0 0 0 4 0 0 0 0 4
9 Karol 5 0 0 0 0 0 0 0 5
10 Mojidad 0 0 0 0 5 0 0 0 5
11 Navi Morvad 1 0 0 2 0 0 0 2 5
2. Chuda

12 Khandiya 0 2 0 0 0 0 0 0 2
13 Chhalala 0 0 0 0 2 0 0 0 2
14 Chuda 0 0 0 0 3 0 0 0 3
15 Jobala 0 2 0 0 0 0 0 0 2
16 Gokharvada 0 0 0 0 5 0 0 0 5
17 Bajana 3 0 0 0 0 0 0 0 3
18 Goriyavad 0 0 0 0 0 1 5 0 6
19 Himatpura 0 0 0 0 0 0 3 0 3
3. Dasada

20 Kharaghoda-Junagam 0 0 0 0 0 0 3 0 3
21 Patdi 0 0 0 0 0 6 0 0 6
22 Savla 0 0 0 0 0 3 4 0 7
23 Ghanspar 0 0 0 0 0 3 2 0 5
24 Vadgam 0 0 0 0 0 2 2 0 4
25 Chuli 0 0 10 0 0 0 0 0 10
26 Devcharali 0 0 10 0 0 0 0 0 10
4. Dhrangadhra

27 Gujarvadi 3 0 0 0 0 0 0 0 3
28 Jegadava 0 0 0 0 0 4 0 0 4
29 Prathugadh 0 0 10 0 0 0 0 0 10
30 Jesada 0 0 0 0 0 2 0 0 2
31 Khambhala 0 0 0 0 0 2 0 0 2
32 Dhrangadhra 0 0 5 0 0 0 0 0 5
33 Devaliya 0 0 0 0 0 0 0 5 5
34 Lakhtar 0 0 0 0 0 0 0 10 10
35 Zamar 0 0 0 2 0 0 0 0 2
5. Lakhtar

36 Bhathariya 2 0 0 0 0 0 0 0 2
37 Bhaskarpara 0 0 0 2 0 0 0 0 2
38 Bhalala 0 0 0 2 0 0 0 0 2
39 Dervala 5 0 0 0 0 0 0 0 5
40 Malika 0 0 0 2 0 0 0 0 2

A Study on the Sustainability of Rural Artisans in Handicraft Sector 288

 Handicraft Categories

Stone Carving

Crochet-work
Embroidery/

Handicrafts
Tie and Dye
Wood-work
Mud-work/

Bead-work
Sr.

Tangaliya
Weaving/
Talukas Selected Villages Total

Patola

Other
No.

41 Ankevaliya 0 5 0 0 3 0 0 0 8
42 Bhalgamda 0 0 0 0 0 0 0 2 2
43 Bhoika 0 2 0 0 0 0 0 0 2
6. Limdi

44 Ghagharetiya 0 5 0 0 0 0 0 0 5
45 Ranagadh 0 0 0 0 0 0 0 5 5
46 Raska 0 6 0 0 0 0 0 0 6
47 Samla 0 5 0 0 0 0 0 0 5
48 Shiyani 5 0 0 0 2 0 0 0 7
49 Godavari 0 0 0 1 4 3 0 0 8
50 Kukda 0 0 0 0 4 2 3 0 9
51 Pandavara 0 0 0 0 0 7 3 0 10
7. Muli

52 Sara 0 0 0 0 0 0 5 0 5
53 Shekhpar 0 3 0 0 0 5 0 0 8
54 Sidhdhasar 2 3 0 0 0 0 0 0 5
55 Somasar 0 5 0 0 0 0 0 0 5
56 Digsar 0 2 0 0 0 0 0 0 2
57 Chorvira(Than) 0 0 0 2 0 0 0 0 2
58 Dhandhalpur 0 0 0 0 0 2 8 0 10
59 Doliya 0 0 0 0 0 1 6 0 7
8. Sayla

60 Ninama 0 0 0 1 0 5 0 0 6
61 Sayla 1 4 0 0 0 0 0 0 5
62 Sudamada 6 0 0 0 0 0 0 0 6
63 Nana Haraniya 0 0 0 0 0 0 0 2 2
64 Kotda 0 0 0 0 0 0 0 2 2
65 Amarapar 0 0 0 5 0 0 0 0 5
66 Morathal 0 0 0 5 0 0 0 0 5
9. Thangadh

67 Nava gam 0 0 0 2 0 0 0 2 4
68 Sarsana 0 0 0 4 0 0 0 0 4
69 Tarnetar 0 0 0 0 0 0 2 1 3
70 Thangadh 0 0 0 10 0 0 0 0 10
71 Undvi 0 0 0 0 0 0 0 4 4
72 Vijaliya 2 0 0 3 0 0 2 1 8
73 Dedadara 5 0 0 0 0 0 0 0 5
74 Gundiyala 4 0 0 0 0 0 0 0 4
10. Wadhwan

75 Kherali 0 0 0 0 5 0 0 0 5
76 Malod 0 0 0 0 5 0 0 0 5
77 Vadod 0 6 0 0 0 0 0 0 6
78 Vaghela 0 0 10 0 0 0 0 0 10
79 Vastadi 6 0 0 0 2 0 0 0 8
80 Wadhwan 0 0 5 0 10 0 0 0 15
Total 50 50 50 50 50 50 50 50 400

A Study on the Sustainability of Rural Artisans in Handicraft Sector 289

 APPENDIX –II
INTERVIEW SCHEDULE

A Study on the Sustainability of Rural Artisans in

Handicraft Sector
(With reference to Surendranagar District of Gujarat)

Guide Researcher
Dr. Rajiv Patel Amisha N. Shah

1. Handicraft
2. Name of Artisan
3. Village & Taluka

A) Demographic Profile and Socio-Economic Condition of Respondents

4. Gender
□ Male □ Female
5. Age (Years)
6. Religion
7. Caste
□ SC □ ST □ OBC □ GEN □ Minority
8. Sub-Caste
9. Type of Artisan
□ Artisan Doing Self -Started Business
□ Artisan Doing Family Business
□ Artisan Serving In Handicraft Unit
□ Artisan Doing Job-Work From Own Place
10. Education □ Illiterate □ Up to Higher Secondary Level
□ Up to Pre-primary Level □ Up to Graduation Level
□ Up to Primary Level □ Up to Post Graduation Level
□ Up to Secondary Level □ More
11. Language Known
□ Gujarati □ Hindi □ English
12. Marital Status
□Unmarried □Married □Divorced □Widow/Widower
13. No. of Children
□ Male: …………….. □ Female: ……………….
14. Nature of Family
□ Nuclear Family □ Joint Family
15. Family Size
16. Economic Status of
Household □ BPL Card Holder □ APL Card Holder
17. Ownership of
Residential House □ Self- Owned □ Family- Owned □ On Rent

A Study on the Sustainability of Rural Artisans in Handicraft Sector 280

18. Type of Residential
House □ Pucca House □ Semi-Pucca House □ Kachcha House
19. Facility of
Electricity □ Yes □ No
20. Toilets Facility
□ Yes □ No
21. Facility/Sources of
Water □ Water Connection □ Community Sources □ Tanker
□ Pond/Well/River □ Neighbours □ Borewell
22. Consumer Durables
in Household
□ Bicycle □ Auto Rickshaw □ Computer
□ Motorcycle □ Television □ Refrigerator
□ Car □ Smart Mobile Phone □ Other
□ Tractor □ Simple Mobile Phone
23. Use of Internet by
Respondent □ Yes □ No
24. Land Holding Status
□ No Land □ 9 to 12 Acres □ More than 20
Acres
□ Up to 4 Acres □ 13 to 16 Acres
□ 5 to 8 Acres □ 17 to 20 Acres
25. No. of Animals in
Cow: ……… Buffalo: ..……. Bullock: …....… Other: ……..…
Households
26. Having Bank
Account Yes □ No □
27. If ‘Yes’, Name of
Bank
28. Having Insurance
Yes □ No □
29. No. of Family Members Involved in Handicraft
30. Monthly Family Income from Handicraft (In Rs.)
31. Another Occupation Other than Handicraft (if any)
32. Number of Family No. of Family
Occupation Income (Monthly-in Rs.)
Members Earning Members
from Sources Other
than Handicraft

B) Performance of Handicraft Activities and Transition

33. Skill Experience of Artisans (In Years)
34. Work Experience of Artisans (In Years)

A Study on the Sustainability of Rural Artisans in Handicraft Sector 281

35. Reasons for Joining □ Hereditary Work □ Utilization of Leisure Time
Handicraft
□ Easy to Learn □ Training/ Course or Scheme
□ Less Capital Investment □ Having No Other Option
□ Financial Help to Family □ Others
36. Sources of Learning
Handicraft
□ Hereditary Qualities □ Friends/ Relatives/ Neighbours
□ Educational Qualification □ Workplace Experience
□ Training Course □ Others
37. Have You Adopted Changes in
Material and Method of □No Change □Minor Change □Heavy Change
Production?
Give Details:

38. Have You Adopted Changes in

Product Designs & Innovations? □No Change □Minor Change □Heavy Change
Give Details:

39. Have You Adopted Changes in

Energy Sources? □No Change □Minor Change □Heavy Change
Give Details:

40. Sources of Energy Before 5-10 Years: At Present:

□ None □ None
□ Kerosene □ Kerosene
□ Gas □ Gas
□ Electricity □ Electricity
□ Wood/Agri.Waste □ Wood/Agri.Waste
□ Animal Waste □ Animal Waste
□ Other □ Other
41. Have You Adopted Changes in
Machinery, Tools and Equipment? □No Change □Minor Change □Heavy Change
Give Details:

42. Have You Adopted Changes in

Marketing Practices? □No Change □Minor Change □Heavy Change
Give Details:

A Study on the Sustainability of Rural Artisans in Handicraft Sector 282

43. Knowledge of
□Whole Production Process □ Partial Production Process
Production Process
44. Role/Performance in
□Whole Production Process □ Partial Production Process
Production Process

Give Details:

45. Average Working Days in a Month

46. Average Working Hours in a Day
47. WWho Participates in Handicraft in
hFamily?
Male □ □ Female □ Children
o
48. Competitors of
Handicraft
□
No Competitor □ Producers/Sellers of Machine Made
Products
Artisans □
Other Artisans of Villages
□ Big Factories/Traders of Handicraft
□ Artisans of other Places
Question no. 49 to 57 are only for 'Entrepreneurs'
49. Nature of Business
Premises of □Place of Residence □Owned Workplace □Rental Workplace
'Entrepreneurs'
50. How do you plan
your production? □After Receiving Order □According to Anticipation of Demand
51. Source of
Raw-Material
□ Local/ Village Level □ National Level
(Market Place) □ District Level □ International Level
□ State Level
52. Suppliers of
Raw-Material □ Wholesalers □ Retailers □ Online Traders
(Traders)
53. Process of
Raw-Material
□ As Per Orders Received
Purchase □ At a Particular Time Only
□ According to Available Finance
□ Continuously on Regular Basis
54. Mode of Payment
in Raw-Material □ Cash Purchase □ Credit Purchase
Purchase
55. Channels of Selling
□Direct Selling to Consumers □Through SHGs/Cooperatives
□Through Traders/Agents □Through NGOs
□Through Govt. Agencies □Selling in Fairs/Exhibitions
56. Nature of
Transaction
□ Artisan Goes to Buyers □ Buyers Come to Artisan

A Study on the Sustainability of Rural Artisans in Handicraft Sector 283

57. Market Level
□ Local/ Village Level □ National Level
□ District Level □ International Level
□ State Level
Question no. 58 to 62 are only for 'Workers'
58. Work-Premises of
'Workers'
□Place of Residence □Rental Workplace
□Owned Workplace □ Workplace of Employer
59. Source of
Employment/Work
□ Big Producers/Contractors □ Government Agencies
□ Traders □ Consumers
□ NGOs and Institutions □ Other Artisans of Village
60. Territory of Work
□ Local/ Village Level □ National Level
□ District Level □ International Level
□ State Level
61. Process of
Acquiring
□ Material is provided to artisan's place
Material □ Artisan goes to collect raw material
62. Nature of
Payment System
□ According to Time Wage System
□ According to Piece/Performance Wage System
C) Impact of Government and Non-Government Efforts for Handicraft Promotion
63. Are you aware about the role of
government in promoting Yes □ No □
handicrafts?
64. Are you satisfied with the role of
government in promoting Yes □ No □
handicrafts?
65. Are you a member of any formal
association or group?
No □ Co-operative Society □
Self Help Group □ NGO □
66. Which type of assistance do you
receive from the association or
No Assistance □ Training □
group? Financial □ Other □
□ Marketing/Selling
67. Do you have Artisan Identity Card?
□ Yes □ No
If ‘Yes’, give details of the benefits of the same:

68. Have you ever participated in

Fairs/Exhibitions for promoting handicraft? □ Yes □ No
If ‘Yes’, give details:

A Study on the Sustainability of Rural Artisans in Handicraft Sector 284

69. Are you interested in training if provided to
you? □ Yes □ No
Explain your expectations:

70. How does handicraft affect your

social status?
□ Positive Effect □ Negative Effect □ No Effect
71. Is your handicraft languishing?
□ Yes □ No
72. What is your
expectation from your
□ They should accept it as occupation.
children about □ They should learn for hobby but should be engaged in
handicraft occupation? some another occupation.
□ They should never learn it.
Give reason for your answer:

73. How is the attitude of

your children towards
□ Not applicable
handicraft? □ They are interested in learning.
□ They are ready to accept as occupation.
□ They are not interested at all.
74. Where do you like to
live?
□ Like to live in village □ Want to migrate to city
Give reason for your answer:

75. Give details if you have availed benefits of any government/non-government schemes?

76. Give your opinion about the role of the following to save and promote handicrafts?
Individual Role Collective Role of Role of Role of Role of Public
of Artisans Group of Artisans Government NGOs/Institutions

A Study on the Sustainability of Rural Artisans in Handicraft Sector 285

D) Opinion of Respondents about Strength, Weaknesses, Opportunities and Threats/
Challenges against Handicraft Sector

Points: Strongly Agree-5; Agree-4; Neutral-3; Disagree- 2; Strongly Disagree- 1.

Strengths 5 4 3 2 1
1. Hereditary features play important role in handicraft skills
2. Low investment and use of insight
3. Proper use of leisure time

4. Good profit as compared to investment

5. Utilization of available raw material and resources
6. Gives pleasure of creation, feeling of pride and satisfaction
7. Promotes and preserves cultural values

Opportunities 5 4 3 2 1
1. Provides employment to even rural illiterate
2. Increasing demand at domestic and international markets
3. Government has introduced various schemes to promote
handicrafts
4. Easy availability of financial assistance
5. Opportunity to develop craft by participating in fairs and
exhibitions
6. Various NGOs are working in this field.
7. Increasing marketing opportunities due to mobiles and
internet

Weaknesses 5 4 3 2 1
1. Lack of modern managerial skills
2. Problems due to less education
3. Scarcity of working capital / financial problems
4. Less information about market and marketing
5. Lack of information about government aid/credit facilities
6. Lack of knowledge about latest designs/current market
demands
7. Do not know how to use advanced machines and equipment
8. Lack of organized identity
9. No information about exports

A Study on the Sustainability of Rural Artisans in Handicraft Sector 286

Threats/Challenges 5 4 3 2 1
1. Decreasing demand due to change in the taste & interest of
people
2. Handicraft is losing its original form due to changes in
lifestyle and culture
3. Competition with latest machine made products of large
industries
4. Problems of quality and durability due to handmade
5. Gain is less as compared to hard work
6. Middlemen earn huge profit
7. New generation is not interested in handicrafts
8. Lack of infrastructural facilities
9. Improper implementation of government
schemes/programmes
10. Heavy irregularities in employment

A Study on the Sustainability of Rural Artisans in Handicraft Sector 287