need help in making a brochure and 5 posters from the following matter
2 views
Skip to first unread message
enable...@gmail.com
Dec 21, 2007, 10:25:52 PM12/21/07
to Enable Artisan
Looks like attachment is not possible.
I am pasting the content here.
Jinan
What is the project about?
'Enabling Artisan' is a two year long project designed to enable ,
equip and empower a group of young potters so that they can take
forward their craft as a meaningful livelihood activity.
The main aspect of this lies in exposing them to the modern urban
craft situation -New user-new ways of using, new products-new delivery
mechanism.
Link the customer and the producer in a more collaborative ways than
a mere buyer seller relation by making the customer part of the
enabling process. In the process the customer gets sensitized to the
issues of craft, true potential of hand made produced craft in
humanising the modern sanitized and mechanical environs etc
There is a large section of customers who value and are concerned
about the survival of this centuries old traditional crafts.
Why?
There is no institutional mechanisam in the country to help enable the
artisan to upgrade or contemperorise themselves. He is made to depend
on designers and managers. With their intervention crafts are getting
homogenized.
The modern development model of India has transformed its traditional
craft economy, positioning local artisans as little more than labor
for entrepreneurs, designers and middlemen. The Enable Artisan project
is based on a vision of development in which artisans are once more
connected to all stages of the craft process, part of a broader
community that links suppliers, artisans, and buyers.
While many traditional artifacts have lost their utilitarian relevance
and competitiveness at the local level, they have simultaneously
become the bearers of cultural and ethical values. By giving rural
artisan communities exposure to modern clients' tastes, the project
will develop artisans' entrepreneurial, design, marketing and ICT
skills. This will allow them to take part in the emerging market for
eco-friendly, socially just and culturally rich products. The
sensitization and education of customers will be a vital part of the
creation of a collaborative community.This project will benefit those
directly involved while also serving as a community model of
development based on the acknowledgement that marginalized groups are
innovators in their own right.
How?
The participants ( 12 ) will be given exposure to the urban interest
in crafts, modern marketing, internet, new designs, its potential in
the building industry and tourism etc. They will travel to Delhi,
Bombay, Chennai, Bangalore, Pune, Hyderabad etc to get exposure.
They also will be taught basic computing, use of internet, email,
digital camera etc. The whole process will be hands on. They will then
in the final 6 months helped to establish a production centre in their
respective villages, linking with financing institutions.
when and where?
Outcome
Who
I am a designer, educationist, activist who has been working with
rural tribal artisan communities from various parts of India. From
1989 onwards I have been working, researching, learning from the
artisan communities. I have tried to address several issues- cultural,
spiritual, socio-political and economical in these interactions.
When I found that Design education in India totally neglected the age
old practice of Craft making traditions, drew inspiration solely from
the western institutions like Bauhaus, Ulm etc and in the process
getting ourselves alienated from our historical, cultural continuity.
From 1989 to 1992 I have traveled to many traditional craft making
villages in Nagaland, Bihar, Bengal, Orissa engaged in various crafts
like brass, stone, horn, papier-mâché bamboo, pottery, cane, wood etc
and worked with several of them getting a first hand knowledge of
various aspects of craft making.
See www.kumbham.in to see my work with a potters community in Kerala
where in the process of last 13 years we have developed more than 1000
odd products, enabled more than 100 artisans to design new products
etc. Now my attention is on the future of craft practices and the
future of traditional craft depends on the youth of the artisan
communities.
Question 1. The Objective: What is/are the problem(s) that you are
trying to solve And why is it important? (125 words)
Contemperorise the traditional craft skills of rural potters by
enabling them to respond to modern demand for handcrafted products.
They need exposure to the modern client's needs, tastes, marketing
mechanisms, so that they can develop entreuprenal, design and
marketing skills. The cultural uniqueness, its hand-made aesthetic
sense is reflected in the product only if the artisan is fully
involved in the process. This can happen if they understand the total
process. Link the potential customers by making them collaborators of
the process by providing their expertise, donating money or equipments
etc. Chart out new directions for the development of products. Make
maximum use of modern technologies for linking the customer and
artisan and to make the artisan aware of the possibilities of e
commerce etc.
Question 2. What is your idea to address the problem(s) described
above? Why have You chosen your specific approach?
Empowering the young potters by making they realize their own creative
abilities and the new potential of pottery.
They will be given training in research and documentation, expose
them to urban interest in pottery- life style, marketing methods,
products, potential of internet. Then the trainees will be trained in
design development process. The thrust will be to enable the trainees
to develop their own designs. These products will be exhibited for
studying the market response...
During this process several contacts will be made who will in turn
become a community of supporters. Then the trainees will go back to
their respective clusters and set up their own production system.
After each phase the whole team will go to the selected clusters,
engage with Potters, thus sharing the learning with the whole
Potters.
Having worked with Potters and other craft communities for the past
18years and have studied how the revival and sustainability of crafts
can be addressed. The proposed method seems to me the best way as it
looks at certain crucial issues which the normal top down approaches
do not address. This method addresses the problem holistically and
democratically.
Question 3. Implementation: How will you implement your idea? How do
you propose To manage the project implementation? Do you propose to
involve the beneficiaries Of the Project also in the management of the
project? Describe the activities your Project will undertake to
realize its objective (s). (200 words)
Question 4. Innovation: How is your idea truly innovative or unique?
How does your Approach differs from existing approaches and why is it
potentially effective?
The uniqueness of this project is that it addresses holistically all
aspects of craft production. It addresses pride, creatively and
entrepreneur quality of the artisan. The artisan will not be given
training to make particular products but to bring out their own
creative and aesthetic abilities so that they are enabled to develop
new products. Most institutions are giving only partial trainings and
in most causes they take over the pride and self respect of the
artisan by thrusting external experts. Identifying a committed
customer base and linking them to the artisan community is another
innovative step. Enabling the artisan -to understand e-commerce and
for addressing net based business potential. Through internet large
number of people will be contacted and connected. The whole project
will be put up in the net as website and shared with as many people as
possible and this will help market the idea.
Question 6. Outcomes/Results: What are the expected outcomes / results
of your Project? Whom it will benefit? How will you measure the impact
of these outcomes / Results? (Value addition to the beneficiaries,
reduction in drudgery, positive impact on The habitat/ Environment,
etc.)(200 words)
12 Potter children's from 6 Clusters will be enabled to handle urban
market needs. These children will influence 6 Clusters who are willing
to do non conventional products either by working directly with them.
One average these cluster will be 15 to 20 families and in total about
100 families will be benefitted. The project will also help each
Cluster to generate a minimum of 40 to 50 new products. Which means a
total of armed 300 new products will be added. We will also help these
6 Clusters to form suitable self help groups (SHG'S) This will enable
resource mobilization through thrift, savings, bank credit support
and meeting the financial requirements for developing the business.
The project also aims at developing a support base of about three
thousand people who will support the artisans at later stages. The
monitoring and evaluation of the project will happen quarterly to
assess the progress of the project. Through the effective execution of
the project the annual income of the potter can be doubted with in
five years. The present disguised unemployment can be fully removed
through making the production increased export trade will also enrich
the earnings in foreign exchange.
Question 7. Sustainability: How will your project be sustainable
beyond the phase Funded by RIF? What characteristics of your project
you would like to highlight to Suggest that it is sustainable?
Describe the major challenges and obstacles that you Anticipate for
this organization and how you will overcome them? (150 words)
Since the project right from the beginning focuses on developing
sensitive and socially responsible customer base one major issue is
tackled. The second aspect is to enable the artisan to respond to this
need which is also being taken care by the project. The artisans will
be in the know how of the market trends, exhibitions organized by
various institutions etc.They will source new markets and work orders
through market studies and with the help of internet.
We shall also promote the artisans to participate in national/
international business exhibitions. Our websites highlighting the
skills of the potter covered under the project will also fetch large
orders for a year round business.
To convince the artisan of the new possibilities. The biggest handicap
of the rural artisan compared to his urban counterpart is lack of
exposure to new market possibilities, new ideas and new ways of
selling his product. Once the artisan is exposed and enabled they will
be able to respond.
Question 8. Reliability and Prospects of 'scaling up': What is the
possibility of implementing your idea/project elsewhere (in a
different country region) or to scale It up? (150 words)
The direct scaling up possibility exists within the potter's community
itself as they are a large community scattered all over India. Even
though the present project is only for potters this methodology can be
used for all the other crafts like bamboo, brass and bell metal, iron
smiths, copper smiths, carpet weaving and other textile related crafts
like kantha, appliqué, horn craft, wood craft etc. Craftspeople form
the second largest employment sector in India. There are twenty-three
million craftspeople in India today. There are all the indications
that the demand for crafts is increasing but the rural artisan is not
aware of this and is leaving their crafts. The proposed project
precisely addresses/ explores the best way to tackle this situation
and proposes a completely new way of enabling the artisan community.
All the state governments are in the process of setting up various
facilities to address this issue and this could be one of the best
models tried out so far.
1. What is your new, innovative idea to create lasting social change?
Be clear, specific, and jargon-free in your answer.
The modern development model has transformed India's traditional craft
economy, positioning local artisans as little more than labor for
entrepreneurs, designers and middlemen. The Enable Artisan project is
based on a vision of development in which artisans are once more
connected to all stages of the craft process, part of a broader
community that links suppliers, artisans, and buyers. While many
traditional artifacts have lost their utilitarian relevance and
competitiveness at the local level, they have simultaneously become
the bearers of cultural and ethical values. By giving rural artisan
communities exposure to modern clients' tastes, the project will
develop artisans' entrepreneurial, design, marketing and ICT skills.
This will allow them to take part in the emerging market for eco-
friendly, socially just and culturally rich products. The
sensitization and education of customers will be a vital part of the
creation of a collaborative community. This project will benefit those
directly involved while also serving as a community model of
development based on the acknowledgement that many marginalized groups
are innovators in their own right.
o The organic and highly-local traditional craft economy in India has
been completely transformed with the advent of modern industrial
products as well as distribution and marketing systems.
o This has resulted in the artisan losing agency and control
in the craft process, often ending up as mere provider of skilled
labour to a network of entrepreneurs, marketers and designers - if not
forced to abandon her/his occupation altogether in the face of local
competition with industrial products.
o Although the craft artefact has substantially lost its
utilitarian relevance and competitiveness at the local level, it has
evolved into a bearer of cultural and ethical value, and its market
has become global.
o With the emergence of a market for eco-friendly, socially-
just and culturally rich products, there is a new opportunity for
traditional artisans to reclaim their value, redefine their product
design and restructure their business model.
o Enabling this is at the core of my social change
innovation proposal.
2. What drew you to this issue? When and how did you come up with your
idea?
I have been observing a paradoxical situation: a gradual increase in
the customer base in the urban centers, but a decline in the number of
artisans making craft. The rural youths are not taking up crafts as
they are not aware of this new potential. They are also not equipped
to deal with the complexities of this situation. Where interventions
are taking place, they are often insensitive to the local context,
disempowering artisans and homogenizing crafts. The youth in my
village whom I have seen growing up in front of me are left with few
options. Many of them have degrees, but remain jobless. Many of them
have pottery skills, but these go unused.In 2002 I undertook a project
with support from Centre for Development Studies, Trivandrum to work
with eight children who had dropped out of school, teaching them
traditional pottery techniques. The program also gave them the school-
related education necessary for them to move forward with their
pottery. Unfortunately after a year funding for the project was no
longer available. This experience gave me a glimpse of the issues that
would need to be addressed to build viable change in these areas.
o The market for handicraft in urban centers is booming, but there is
a decline in the number of traditional/rural artisans producing craft.
o This is because of a lack of awareness amongst rural youth
about this situation, and the nuances involved.
o Most so-called interventions are, in my view, damaging the
craft and the artisan as they treat craft more as a business
opportunity and unconcerned about cultural and community specificity
or ethos.
o My experience of working with eight school drop-outs from
a traditional potter community gave me a flash of insight into the
complexity involved in re-bridging traditional/rural craft with modern/
urban markets - in particular the pedagogical challenges involved.
o I intend to use this fellowship to draw upon my experience
and conceptualize and implement an effective intervention that
accounts for the pedagogical as well as entrepreneurial challenges.
3. As specifically as possible, demonstrate the need for your
organization. Use statistics and references.
Throughout India, communities of artisans involved in the production
of traditional crafts are increasingly marginalized. For example, The
Centre for Handloom Information and Policy Advocacy has documented the
physical, social and psychological pressures that have accompanied the
shift of weaving work from home to factories. As well as disease and
sexual harassment, women weavers' desire to innovate in new designs
and products is stymied by a lack of information about market demands.
Artisans in other areas face similar issues, and there are numerous
reports of traditional crafts on the verge of extinction and artisans
that turn to other employment, including manual labor and
prostitution, in order to survive. The vulnerability of the craft
sector has enormous significance for the stability of Indian society.
Craft is one of the largest employment sectors in India, second only
to agriculture (Jaitly, 2001). In addition, many communities rely on a
income from craft work to supplement their primary source of
livelihood. Economic instability caused by changes to the craft sector
is accompanied by a loss of the cultural and social meanings that are
tied to particular crafts.
* Craft earns much more than is invested into it. During 1960-1984,
crafts earned Rs.90 billion in foreign exchange, but it received only
Rs.1.4 billion government spending (Pye:1988).
* It is among India's largest foreign exchange earners
(Vijayagopalan:1993), some 16% of total exports in 1972-83.. Between
1992-93 and 2000-01, craft exports rose to Rs. 9270.50 billion from
Rs. 2543.18 billion (Ministry of Textiles:2001).
* Apart from the economic value, the contribution of crafts to
social well-being cannot be matched. It is not merely a 'job' but a
sacred creative function symbolising the inner desire and fulfillment
of the community.
* Craft is the second largest employer in India, second only to
agriculture. A 1984 report of the All India Handicrafts Board showed
2,176,740 full time and 433,260 part time workers in craft. In
2000-2001 the numbers went up to 47.61 million (Ministry of Textiles:
2001).
* At the same time, the number of youth from traditional craft
communities opting to continue their traditional occupation is sharply
declining (empirical observation).
* This suggests an uncritical commercialisation and
commodification of a sacred, culturally- and ecologically-rooted
practice.
4. What's the root cause of this problem? How does your idea tackle
this root cause?
The root cause of the dire state of Indian artisanship is the current
model of development and the disconnection of artisans from the
context of their work. Traditionally, artisans were in complete
control of the craft process and economy. They knew their material,
technology and artistry. They knew their customer's needs and the
costs involved. This ecosystem was completely overturned by the modern
industrial, market-led developmental model, which led to the loss of
knowledge, enjoyment and control over their own work. Their inferior
status was further reinforced by their low place in the caste system.
The solution is to equip the artisans with the knowledge and skills
needed for them to re-establish their control and artistry in the new
market scenario, and to build a collaborative community in which
consumers and artisans are connected. The crux of this is the use of
immersive and experiential pedagogies, using local and contextual
idioms and metaphors.
The long-term objective is to set up self-sustaining socio-economic
ecosystems that are sustained at the local level without any critical
external dependencies.
+ In one word, the root cause is the 'modern development' model.
+ Traditionally, artisans were in complete control of
the craft process and economy. They knew their material, technology
and artistry. They knew their customer, his needs and the costs
involved.
+ This ecosystem was completely overturned by the
modern industrial+market led developmental model, which led to their
loss of knowledge, enjoyment and control over their own practice.
Their sense of inferiority was further reinforced by their low place
in the caste system.
+ The solution is to equip the artisans with the new
knowledge and skills needed for them to re-establish their knowledge,
control and artistry in the new market scenario.
+ The crux of this is the pedagogies involved, which
will be immersive and experiential, using local and contextual idioms
and metaphors, in tune with the cognitive strengths of the particular
groups.
+ The long-term objective is to set up self-sustaining
socio-economic ecosystems that are sustained at the local level
without any critical external dependencies.
5. Help Echoing Green visualize what your organization will do.
Describe the specific programs that your organization will engage in
to deliver your long-term outcomes.
The Enable Artisan project will build strong connections between
buyers and artisans, focusing on establishing a self-maintaining
community. Several months have already been spent building a customer
base and awareness of the importance of traditional crafts. The next
step in the process will be to begin training twelve young potters
from six village clusters in South India, exposing them to facilities
and research methodologies, including digital cameras, the Internet,
and use of the English language. Trainees travel to cities such as
Delhi and Bangalore, learning about modern market delivery mechanisms,
urban lifestyles and needs, and exploring new uses of pottery. They
are then ready to develop products in their villages and exhibit them
in cities. Eventually they learn to assess the market, build
capabilities among potters in their area, provide support for the
development of traditional crafts, set up self-help groups. Eventually
the project will be able to sustain itself on the shared learning
capacities of participants, the profits from products developed, and a
committed customer base.
6. Describe your long-term desired outcomes. How will you measure
your progress toward these outcomes?
There are several quantitative measures that can be applied to the
Enable Artisan project. One of the key indicators is its ability to
deliver stable livelihoods to potters, and to create full employment
opportunities for potters' families. The project will also help each
cluster to generate a minimum of 40 to 50 new products, meaning around
300 new products will be developed. The generation of products is a
sign of an innovative artisan community, but product range is also
vital to maintaining a wide customer support base. After two years a
stable support base of around 3,000 people should be in place. The
nature of the project also requires several qualitative questions to
be asked during evaluation. The status given to those involved in
pottery production should improve among artisans and village
communities, and customers should be increasingly aware of the value
of traditional crafts. These issues can be measured through surveys
and focus groups. Quarterly evaluation and monitoring will also look
at the effectiveness of the project as a model, assessing its
visibility in the press and broader society and the adoption of
similar approaches among other artisan communities.
7. Innovation is important to Echoing Green. Explain how your idea is
truly innovative. Identify other organizations that are addressing
this issue and how your approach is different and has the potential to
be more effective.
The uniqueness of this project is that it addresses all aspects of
craft production. It addresses pride, creativity and entrepreneur
quality of the artisan. It initiates a customer-led revival of crafts.
The basic assumption is that the artisans are capable people who due
to certain conditions are not able to use their abilities fully. The
focus is not on 'teaching,' but rather on creating conditions in which
artisans can realize their full potential. Most organizations give
only a partial training, diminishing artisans' pride and self-respect
by emphasizing the knowledge of external experts. In this case,
artisans will retain local skills and cultural identity while
connecting to a global market. To do this, the project will build an
understanding of e-commerce and net-based business potential. More
importantly, it will identify a committed customer base and link this
group with artisans in order to build a long-term process of learning
by customers and artisans. The whole project will be put up on the
Internet as a website which the community will control, providing
another means for building community and a space for exploration of
the effective use of electronic media.
o The uniqueness of this project is that it holistically addresses
all aspects of craft production: including the pride, creativity and
entrepreneurial ability of the artisan.
o It addresses the ecological, social, economical, cultural
and spiritual aspects - that was intrinsic to its pre-modern function.
o The premise is that the artisans are regarded as capable
people who are unable to rise to their potential due to the lack of
certain conditions. So there is no 'teaching' but helping than to
realize their potential and connecting to the global market whilst
retaining their local skills and cultural identity.
o Most NGO interventions provide partial training and in
most cases they further dent the pride and self-respect of the artisan
by introducing external expertise.
o It initiates a customer-led revival of crafts.
o Identifying a committed customer base and linking this to
the artisan community is another innovative step proposed here, as is
enabling the artisan to leverage the power of the internet.
o The whole project will be put up in the internet as
website or blog and shared with as many people as possible and this
also will help the artisans to get comfortable and innovative with
this medium.
8. Building a new organization is challenging. How are you
entrepreneurial? Describe your skills and experiences that demonstrate
you can lead a start-up organization.
In October 1992, I moved to Kumbham in Kerala, where I worked to
revive the near-extinct production of pottery. My work in the area was
supported by Oxfam and Dastkaari Haat Samithi until 1993, after which
I had no financial support. Over the course of 13 years I worked with
over 150 artisans and initiated the development of more than 2,000
designs. The project stabilized in 1998. It now supports around 70
artisans, incorporating an organization for women independently
pursuing pottery. Artisans work with the project because it gives them
a better income than other occupations, but they also enjoy their work
and take pleasure in customers' appreciation for their creations. My
role has been shaped by the development of a 'do nothing method',
where the artisan takes complete responsibility for developing new
products and designs, developing unique and original products and
regaining self respect. I merely fine-tuned these products to suit the
urban market. The project's success was built on my work popularizing
this new use of traditional pottery through links with architects,
interior designers, tourism projects, and through our website, www.kumbham.in.
o Kumbham (www.kumbham.in) at Aruvacode in North Kerala is a unique
example in reviving an almost wiped-out pottery tradition, forcing the
women of the community into prostitution. I came to this village in
1992 October after reading about the crisis in a newspaper. My project
was initially supported by Oxfam and later by Dastkaari Haat Samiti, a
craft support organization based in New Delhi.
o After the funding ended in 1993 November, I continued to
stay in the village without any financing, and over the next 13 years,
I worked with over 150 artisans, initiating development of more than
2000 designs/ products, using a novel way of initiating creativity
among artisans. From 1998 onwards I have supported around 70 artisans
and set up an organization for women for independently pursuing
pottery.
o My unique contribution lies in my 'do-nothing
approach' (inspired by Fukuoka's 'do nothing' mantra for organic/
natural farming), where the artisan takes complete responsibility for
developing new products/designs and thereby regains self respect. My
role remains limited to fine-tuning the design to suit the functional
needs of the urban market.
o I have popularized this new use of traditional pottery in
India linking my work with architects, interiors, tourism related
projects, etc.
o This has been achieved by management, entrepreneurial,
design, networking and leadership skills.
9. Why are you uniquely qualified to lead your specific organization?
Describe your experience working with this issue and population.
While studying in the 1980s I found out that design education in India
totally neglected the traditional crafts, drawing inspiration solely
from Western institutions such as Bauhaus and Ulm. Since then, I have
been working to combat the alienation of Indians from our cultural
heritage. Between 1989 and 1992 I traveled to many traditional craft-
making villages in Nagaland, Bihar, Bengal, and Orissa, getting first-
hand experience of the traditional uses of brass, stone, papier-mâché,
bamboo, pottery, cane and wood. Since 1993 I have been addressing the
production of traditional crafts at all levels, learning about the
conditions of artisans, the problems involved in marketing, and the
development of new ideas and products. Five years ago I began to
address issues related to the future of crafts. I learnt that in many
areas children are sent to school and are discouraged from learning
their traditional occupations. Around 90% of children then drop out of
school, and have few skills to fall back on. One solution to this
problem is for craft to be developed as a prestigious occupation in
which people can earn a good livelihood as well as developing their
creative potential.
* I have been engaged with the issues of traditional artisan
communities from 1988. What I propose here is a logical progression of
my work.
* I found that design education in India totally neglected the age-
old tradition of craft making, instead imitating western institutions
like Bauhaus, Ulm, etc. and in the process alienating design from its
historical & cultural specificity.
* From 1989 to 1992, I traveled to many traditional craft
communities in Nagaland, Bihar, Bengal and Orissa engaged in various
crafts like brass, stone, horn, papier-mâché, bamboo, pottery, cane,
wood, etc., working with several of them and getting a first-hand
knowledge of the technique and also the cultural process.
* Since 1993, I focussed on the process - addressing the
conditions of the artisan, the problems involved in marketing,
development of new ideas and products, etc.
* About five years ago I began to address the issues related to
the future of crafts: seeing how children were sent to school and
being discouraged to learn their traditional occupation -
notwithstanding some 90% of them dropped out of school. I got
convinced that what was really required was to accord a new respect
and status to craft making that would encourage the young to take up
the craft of their ancestors.
10. How much money have you fundraised to date? Who is your largest
funder and what is the size of their grant? Provide an estimate of
your total budget for each of the next two fiscal years.
The fundraising for the present project has just started. My
commitment to remaining outside the restrictions of the NGO system and
the Enable Artisan project principles will guide funding structures.
The emphasis throughout the project on artisans' skills and self-
respect mandate against a top-down funding structure for the long
term. Funds from Echoing Green will be used to meet the initial
expenses and provide stability for the project's first stages, but the
long-term plan is for Enable Artisan to be a self-sustaining,
community-supported project. Additional funds needed before the
project becomes self-sustaining will be raised from individuals.
Enable Artisan's budget for the first two years will cover costs for:
* four staff members, equipment needed for production, marketing and
accounting, training, market research, and
* evaluation and monitoring.
1 Student/Trainee Expenses
Stipend10 trainees x 18 months x Rs 2000= 3,60,000
Travel expenses (6 months)Rs. 10000 x10 trainees= 1,00,000
Food & Stay100days @ 300 x10 trainees = 3,00,000
1 Total7,60,000
2 Honarariums and salaries
Honorarium Director24 months x Rs 10,000= 2,40,000
Assistant24 months X Rs 20,000 = 4,80,000
Care taker cum cook24 months x Rs 3,000 = 72,000
Honorarium to visiting faculty = 2,00,000
2 Total9,92,000
3 Other Expenses
Preparatory expenses = 25,000
Conduct of Exhibitions X 2(Publicity, hall, transportation, stay) =
1,50,000
3 Total 1,75,000
4 Fixed Assets-Tools and Equipments
Wheel4 nos ( 2 manual& 2 electrical)=15,000
Kiln2 - Testing and production =20,000
Tools =8,000
Computers5 nos =1, 00,000
Software =50,000
Digital camera 10 nos =1,00,000
Scanner/printer etc One each =15,000
Stationery , Books =40,000
Clay & firewood =50,000
Furniture =75,000
4 Total = 4,73,000
Total of 1 + 2 + 3 + 4Rs 24,00,000
Long term financial requirement for setting up the training centre
5 Infrastructure Facilities
Land 5 Acres =3,00,000
Office and Administration Block,15ft x 30ft =2,50,000
Work space 20ft x 50ft =1,00,000
Class room facilities ,15ft x 30ft =2,50,000
Stay- Hostels and guest room 500 sq ft =3,00,000
Mess & Kitchen 300 sq ft =1,00,000
5 Total =13,00,000
Grand TotalRs 37,00,000
I am pasting the content here.
Jinan
What is the project about?
'Enabling Artisan' is a two year long project designed to enable ,
equip and empower a group of young potters so that they can take
forward their craft as a meaningful livelihood activity.
The main aspect of this lies in exposing them to the modern urban
craft situation -New user-new ways of using, new products-new delivery
mechanism.
Link the customer and the producer in a more collaborative ways than
a mere buyer seller relation by making the customer part of the
enabling process. In the process the customer gets sensitized to the
issues of craft, true potential of hand made produced craft in
humanising the modern sanitized and mechanical environs etc
There is a large section of customers who value and are concerned
about the survival of this centuries old traditional crafts.
Why?
There is no institutional mechanisam in the country to help enable the
artisan to upgrade or contemperorise themselves. He is made to depend
on designers and managers. With their intervention crafts are getting
homogenized.
The modern development model of India has transformed its traditional
craft economy, positioning local artisans as little more than labor
for entrepreneurs, designers and middlemen. The Enable Artisan project
is based on a vision of development in which artisans are once more
connected to all stages of the craft process, part of a broader
community that links suppliers, artisans, and buyers.
While many traditional artifacts have lost their utilitarian relevance
and competitiveness at the local level, they have simultaneously
become the bearers of cultural and ethical values. By giving rural
artisan communities exposure to modern clients' tastes, the project
will develop artisans' entrepreneurial, design, marketing and ICT
skills. This will allow them to take part in the emerging market for
eco-friendly, socially just and culturally rich products. The
sensitization and education of customers will be a vital part of the
creation of a collaborative community.This project will benefit those
directly involved while also serving as a community model of
development based on the acknowledgement that marginalized groups are
innovators in their own right.
How?
The participants ( 12 ) will be given exposure to the urban interest
in crafts, modern marketing, internet, new designs, its potential in
the building industry and tourism etc. They will travel to Delhi,
Bombay, Chennai, Bangalore, Pune, Hyderabad etc to get exposure.
They also will be taught basic computing, use of internet, email,
digital camera etc. The whole process will be hands on. They will then
in the final 6 months helped to establish a production centre in their
respective villages, linking with financing institutions.
when and where?
Outcome
Who
I am a designer, educationist, activist who has been working with
rural tribal artisan communities from various parts of India. From
1989 onwards I have been working, researching, learning from the
artisan communities. I have tried to address several issues- cultural,
spiritual, socio-political and economical in these interactions.
When I found that Design education in India totally neglected the age
old practice of Craft making traditions, drew inspiration solely from
the western institutions like Bauhaus, Ulm etc and in the process
getting ourselves alienated from our historical, cultural continuity.
From 1989 to 1992 I have traveled to many traditional craft making
villages in Nagaland, Bihar, Bengal, Orissa engaged in various crafts
like brass, stone, horn, papier-mâché bamboo, pottery, cane, wood etc
and worked with several of them getting a first hand knowledge of
various aspects of craft making.
See www.kumbham.in to see my work with a potters community in Kerala
where in the process of last 13 years we have developed more than 1000
odd products, enabled more than 100 artisans to design new products
etc. Now my attention is on the future of craft practices and the
future of traditional craft depends on the youth of the artisan
communities.
Question 1. The Objective: What is/are the problem(s) that you are
trying to solve And why is it important? (125 words)
Contemperorise the traditional craft skills of rural potters by
enabling them to respond to modern demand for handcrafted products.
They need exposure to the modern client's needs, tastes, marketing
mechanisms, so that they can develop entreuprenal, design and
marketing skills. The cultural uniqueness, its hand-made aesthetic
sense is reflected in the product only if the artisan is fully
involved in the process. This can happen if they understand the total
process. Link the potential customers by making them collaborators of
the process by providing their expertise, donating money or equipments
etc. Chart out new directions for the development of products. Make
maximum use of modern technologies for linking the customer and
artisan and to make the artisan aware of the possibilities of e
commerce etc.
Question 2. What is your idea to address the problem(s) described
above? Why have You chosen your specific approach?
Empowering the young potters by making they realize their own creative
abilities and the new potential of pottery.
They will be given training in research and documentation, expose
them to urban interest in pottery- life style, marketing methods,
products, potential of internet. Then the trainees will be trained in
design development process. The thrust will be to enable the trainees
to develop their own designs. These products will be exhibited for
studying the market response...
During this process several contacts will be made who will in turn
become a community of supporters. Then the trainees will go back to
their respective clusters and set up their own production system.
After each phase the whole team will go to the selected clusters,
engage with Potters, thus sharing the learning with the whole
Potters.
Having worked with Potters and other craft communities for the past
18years and have studied how the revival and sustainability of crafts
can be addressed. The proposed method seems to me the best way as it
looks at certain crucial issues which the normal top down approaches
do not address. This method addresses the problem holistically and
democratically.
Question 3. Implementation: How will you implement your idea? How do
you propose To manage the project implementation? Do you propose to
involve the beneficiaries Of the Project also in the management of the
project? Describe the activities your Project will undertake to
realize its objective (s). (200 words)
Question 4. Innovation: How is your idea truly innovative or unique?
How does your Approach differs from existing approaches and why is it
potentially effective?
The uniqueness of this project is that it addresses holistically all
aspects of craft production. It addresses pride, creatively and
entrepreneur quality of the artisan. The artisan will not be given
training to make particular products but to bring out their own
creative and aesthetic abilities so that they are enabled to develop
new products. Most institutions are giving only partial trainings and
in most causes they take over the pride and self respect of the
artisan by thrusting external experts. Identifying a committed
customer base and linking them to the artisan community is another
innovative step. Enabling the artisan -to understand e-commerce and
for addressing net based business potential. Through internet large
number of people will be contacted and connected. The whole project
will be put up in the net as website and shared with as many people as
possible and this will help market the idea.
Question 6. Outcomes/Results: What are the expected outcomes / results
of your Project? Whom it will benefit? How will you measure the impact
of these outcomes / Results? (Value addition to the beneficiaries,
reduction in drudgery, positive impact on The habitat/ Environment,
etc.)(200 words)
12 Potter children's from 6 Clusters will be enabled to handle urban
market needs. These children will influence 6 Clusters who are willing
to do non conventional products either by working directly with them.
One average these cluster will be 15 to 20 families and in total about
100 families will be benefitted. The project will also help each
Cluster to generate a minimum of 40 to 50 new products. Which means a
total of armed 300 new products will be added. We will also help these
6 Clusters to form suitable self help groups (SHG'S) This will enable
resource mobilization through thrift, savings, bank credit support
and meeting the financial requirements for developing the business.
The project also aims at developing a support base of about three
thousand people who will support the artisans at later stages. The
monitoring and evaluation of the project will happen quarterly to
assess the progress of the project. Through the effective execution of
the project the annual income of the potter can be doubted with in
five years. The present disguised unemployment can be fully removed
through making the production increased export trade will also enrich
the earnings in foreign exchange.
Question 7. Sustainability: How will your project be sustainable
beyond the phase Funded by RIF? What characteristics of your project
you would like to highlight to Suggest that it is sustainable?
Describe the major challenges and obstacles that you Anticipate for
this organization and how you will overcome them? (150 words)
Since the project right from the beginning focuses on developing
sensitive and socially responsible customer base one major issue is
tackled. The second aspect is to enable the artisan to respond to this
need which is also being taken care by the project. The artisans will
be in the know how of the market trends, exhibitions organized by
various institutions etc.They will source new markets and work orders
through market studies and with the help of internet.
We shall also promote the artisans to participate in national/
international business exhibitions. Our websites highlighting the
skills of the potter covered under the project will also fetch large
orders for a year round business.
To convince the artisan of the new possibilities. The biggest handicap
of the rural artisan compared to his urban counterpart is lack of
exposure to new market possibilities, new ideas and new ways of
selling his product. Once the artisan is exposed and enabled they will
be able to respond.
Question 8. Reliability and Prospects of 'scaling up': What is the
possibility of implementing your idea/project elsewhere (in a
different country region) or to scale It up? (150 words)
The direct scaling up possibility exists within the potter's community
itself as they are a large community scattered all over India. Even
though the present project is only for potters this methodology can be
used for all the other crafts like bamboo, brass and bell metal, iron
smiths, copper smiths, carpet weaving and other textile related crafts
like kantha, appliqué, horn craft, wood craft etc. Craftspeople form
the second largest employment sector in India. There are twenty-three
million craftspeople in India today. There are all the indications
that the demand for crafts is increasing but the rural artisan is not
aware of this and is leaving their crafts. The proposed project
precisely addresses/ explores the best way to tackle this situation
and proposes a completely new way of enabling the artisan community.
All the state governments are in the process of setting up various
facilities to address this issue and this could be one of the best
models tried out so far.
1. What is your new, innovative idea to create lasting social change?
Be clear, specific, and jargon-free in your answer.
The modern development model has transformed India's traditional craft
economy, positioning local artisans as little more than labor for
entrepreneurs, designers and middlemen. The Enable Artisan project is
based on a vision of development in which artisans are once more
connected to all stages of the craft process, part of a broader
community that links suppliers, artisans, and buyers. While many
traditional artifacts have lost their utilitarian relevance and
competitiveness at the local level, they have simultaneously become
the bearers of cultural and ethical values. By giving rural artisan
communities exposure to modern clients' tastes, the project will
develop artisans' entrepreneurial, design, marketing and ICT skills.
This will allow them to take part in the emerging market for eco-
friendly, socially just and culturally rich products. The
sensitization and education of customers will be a vital part of the
creation of a collaborative community. This project will benefit those
directly involved while also serving as a community model of
development based on the acknowledgement that many marginalized groups
are innovators in their own right.
o The organic and highly-local traditional craft economy in India has
been completely transformed with the advent of modern industrial
products as well as distribution and marketing systems.
o This has resulted in the artisan losing agency and control
in the craft process, often ending up as mere provider of skilled
labour to a network of entrepreneurs, marketers and designers - if not
forced to abandon her/his occupation altogether in the face of local
competition with industrial products.
o Although the craft artefact has substantially lost its
utilitarian relevance and competitiveness at the local level, it has
evolved into a bearer of cultural and ethical value, and its market
has become global.
o With the emergence of a market for eco-friendly, socially-
just and culturally rich products, there is a new opportunity for
traditional artisans to reclaim their value, redefine their product
design and restructure their business model.
o Enabling this is at the core of my social change
innovation proposal.
2. What drew you to this issue? When and how did you come up with your
idea?
I have been observing a paradoxical situation: a gradual increase in
the customer base in the urban centers, but a decline in the number of
artisans making craft. The rural youths are not taking up crafts as
they are not aware of this new potential. They are also not equipped
to deal with the complexities of this situation. Where interventions
are taking place, they are often insensitive to the local context,
disempowering artisans and homogenizing crafts. The youth in my
village whom I have seen growing up in front of me are left with few
options. Many of them have degrees, but remain jobless. Many of them
have pottery skills, but these go unused.In 2002 I undertook a project
with support from Centre for Development Studies, Trivandrum to work
with eight children who had dropped out of school, teaching them
traditional pottery techniques. The program also gave them the school-
related education necessary for them to move forward with their
pottery. Unfortunately after a year funding for the project was no
longer available. This experience gave me a glimpse of the issues that
would need to be addressed to build viable change in these areas.
o The market for handicraft in urban centers is booming, but there is
a decline in the number of traditional/rural artisans producing craft.
o This is because of a lack of awareness amongst rural youth
about this situation, and the nuances involved.
o Most so-called interventions are, in my view, damaging the
craft and the artisan as they treat craft more as a business
opportunity and unconcerned about cultural and community specificity
or ethos.
o My experience of working with eight school drop-outs from
a traditional potter community gave me a flash of insight into the
complexity involved in re-bridging traditional/rural craft with modern/
urban markets - in particular the pedagogical challenges involved.
o I intend to use this fellowship to draw upon my experience
and conceptualize and implement an effective intervention that
accounts for the pedagogical as well as entrepreneurial challenges.
3. As specifically as possible, demonstrate the need for your
organization. Use statistics and references.
Throughout India, communities of artisans involved in the production
of traditional crafts are increasingly marginalized. For example, The
Centre for Handloom Information and Policy Advocacy has documented the
physical, social and psychological pressures that have accompanied the
shift of weaving work from home to factories. As well as disease and
sexual harassment, women weavers' desire to innovate in new designs
and products is stymied by a lack of information about market demands.
Artisans in other areas face similar issues, and there are numerous
reports of traditional crafts on the verge of extinction and artisans
that turn to other employment, including manual labor and
prostitution, in order to survive. The vulnerability of the craft
sector has enormous significance for the stability of Indian society.
Craft is one of the largest employment sectors in India, second only
to agriculture (Jaitly, 2001). In addition, many communities rely on a
income from craft work to supplement their primary source of
livelihood. Economic instability caused by changes to the craft sector
is accompanied by a loss of the cultural and social meanings that are
tied to particular crafts.
* Craft earns much more than is invested into it. During 1960-1984,
crafts earned Rs.90 billion in foreign exchange, but it received only
Rs.1.4 billion government spending (Pye:1988).
* It is among India's largest foreign exchange earners
(Vijayagopalan:1993), some 16% of total exports in 1972-83.. Between
1992-93 and 2000-01, craft exports rose to Rs. 9270.50 billion from
Rs. 2543.18 billion (Ministry of Textiles:2001).
* Apart from the economic value, the contribution of crafts to
social well-being cannot be matched. It is not merely a 'job' but a
sacred creative function symbolising the inner desire and fulfillment
of the community.
* Craft is the second largest employer in India, second only to
agriculture. A 1984 report of the All India Handicrafts Board showed
2,176,740 full time and 433,260 part time workers in craft. In
2000-2001 the numbers went up to 47.61 million (Ministry of Textiles:
2001).
* At the same time, the number of youth from traditional craft
communities opting to continue their traditional occupation is sharply
declining (empirical observation).
* This suggests an uncritical commercialisation and
commodification of a sacred, culturally- and ecologically-rooted
practice.
4. What's the root cause of this problem? How does your idea tackle
this root cause?
The root cause of the dire state of Indian artisanship is the current
model of development and the disconnection of artisans from the
context of their work. Traditionally, artisans were in complete
control of the craft process and economy. They knew their material,
technology and artistry. They knew their customer's needs and the
costs involved. This ecosystem was completely overturned by the modern
industrial, market-led developmental model, which led to the loss of
knowledge, enjoyment and control over their own work. Their inferior
status was further reinforced by their low place in the caste system.
The solution is to equip the artisans with the knowledge and skills
needed for them to re-establish their control and artistry in the new
market scenario, and to build a collaborative community in which
consumers and artisans are connected. The crux of this is the use of
immersive and experiential pedagogies, using local and contextual
idioms and metaphors.
The long-term objective is to set up self-sustaining socio-economic
ecosystems that are sustained at the local level without any critical
external dependencies.
+ In one word, the root cause is the 'modern development' model.
+ Traditionally, artisans were in complete control of
the craft process and economy. They knew their material, technology
and artistry. They knew their customer, his needs and the costs
involved.
+ This ecosystem was completely overturned by the
modern industrial+market led developmental model, which led to their
loss of knowledge, enjoyment and control over their own practice.
Their sense of inferiority was further reinforced by their low place
in the caste system.
+ The solution is to equip the artisans with the new
knowledge and skills needed for them to re-establish their knowledge,
control and artistry in the new market scenario.
+ The crux of this is the pedagogies involved, which
will be immersive and experiential, using local and contextual idioms
and metaphors, in tune with the cognitive strengths of the particular
groups.
+ The long-term objective is to set up self-sustaining
socio-economic ecosystems that are sustained at the local level
without any critical external dependencies.
5. Help Echoing Green visualize what your organization will do.
Describe the specific programs that your organization will engage in
to deliver your long-term outcomes.
The Enable Artisan project will build strong connections between
buyers and artisans, focusing on establishing a self-maintaining
community. Several months have already been spent building a customer
base and awareness of the importance of traditional crafts. The next
step in the process will be to begin training twelve young potters
from six village clusters in South India, exposing them to facilities
and research methodologies, including digital cameras, the Internet,
and use of the English language. Trainees travel to cities such as
Delhi and Bangalore, learning about modern market delivery mechanisms,
urban lifestyles and needs, and exploring new uses of pottery. They
are then ready to develop products in their villages and exhibit them
in cities. Eventually they learn to assess the market, build
capabilities among potters in their area, provide support for the
development of traditional crafts, set up self-help groups. Eventually
the project will be able to sustain itself on the shared learning
capacities of participants, the profits from products developed, and a
committed customer base.
6. Describe your long-term desired outcomes. How will you measure
your progress toward these outcomes?
There are several quantitative measures that can be applied to the
Enable Artisan project. One of the key indicators is its ability to
deliver stable livelihoods to potters, and to create full employment
opportunities for potters' families. The project will also help each
cluster to generate a minimum of 40 to 50 new products, meaning around
300 new products will be developed. The generation of products is a
sign of an innovative artisan community, but product range is also
vital to maintaining a wide customer support base. After two years a
stable support base of around 3,000 people should be in place. The
nature of the project also requires several qualitative questions to
be asked during evaluation. The status given to those involved in
pottery production should improve among artisans and village
communities, and customers should be increasingly aware of the value
of traditional crafts. These issues can be measured through surveys
and focus groups. Quarterly evaluation and monitoring will also look
at the effectiveness of the project as a model, assessing its
visibility in the press and broader society and the adoption of
similar approaches among other artisan communities.
7. Innovation is important to Echoing Green. Explain how your idea is
truly innovative. Identify other organizations that are addressing
this issue and how your approach is different and has the potential to
be more effective.
The uniqueness of this project is that it addresses all aspects of
craft production. It addresses pride, creativity and entrepreneur
quality of the artisan. It initiates a customer-led revival of crafts.
The basic assumption is that the artisans are capable people who due
to certain conditions are not able to use their abilities fully. The
focus is not on 'teaching,' but rather on creating conditions in which
artisans can realize their full potential. Most organizations give
only a partial training, diminishing artisans' pride and self-respect
by emphasizing the knowledge of external experts. In this case,
artisans will retain local skills and cultural identity while
connecting to a global market. To do this, the project will build an
understanding of e-commerce and net-based business potential. More
importantly, it will identify a committed customer base and link this
group with artisans in order to build a long-term process of learning
by customers and artisans. The whole project will be put up on the
Internet as a website which the community will control, providing
another means for building community and a space for exploration of
the effective use of electronic media.
o The uniqueness of this project is that it holistically addresses
all aspects of craft production: including the pride, creativity and
entrepreneurial ability of the artisan.
o It addresses the ecological, social, economical, cultural
and spiritual aspects - that was intrinsic to its pre-modern function.
o The premise is that the artisans are regarded as capable
people who are unable to rise to their potential due to the lack of
certain conditions. So there is no 'teaching' but helping than to
realize their potential and connecting to the global market whilst
retaining their local skills and cultural identity.
o Most NGO interventions provide partial training and in
most cases they further dent the pride and self-respect of the artisan
by introducing external expertise.
o It initiates a customer-led revival of crafts.
o Identifying a committed customer base and linking this to
the artisan community is another innovative step proposed here, as is
enabling the artisan to leverage the power of the internet.
o The whole project will be put up in the internet as
website or blog and shared with as many people as possible and this
also will help the artisans to get comfortable and innovative with
this medium.
8. Building a new organization is challenging. How are you
entrepreneurial? Describe your skills and experiences that demonstrate
you can lead a start-up organization.
In October 1992, I moved to Kumbham in Kerala, where I worked to
revive the near-extinct production of pottery. My work in the area was
supported by Oxfam and Dastkaari Haat Samithi until 1993, after which
I had no financial support. Over the course of 13 years I worked with
over 150 artisans and initiated the development of more than 2,000
designs. The project stabilized in 1998. It now supports around 70
artisans, incorporating an organization for women independently
pursuing pottery. Artisans work with the project because it gives them
a better income than other occupations, but they also enjoy their work
and take pleasure in customers' appreciation for their creations. My
role has been shaped by the development of a 'do nothing method',
where the artisan takes complete responsibility for developing new
products and designs, developing unique and original products and
regaining self respect. I merely fine-tuned these products to suit the
urban market. The project's success was built on my work popularizing
this new use of traditional pottery through links with architects,
interior designers, tourism projects, and through our website, www.kumbham.in.
o Kumbham (www.kumbham.in) at Aruvacode in North Kerala is a unique
example in reviving an almost wiped-out pottery tradition, forcing the
women of the community into prostitution. I came to this village in
1992 October after reading about the crisis in a newspaper. My project
was initially supported by Oxfam and later by Dastkaari Haat Samiti, a
craft support organization based in New Delhi.
o After the funding ended in 1993 November, I continued to
stay in the village without any financing, and over the next 13 years,
I worked with over 150 artisans, initiating development of more than
2000 designs/ products, using a novel way of initiating creativity
among artisans. From 1998 onwards I have supported around 70 artisans
and set up an organization for women for independently pursuing
pottery.
o My unique contribution lies in my 'do-nothing
approach' (inspired by Fukuoka's 'do nothing' mantra for organic/
natural farming), where the artisan takes complete responsibility for
developing new products/designs and thereby regains self respect. My
role remains limited to fine-tuning the design to suit the functional
needs of the urban market.
o I have popularized this new use of traditional pottery in
India linking my work with architects, interiors, tourism related
projects, etc.
o This has been achieved by management, entrepreneurial,
design, networking and leadership skills.
9. Why are you uniquely qualified to lead your specific organization?
Describe your experience working with this issue and population.
While studying in the 1980s I found out that design education in India
totally neglected the traditional crafts, drawing inspiration solely
from Western institutions such as Bauhaus and Ulm. Since then, I have
been working to combat the alienation of Indians from our cultural
heritage. Between 1989 and 1992 I traveled to many traditional craft-
making villages in Nagaland, Bihar, Bengal, and Orissa, getting first-
hand experience of the traditional uses of brass, stone, papier-mâché,
bamboo, pottery, cane and wood. Since 1993 I have been addressing the
production of traditional crafts at all levels, learning about the
conditions of artisans, the problems involved in marketing, and the
development of new ideas and products. Five years ago I began to
address issues related to the future of crafts. I learnt that in many
areas children are sent to school and are discouraged from learning
their traditional occupations. Around 90% of children then drop out of
school, and have few skills to fall back on. One solution to this
problem is for craft to be developed as a prestigious occupation in
which people can earn a good livelihood as well as developing their
creative potential.
* I have been engaged with the issues of traditional artisan
communities from 1988. What I propose here is a logical progression of
my work.
* I found that design education in India totally neglected the age-
old tradition of craft making, instead imitating western institutions
like Bauhaus, Ulm, etc. and in the process alienating design from its
historical & cultural specificity.
* From 1989 to 1992, I traveled to many traditional craft
communities in Nagaland, Bihar, Bengal and Orissa engaged in various
crafts like brass, stone, horn, papier-mâché, bamboo, pottery, cane,
wood, etc., working with several of them and getting a first-hand
knowledge of the technique and also the cultural process.
* Since 1993, I focussed on the process - addressing the
conditions of the artisan, the problems involved in marketing,
development of new ideas and products, etc.
* About five years ago I began to address the issues related to
the future of crafts: seeing how children were sent to school and
being discouraged to learn their traditional occupation -
notwithstanding some 90% of them dropped out of school. I got
convinced that what was really required was to accord a new respect
and status to craft making that would encourage the young to take up
the craft of their ancestors.
10. How much money have you fundraised to date? Who is your largest
funder and what is the size of their grant? Provide an estimate of
your total budget for each of the next two fiscal years.
The fundraising for the present project has just started. My
commitment to remaining outside the restrictions of the NGO system and
the Enable Artisan project principles will guide funding structures.
The emphasis throughout the project on artisans' skills and self-
respect mandate against a top-down funding structure for the long
term. Funds from Echoing Green will be used to meet the initial
expenses and provide stability for the project's first stages, but the
long-term plan is for Enable Artisan to be a self-sustaining,
community-supported project. Additional funds needed before the
project becomes self-sustaining will be raised from individuals.
Enable Artisan's budget for the first two years will cover costs for:
* four staff members, equipment needed for production, marketing and
accounting, training, market research, and
* evaluation and monitoring.
1 Student/Trainee Expenses
Stipend10 trainees x 18 months x Rs 2000= 3,60,000
Travel expenses (6 months)Rs. 10000 x10 trainees= 1,00,000
Food & Stay100days @ 300 x10 trainees = 3,00,000
1 Total7,60,000
2 Honarariums and salaries
Honorarium Director24 months x Rs 10,000= 2,40,000
Assistant24 months X Rs 20,000 = 4,80,000
Care taker cum cook24 months x Rs 3,000 = 72,000
Honorarium to visiting faculty = 2,00,000
2 Total9,92,000
3 Other Expenses
Preparatory expenses = 25,000
Conduct of Exhibitions X 2(Publicity, hall, transportation, stay) =
1,50,000
3 Total 1,75,000
4 Fixed Assets-Tools and Equipments
Wheel4 nos ( 2 manual& 2 electrical)=15,000
Kiln2 - Testing and production =20,000
Tools =8,000
Computers5 nos =1, 00,000
Software =50,000
Digital camera 10 nos =1,00,000
Scanner/printer etc One each =15,000
Stationery , Books =40,000
Clay & firewood =50,000
Furniture =75,000
4 Total = 4,73,000
Total of 1 + 2 + 3 + 4Rs 24,00,000
Long term financial requirement for setting up the training centre
5 Infrastructure Facilities
Land 5 Acres =3,00,000
Office and Administration Block,15ft x 30ft =2,50,000
Work space 20ft x 50ft =1,00,000
Class room facilities ,15ft x 30ft =2,50,000
Stay- Hostels and guest room 500 sq ft =3,00,000
Mess & Kitchen 300 sq ft =1,00,000
5 Total =13,00,000
Grand TotalRs 37,00,000
Reply all
Reply to author
Forward
0 new messages