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Tamta CopperwareDiagnostic Study and Business Development Plan

Table of Contents
I. II. Methodology for Diagnostic Study ........................................................................................................3 Location of Tamta Clusters in Uttarakhand...........................................................................................5

III. Introduction: Tamta Copperware..........................................................................................................6 Copperware: History and Tradition ...........................................................................................................6 IV. Tamta Copperware: Craft Production Process ......................................................................................7 1. Raw Materials ........................................................................................................................................7 2. Tools ......................................................................................................................................................9 3. Process.................................................................................................................................................10 4. Product Range .....................................................................................................................................11 5. Current Scenario ..................................................................................................................................12 6. Product Pricing ....................................................................................................................................15 Bibliography.............................................................................................................................................15 V. Product Review................................................................................................................................... 16

VI. Copperware Value Chain .................................................................................................................... 19 1. 2. 3. 4. 5. Description of the Copperware Value Chain ...................................................................................20 Analysis of the Copperware Value Chain ........................................................................................21 Institutional Players in Copper Craft ...............................................................................................23 Conclusion .......................................................................................................................................23 Suggested Interventions in Copperware Craft in Uttarakhand .......................................................24

VII. Copperware Cluster Business Development Plan .............................................................................. 25 1. 2. 3. 4. 5. Objectives of Intervention ...............................................................................................................25 Intervention Strategies ....................................................................................................................26 Interventions under the AHVY Scheme ...........................................................................................27 Project Output Targets ....................................................................................................................29 Project Budget .................................................................................................................................29

I.

Methodology for Diagnostic Study

A detailed methodology was followed to gather information on the cluster, identify the main actors, and collect trade and business data from them. Various tools including field visits, one-on-one interviews, focus groups and surveys were used to collect the required information. The following is a step-by-step description of the methodology used. 1. Desk Research and Setting Up of First Field Visit This entailed the following steps: o Gathering of information on cluster actors and contacts through interactions with a range of institutions including the Crafts Council India, Dastkar, Crafts Revival Trust, Dastkari Haat Samiti, Fabindia, National Institute of Design (NID), National Institute of Fashion Technology (NIFT) and Asian Heritage Foundation. o Identification of and establishing contact with NGOs, individual artisans, master craftspersons and entrepreneurs working in the area to explore potential local project partners and resources. Also scanning for existing government schemes in the area. o Identification of design and other professionals with previous work experience [through the above two steps] relevant to the cluster and of discussions to explore their use as project consultants and resources. o Scanning of books, documents and other reading material for sourcing initial archival material on the crafts process, design repertoire, local dynamics and existing linkages to markets. 2. Initial Field Scan, Field Visit and Hiring of Local Staff o o o An initial field visit of 7-10 days was made to meet the artisans, groups and organizations working in the area. Local staff members were identified and interviewed to carry out a survey of the artisans in the area. A second field visit was then conducted to oversee the survey.

3. Existing Product Profile Review This was undertaken through the following steps: o Collection of samples from the cluster to review the design, quality and marketability of the product; the samples were reviewed by a panel of experts assembled by AIACA. o Review of the costing process and marketability of the product at that cost. 3

o Review of the appropriateness of production methods, raw materials and the tools used. 4. Documentation of the Craft Production Process o A detailed documentation of the craft production process was carried out. The original skill techniques being used were also ascertained and an assessment made of how the process has changed and the craft has languished over time. 5. Survey of Artisans o Demographic profiles of the artisans and ancillary workers, including their geographical locations were mapped. A selection and survey of 300 artisans was also conducted. The data was then compiled in a computerized format to obtain aggregate statistics from the survey forms. 6. Value Chain Mapping o A detailed mapping of the copperware value chain was carried out. The mapping identified actors in the cluster who were involved in the business of crafts production and sales including master craftspersons, traders and other marketing intermediaries. o A detailed analysis of the existing commerce in the cluster, including current sources of credit accessed by artisans and traders, was then undertaken.

7. Preparation of a Business Development Plan o On the basis of the information collected through the above steps, the analyses arrived at by professional staff members of Access and AIACA, and their interactions with a range of stakeholders in the crafts sector, a detailed Business Development Plan (BDP), which clearly lists the objectives, strategies and targets for the requisite interventions was prepared.

II.

Location of Tamta Clusters in Uttarakhand

The Tamta clusters are spread over three districts of the state of Uttarakhand, viz. Almora, Bageshwar and Pitthoragarh. Almora is one of the main towns in Uttarakhand and has a rich cultural heritage and history. It is considered as the cultural heart of the Kumaon region of Uttarakhand. This hill town was the flourishing capital of the Chand dynasty. The nearest railway station is Kathgodam (90 kms), which is connected to Lucknow, Delhi and Kolkata. Almora is also well connected by road to Lucknow (466 kms), Dehradun (412 kms), Nainital (71 kms), and Delhi (382 kms). Bageshwar, which is situated at a distance of 90 km from Almora, is known for its place of temples and rivers, and is situated on the bank of two famous rivers, Gomti and Saryu. Pitthoragarh, the eastern-most district of Kumaon, is bordered by Tibet on the north and Nepal on the east. Pitthoragarh was once a stronghold of the Chand dynasty and its temples and ruined fort bear witness to their rule. The town lay on the old trade route to Tibet and is still en route the sacred trail to Mount Kailash and Lake Mansarovar. The nearest railway stations to Pitthoragarh are Tanakpur (51 km) and Kathgodam (212 km). The entire district is well connected by roads. The principal road links to the district are from the railway terminals at Tanakpur and Kathgodam. The road distances for Pitthoragarh to some important centers are as follows: Delhi503 km, Bareilly268 km, Nainital188 km, Haldwani218 km and Lohaghat62 km. There are several handicraft industries in this region, which have, however, been languishing due to neglect, such as carpet weaving, wood carving, ringal weaving, brassware and copper-based industries.

III.

Introduction: Tamta Copperware

The art of metal craft was introduced in India as far back as 3000 BC. The excavations found in different places provide evidence of the craft and both its development in Indian cities as also its long heritage. In India, this craft includes the vast usage of various metals such as copper, bronze, silver, gold, iron, and bell metal, among others. Metal craft has diverse manifestations ranging from mythological figurines and sculptures of deities to ordinary items of daily use such as pots, pans, utensils, photo frames, doorknobs, taps, key chains, boxes and artillery. Metal craft involves the tradition of enamelling, etching and damascening for the beautification of metal objects. Even today, Indian metal craft is admired for its durability, unique designs, and application in a variety of products.

A Tamta worker making a tola

Copperware: History and Tradition The discovery of copper or tamta, as it is commonly known, goes back to prehistoric times. The earliest recorded use of copperware in India was around 3000 BC, as indicated by the findings at the archaeological sites of the Mohenjo-daro and Harappan civilizations.1 The origins of Tamta copperware craft can be traced back to 16th century AD, when the Chandravanshi clan of the Rajasthan region migrated to the Champawat region of the hill state that is today known as Uttarakhand. The traditional coppersmiths of Rajasthan were brought along with the royal court to mint copper coins for the state treasury. A few of these Tamta craftspersons shifted to Almora and the Kharai Patti region in Bageshwar. Eventually, the Chandravanshi rulers were overthrown by the Gorkhas. In the year 1816, according to the treaty signed between the British and the Gorkhas, a ban was imposed on

Ref: Indian Metal Craft, [Online], Available at http://www.indianetzone.com/7/metal_craft.htm

copper mining in the region.2 Gradually, the Tamta craftspersons started practicing this art to produce household articles. Due to the ban on copper mining, they started using copper scrap by melting and then recasting it into household articles. In due course of time, they migrated to other regions such as Almora and Pitthoragarh in search of better facilities and better availability of raw material.

Diya stand

Unfinished kalash

IV.

Tamta Copperware: Craft Production Process

Copperware craft is found in three districts of Uttarakhand, namely, Almora, Bageshwar and Pitthoragarh. The craftspeople engaged in making copperware in the hills of the Kumaon region are known as Tamtas. The Tamta Mohalla is a locality in the old city of Almora, which in earlier times belonged to the coppersmiths. Copperware is one of the traditional crafts of Almora and some of the best coppersmiths still work from Tamta Mohalla. In Bageshwar, the Kharai Patti region was once famous for its copper mines until mining was banned by the British Raj. This region, which falls under the Dewaldhar block, comprises six 6 villages namely, Uderkhani, Chogaon Chinna, Kharak Tamta, Binsar, Gairsakida and Boregaon, all of which have many highly skilled Tamta craftspersons. Many national awardees also belong to this region. In Pitthoragarh, the Tamtas work in Gangolihat and Berinag. 1. Raw Materials The basic material used for making copperware products includes sheets of copper or patches made from melted scrap. The sheets are of varying thickness, which is measured in gaugesthe higher the number of the gauge, the thicker is the sheet, and correspondingly, the lower the number of the gauge, the thinner is the sheet. The sheets used in this region are of 20, 22, 24 and 26 gauge thickness, and are available at prices ranging from Rs. 370 to Rs. 450 per kg, as of June 2009.

Ref: Department of Industries and Commerce (DIC)-Almora (1992), Proposal from Tamra Udyog Sahakari Samiti, Almora: DIC

Copper sheets

These copper sheets are bought by the artisans from the local trader, M/s. Anokhe Lal in Almora, who, in turn, procures the sheets from rolling mills in Moradabad in Uttar Pradesh and Jagdhari in Haryana. For making joints, a powdery mixture of the following substances (along with water) is used as a soldering material: Suhaaga Jasta Peetal (brass) Kansa Raang. This mixture is known as ashtadhatu, which is a composition of eight different metals. Apart from these metals, nausadar (zinc) is used as a joining material and seesa (lead) is used in casting. Acid and imli (tamarind) are used to clean the copper sheets.

Ashtadhatu

Suhaaga

For fuel, the bark of chinar or pine trees is used, as it is a better and cheaper alternative to expensive coal.

2. Tools The common tools used by the Tamtas to make copperwares are: ChaukhanHammer with a square head having rounded edges; HathauraMallets with wooden heads; AiniAnvil; PattharStone used for shaping; Sabbal/SunniMetal rod used for shaping and imparting designs; Kainchi/KatanMetal-cutting scissors; PrakkarCompass; ChainiChisel; RaetiFile; BhattiKiln; PankhiA device used for blowing air into the kiln; SambhalCrowbar with anvil; SansiTongs; Rosi KarthiBrazing irons; and Deoxidizing pit.

Tools: Sabbal/Sunni

Tools: Prakkar

Hammers, anvil and shaped/beaten copper

These tools are either made by the artisan himself or sourced from Haldwani.

3. Process The process basically involves beaten metal-work, in which the metal is beaten into the required shape. A wooden hammer is used while shaping the metal; a much heavier iron hammer is also used for processes that involve sizing like increasing the size of a strip. Copper is generally considered to be a soft metal, implying that it can be worked without heating. This means that the molecules within the copper are compressed and irregular in their arrangement. This causes stress in the metal, eventually cracking the metal along these stress points. In order to enable the copper to be worked to any extensive degree, it must be annealed. This facilitates easier shaping of the metal. A lot of the items, especially the smaller ones, are created from a single piece of the metal. The sheer time and craftsmanship required for making a piece from a single sheet of copper make the end product very expensive. Marking the design: The basic outline of the product is marked on the sheet by using a prakkar (compass). Then it is cut by using a kaati kainchi (scissors used for cutting metal), after which the negative areas are removed with a hammer and a chisel. Annealing: The plate is then annealed. This is a metallurgical process in which material is altered by using heat treatment, which causes changes in properties such as strength and hardness of the material. Annealing is used to induce ductility, soften the material, relieve internal stresses, refine the structure by making it homogeneous, and improve cold working properties. Hammering: The plate is hammered by using the wooden mallet and aini (anvil) to achieve a basic shape. Since shaping of the metal entails heavy hammering, wooden mallets are used to ensure that the hammering does not puncture the copper sheet.

Kalash in making

Shaping: This annealing and hammering of the metal with different kinds of hammers is continued until the sheet takes the desired form. The article may then be finished with the help of chisels and files.

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Designing: The design is then made on the article by using chaukhan (a rounded squarehead hammer) and sabbal or sunni (metal rod used for shaping and imparting designs). Besides specific motifs, a pattern of small squares is impressed all over the piece by beating it by hand with the help of a hammer. Joining or soldering: If the article has a few parts that require assembling, they are soldered together. Both the parts to be joined are temporarily fixed by using slits and cuts. Then a powdery mixture of suhaaga, jasta, petal, kansa, raang and nausadar wetted with water is applied on the joint at the inside. When this paste dries on the joint, it is heated in the kiln. This mixture melts and forms the joint. Cleaning: The finished product, after joining, in case jointing is involved, is washed with acid or placed in heated grain heaps; the hot piece is covered with chaff. This is done to cut off the air supply as the air must touch the article. When the object is removed from the slowly cooling chaff, the metal can be seen to have acquired a luster. If needed, the article is then cleaned with imli or tamarind syrup. Buffing: The article is then subjected to buffing to impart a shine. Wax is applied on the article before buffing. 4. Product Range Since copper work is a traditional craft of the area, the products made are suited to the lifestyle of the people of that region. Copper metal is known to have purifying properties; hence it is used in the products for utilitarian, decorative and medicinal purposes.

Copper articles

The product range includes gagar, kalash, diya, lota, bhokar, patila, water filter, decorative plates, glasses, bells, etc.

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5. Current Scenario The Tamtas started copper work five centuries back as coin-makers for the royal treasury, from which they shifted to copperware and other decorative items after the abolition of the royal court. This tradition of Tamta artisans as makers of copperware still continues. However, Tamta copper craft, which has been flourishing in the hill regions of Kumaon for the last 500 years, is now slowly disappearing and very few families of Tamtas are involved in the craft. The craft can now be termed as a languishing craft.

Big tolas only being made on orders

The Tamtas, who practice this craft, are not tribals. Terming the copper craft of Uttarakhand as a tribal craft would belittle its cultural and geographical significance. In places where the copperware artisans are located, usually the whole village is inhabited by Tamta families but there are also a few villages in which only a handful of Tamta families are found to be living. Out of these few Tamta households, only 10 to 25 per cent are actively engaged in this activity. The number of persons engaged in the craft from these families has been declining over the last few years. Most of the Tamta craftsmen currently engaged in this work are above 50 years of age, as members of the younger generation are not too keen on carrying the family tradition further and instead take up more lucrative jobs in schools, banks, and the army. Currently, traditional vessels such as gagar and phaula for storing water, tola for cooking, parat and thali used as serving trays as well as products used for ritualslota, kundi and kalashand musical instruments like narsingha and bhokri as well as several kinds of idols of Gods continue to be sold in local markets but their demand has been steadily deceasing. Most of the artisans work only on orders. Over the years, increased competition from industrially produced copper products and the diverse variety of plastic and metal goods available in the market has diminished the market share of copper products. Further, the demand for traditional goods has also been falling while. The costs of raw material have increased manifold. Artisans who are still engaged in the craft survive either on selected orders or by selling products that are traditionally being used as gifts in marriages, or as temple utensils and figures. Some of them are surviving by remodeling and recasting the existing products or have started working with other metals such as aluminum or iron to make various tools and utensils. The artisans even claim that the copper available now-a-days is not pure, and the impure copper starts corroding and develops black stains on the surface. This necessitates frequent cleaning and also reduces 12

the life of the copper article. Consumers have also gradually shifted from copper to other materials with greater durability.

Continuing the tradition

Copper is considered to be auspicious in the hills of Kumaon and it is believed that every household ought to have copper products. This, along with the belief that copper has medicinal value and absorbs all impurities from water when put brought into contact with it, has kept the tradition alive. Articles such as phaulas that have been used to store water are now being replaced by innovative articles such as water filters. According to the artisans, earlier even the eating utensils used to be made of copper. At that time, the artisan used to travel through the villages to sell his wares and take orders. Today, these round trips of the village, known as pheris, are no longer undertaken as the demand for these products has reduced considerably. Copperware work is mostly done by men, while the women assist them in other activities like casting of designs and etching, and sourcing of the fuel. In Uderkhani, national award-winner Dulap Ram Tamta has conducted workshops for women and trained them to undertake transfer designs on copper articles. But now due to the non-availability of sufficient work and orders, the women are no longer actively involved in their erstwhile activities. The various factors that are responsible for the decline in of the Tamta craft are delineated below. Rising prices of copper: The copper rates have shot up over the last decade by almost 3.3 times. Due to this, artisans find it difficult to make the products and consumers to buy them. The decline in usage and demand for copper articles has reduced drastically, which renders the artisans unemployed. The current rate of copper fluctuates from Rs. 370 to Rs. 450 per kg. 13

Lack of working capital: Most of the Tamta artisans are economically below the poverty line (BPL); hence, they cannot generate the required initial investment or the working capital to start production on their own. This makes them vulnerable to exploitation by the merchant or trader, on whose mercy and terms these artisans are surviving. Procurement of raw material: The raw material, that is, copper sheets or scraps, are being supplied to all the three districts in Uttarakhand by only one trader, M/S Anokhe Lal Hari Kishan, Almora. This trader supplies the raw material and also markets the produce. He also commissions orders to the local artisans and often pays lower wages to them. The products, which are sourced from these artisans at lower prices, are then sold at higher rates to the consumers. This monopoly increases chances of exploitation of the artisans, as they have to accept the terms set by the trader and work for low wages. Most of the Tamta clusters are located in remote places and hence have to travel all the way to Almora to source the copper, which eventually pushes up the overall cost, thereby making copper even more expensive. Introduction of machine-made copperware: Factories have been set up in Ramnagar and Moradabad to manufacture copperware. These wares are cheaper than the hand-made ones, and hence are widely accepted by the consumers. These machine-made copper articles are giving stiff competition to the hand-made copper products made by the Tamtas. Lack of government initiative: There is total lack of government initiatives and schemes for the Tamtas engaged in copper craft. Lack of infrastructure and tool upgradation: The artisans are still using ancient techniques and equipment for making their products. Finishing equipment such as buffing machines, and machines to cut and vary the thickness of the metal are not available to most of the artisans groups. In order to avail of these facilities, the artisan has to go all the way to Almora to get the work done. Innovative tools such as hand-held stamps and cutting machines have not yet been introduced for the benefit of the artisans. The introduction of these equipments will reduce the production time, economize the process and help develop innovative designs for the products.

A few organizations are making some efforts to tackle this situation and work to mitigate the problems of the artisans. UPASAC Bageshwar (Uttaranchal Parvatiya Aajeevika Sanvardhan Company), a Section 25 company promoted by the government of Uttarakhand, as part of an IFAD-assisted project and Studio Alaaya, Dehradun, a design enterprise have initiated a project to introduce contemporary designs and skills and to improve the market access of rural craft producers. In 2008, UPASAC, partnering with Studio Alaaya, took the initiative to organize 11 Tamta artisans of Boregaon and Kharak Tamta villages in Bageshwar district. These artisans have now formed a self-help group (SHG), Jai Vishnu Shiva Cooper Cooperative Society, for which the registration is under process. The products developed in the workshop were marketed through Studio Alaaya in markets like Dehradun and Mumbai, and orders were arranged. The products were contemporary and meant to be marketed in the metros. These included coasters, fruit bowls, napkin rings, candle-holders and trays. The working capital is generated through inter-SHG funding through loans so that these artisans own the group rather than depending on other sources. The artisans are initially imparted training to enhance their skill, after which the process of design development and production starts. The group was taken to Dehradun and Haridwar for market exposure trips to make them aware of the kinds of products being sold in the market other than the usual household articles. In the 14

long run, there are plans to initiate group enterprises in other clusters in order to make the craft work sustainable. 6. Product Pricing The product pricing varies from cluster to cluster as the rate of the copper varies due to the various overheads borne by the artisans, such as transportation. The labour rates also vary, as in a few clusters, labour wages depend on the per unit weight of copper used, which varies according to the workmanship, that is, for a simple design, the rate is Rs. 50 per kg, while for other designs, it is Rs. 75 per kg, and in the case of pieces with intricate designs, the rates can even go up to Rs.150 per kg. Others work on daily wages, varying from Rs. 200 to Rs. 600, depending upon the design specifications. The rates of various Tamta products are as follows: Kalash (small): Rs. 300 Kalash (big): Rs. 800 Lota: Rs. 100 Diya: Rs. 30 Glass: Rs. 110 Bhokri (small): Rs. 300 Narsingha: Rs. 3200 Parat (small): Rs. 210 Bibliography Ranjan and Ranjan (2007), Handmade in India: Crafts of India, New Delhi: COHANDS. Prasad, Ritika (2007), Beaten Copper of Uttaranchal, [Online], Available at http://www.craftrevival.org/CraftArt.asp?CountryCode=INDIA &CraftCode=003305. Studio Alaaya (2008), Report on Tamta Copperware Craft Rural Development Project, Dehradun: UpaSac Bageshwar and Studio Alaya. DIC, Almora (1992), Proposal from Tamra Udyog Sahakari Samiti, Almora. Indian Metal Craft, [Online], Available at http://www.indianetzone.com/7/metal_craft.htm, Accessed on 20 June, 2009. Field visit to Almora, Bageshwar and Pitthoragarh and interaction with the local artisans and craft groups.

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V. Product Review
The AIACA team purchased a few samples of copperware products during the field trip to Uttarakhand. These samples were reviewed by AIACAs panel of experts. The products were sent to all the panelists for review, who were asked to provide their feedback on the following attributes: quality, colour and design, price, usability, product potential in both the domestic and international markets, and suggestions on product range and designs. The products varied from each other in terms of prices (ranging from Rs. 10 to Rs. 300 per product) as well as in design, usage, quality of the skill and the overall aesthetics.

Product 1, Rs. 300

Product 2, Rs. 300

Product 3, Rs. 95; Product 4, Rs. 110 Product 6, Rs. 10; Product 7, Rs. 30

Product 5, Rs. 210

The panelists included: Sudha Dhingra, Professor, Textile Design, NIFT, New Delhi: Prof. Dhingra has been teaching Appreciation of Indian Traditional Textiles and World Textiles since the inception of the Textiles Design Department at NIFT in 1994. She brings in her academic as well as hands-on experience in the crafts sector. She has been involved in sourcing the craft products and marketing of handicrafts and textiles for a leading retail store in Paris and in the Indian market. She has compiled a book on Textiles Crafts of IndiaAssam, Arunachal Pradesh and 16

Manipur for NIFT and has also assisted in compiling a book on Traditional Weaves of Tamil Nadu. Sangeeta Sen, Designer and Director, Indi Store: Sangeeta has over eighteen years of experience in the design field. She has worked as a Head of the Design team at Fabindia and managed designs for the domestic as well as the export markets at Fabindia. She is currently retailing childrens clothes at her store Pappu and is working as a freelance designer on a number of projects. AIACA In-house Design and Marketing Team: AIACA has an in-house design and marketing team, comprising designers from Indian Institute of Crafts and Design (IICD), NIFT and the University of Sydney. They have extensive experience of working with the artisans on design, product development and marketing.

Given below is the feedback on the products and suggestions for future product design and development of the copperware: 1. Quality: The quality of the copperware varies from average to good. The products need to be refined in terms of the overall finishing and refinement. The uniformity, balance, stability and hand patterns of the products, including the heavy articles, impart a touch of antiquity to the product range. 2. Colour and Design: The copperware products are made for a specific end-use, that is, for devotional/ritual functions. The patterns made by machine or hand are the usual geometric patterns found in brass, copper or silver wares in similar end product categories. The product range needs to be expanded to ensure a wider market and consumer base for it. New patterns can be borrowed from the traditional art of Uttarakhand called Aipan to create new designs and new and better textures that can be beaten or embossed. 3. Price: The products are priced well. New product ranges and designs can easily be introduced in the higher price brackets. With modification in design and product finishing, the product can command a good price. 4. Product potential in the domestic and international markets: The products have a huge potential in both the markets, but one needs to work on the design and finishing. In the international market, copper is a very in metal, that is, it is considered to be trendy but the existing products are targeted to met the specific needs of the domestic market. A product like Bhokari, for instance, has a very limited rural clientele, wherein its repeated regular purchases cannot be anticipated. The product category, therefore, needs to be broadened. New lifestyle products can be designed to cater to wider domestic and international markets. 5. Suggestions on product range: Innovation is possible in form as well as patterns in both the existing and new product categories. The innovation scan be undertaken in the designs and shapes of contemporary products, to begin with. New products like vases, desk accessories, photo/mirror frames and small mirrors can also be introduced. A better range of puja accessories such as bells, incense holders and tiered diyas can be introduced. Apart from these, lifestyle products such as tea light holders, napkin holders, and trays for holding towels and other items in 17

spas and the hospitality sector, can be introduced. The shapes of glasses and parats and their functionality can be played around with. The parat, with a raised diya in the centre, can also be used as an urli for holding flowers.

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VI. Copperware Value Chain

Raw material From Hapur, Delhi etc @ Rs 320 to 400/ copper sheet

Crafts person in villages collected the old copper vessels or other items

Shopkeeper in Almora (Anokhe Lal Aggarwal) sells this to crafts person @ Rs. 370 to 450/sheet

Approximately Rs.35000 is investments in tools & workshop setup

On Big products Rs 25-50/kg is given to Crafts person

On small Products the price is on the Designing Part

Door to door selling

To local shopkeeper

Exhibition, craft melas etc.

Direct selling

Outside buyers who give orders to local Trader

End Customer

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1. Description of the Copperware Value Chain Copperware craft is one of the lesser known crafts of Uttarakhand. This art is still practiced in a few areas of Almora, Bageshwar and Pitthoragarh districts. The craft is practiced by the Tamta community in the state and is specific to this community only. Copper products have been traditionally used by the local population for domestic use. Household utensils for cooking such as pans, pots and tumblers, decorative articles, musical instruments, statues and other items used in temples are examples of some of the copper products made by these artisans. The value chain of copper craft starts with the procurement of raw material. Since the extraction of copper is now banned in this area, the raw material is procured mainly from outside these hilly districts. During the study, three different raw material procurement methods were identified. Most of the raw materials are procured by the craftspersons from the local trader (M/S Anokhe Lal Aggarwal) in Almora. The local trader here acts as a middleman, who purchases copper sheets in bulk quantity, from Delhi, and Hapur and Moradabad in Uttar Pradesh, and then sells it to the craftspeople. Usually, the local trader keeps a margin of Rs. 50 per kg of copper sheet. The rate of copper keeps fluctuating. Anokhe Lal has been in the trade for over two decades and hence now enjoys a monopoly in the market. This channel is the major source of raw material for the craftspeople living in the Almora, Bageshwar and Pitthoragarh districts. In fact, a few local traders in Pitthoragarh and Bageshwar districts also procure the raw material from Anokhe Lal, thereby adding another step in the value chain. The second source of raw material is old copper items, which are either sold to the craftsperson or given to him to make new copper items. The copper procured through this method is very limited, but in a few villages, it is sufficient for the local craftspersons to do business with and earn some money. The rates here vary according to the quantity available for sale and the weight of copper. The third source of raw material procurement for the artisans is direct purchase from places like Hapur, Nazimabad and Delhi. This means of procurement is, however, more expensive than the others and very few craftspeople are able to procure the material directly. The few craftspersons who are able to purchase the raw material directly are either economically sounder than the others (currently, both the MLA and MP in this area belong to the Tamta community), or they have been able to obtain big orders. The rates of raw materials also fluctuate a lot (currently, it is Rs. 370-400 per copper sheet). The next level in the value chain is the processing work wherein the craftsperson carves out the copper art on the sheets of copper. The artisans provide a desirable shape to the copper to carve out the end-product. The initial investment for purchasing tools and for putting the workshop set-up in place is around Rs. 35,000. The common tools used in this process are: hammer, sambhal, sansitongs, and rosi karthibrazing irons, among others. In this process, the metal is beaten into the required shape with the help of a hammer. The copper craft items are slotted into two categories depending on the size of the product: (i) Bigger items like gagar, narsingha, turi, and dhol; and (ii) smaller items like cups, plates, bowls, glasses, and finger rings. The smaller items, which are carved out of single sheets, need greater design inputs, which make the end- product more expensive. 20

On the other hand, bigger items are prepared by joining the two different shapes. In bigger items, the number of joints also determines the end-price of the product. The greater the number of joints in a product, the higher is the price of the final product. The price of the end-product depends on many factors, among which the major ones are the weight of the product, quality and quantity of the raw material, transportation, design and labour. The labour charges vary from Rs. 25 to Rs. 150. The artisans, on an average, charge Rs. 50/kg as labour cost for making the big items. For the smaller items, they charge Rs. 50 to Rs. 150 per piece, depending on the intricacy of the design. The labour involved in making bigger items is comparatively lesser than that entailed in making smaller items. Total cost of 1 kg copper item= 1 kg Copper + Manual Labour + other materials used (simple Designing, suhaaga, etc.) =380+50+60 (approximately) =490 approximately (these are on a kg basis). Bigger products, it is the number of joints and the weight of the copper that is used to determine the final price, whereas in the case of smaller products, it is the design intricacy that is used to determine the price. The next level in this value chain is the marketing of finished goods. For marketing their products, the artisans are mostly dependent on local traders. Artisans work on an order basis and these orders can be procured from the local trader, nearby villages, NGOs, or from outside buyers. The initial investments to procure raw material are mostly done by the craftspersons themselves. On the marketing front, the price is not fixed. Bigger items are sold at the rate of approximately Rs. 500 per kg, while the smaller products are sold at an approximate rate of Rs. 800 per kg. The craftsperson goes door to door to sell the product in the villages. The end-price of the product also goes up as it is taken to distant markets like Haridwar, Chandigarh, Delhi and Punjab. The machine-made copper items are cheaper than the hand-made ones. The local trader also adds his profit when it is sold, and in this way he earns the profit twice, first, when he sells the raw material to the craftsperson, he adds his profit to the price, and again when he buys it from these craftspersons and sells it to the end-customer, at that point he again adds his profit margin to it. 2. Analysis of the Copperware Value Chain The main issue that came up during the study concerned the decreasing number of artisans in the copperware craft. Today people are not taking up this craft and it is slowly disappearing from the area. Copper craft is practiced by members of a specific communitythe Tamtas in Uttrakhand and not many members of the young generation among them want to pursue it any more. These issues can be understood at two levels, that is, at the level of the primary artisans and at the level of the entire copperware industry. i) Issues at the Level of the Primary Artisans Competition from machine-made fabrics Today, machine-made products are giving tough competition to traditional man-made products in every field and similar is the case in copperware. 21

Machine- made copperware items are cheaper than hand-made items. The copper craft factories in Ramnagar are more cost-effective, and more productive in terms of producing more goods of a wider design range in less time. The better finish of the final product, seen in its shine, and the visibility of a reduced number of joints adds to the overall look of the product. According to a local shopkeeper, he sells two hand-made products against the sale of ten machine-made items. Lack of adequate finance Another major problem that the copper craftspersons face is that of inadequate finance to continue their activity. The initial investment cost of around Rs. 35,000 is quite high for the artisans to bear. Even if they inherit the workshop and tools, the problem of being able to afford the raw material cost remains, as they do not have enough money to buy the raw material. If they receive an order, they often do not have the capital to buy the raw material. Lack of finance is thus certainly acting as hurdle in the growth of this craft. Low wages Most of the artisans, who do not have the wherewithal to market their items, work on an order basis and do some work for the local trader, who pays just Rs. 25 to Rs. 35 per kg to these artisans. Since this is a very small amount, the artisans are compelled to look for other work to eke out a living. Many are working as casual labourers in the area.

ii)

Issues at the Level of the Copperware Industry The following three gaps were identified in this value chain: Raw material supply The raw material for copperware is not easily available in the region. The local trader (M/s Anokhe Lal Aggarwal) in Almora supplies the raw materials in all the adjoining markets of Almora, Bageshwar and Pitthoragarh districts. Here too the trader adds his margin and makes a profit while selling the raw material to the artisans. The artisans in Bageshwar and Pitthoragarh districts have to cover a huge distance just to buy the raw material from Almora. If the raw material could be supplied by any supporting agency or by government bodies, it would benefit both the artisans and the final customer. Limited marketing avenues Due to a decline in demand and shrinking markets for their products, copper craftspersons are losing interest in pursuing their craft. The demand for the copper items comes either from the local people, from the local trader or some customers who receive a few orders every year. The local demand is also seasonal, and peaks during festivals like Diwali and Dushehra. The absence of a regular market restricts the sales achieved by the craftspersons sales and they usually prefer to work when there are actual orders in hand for which an advance has already been paid.

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 Lack of new products and designs Copper craft is a traditional craft and the conventional items made from this metal are no longer in demand. For instance, in the past, there was a huge demand for gagars or vessels that were used to bring water from the water source, but now the demand for these vessels has declined considerably as these gagars have been replaced by copper filters. Thus, there is a need to develop new products with attractive designs in keeping with the market demand for contemporary products and designs. 3. Institutional Players in Copper Craft To an extent, different institutional players have helped the craftspersons at various levels of the value chain. The intervention made by institutional players is mainly on two fronts: input supply and marketing. Input supply is not restricted to only raw material supply as technical, financial and design inputs are also provided by the different players. On the designing front, UPASAC has collaborated with Studio Malaya, which has imparted training to craftspersons on designing. Apart from this collaboration, the District Industries Centre (DIC) has provided financial help to SHGs through various schemes. It has also been found that a few craftspersons from Salla village did not pay back the loan that was given to them through the SHG. The other institutional buyers who give orders also provide initial financial help by paying some advance to the SHG or other similar groups. The marketing of the finished items is undertaken by various institutional players, mostly by showcasing the products at handicraft melas and craft exhibitions organized at the state and national levels. UPASAC Bageshwar has intervened in Dewaldhar Block to provide the necessary platform for capacity building and marketing to a group of copperware artisans. UPASAC is helping the artisans in institution and infrastructure building, while also providing financial inputs and linking them to agencies offering product design, marketing and business development services. PASAC has also teamed up with Studio Alaya, a design led social enterprise promoted by H&H Associates based in Uttarakhand. Studio Alaya helps these Artisans in improving the design and provides capacity building training to them. UPASAC also provides market linkages to the artisans.

4. Conclusion The craftspersons of Almora, Bageshwar and Pitthoragarh districts, who are famous for their copper craft, are now struggling to pursue this craft. Almost every craftsperson in these districts has taken up an alternate livelihood option as he believes that this craft alone cannot provide financial security. Unfortunately, today many artisans have left this work while the remaining ones too are pursuing it only on a part-time basis. In addition, the hand-made items produced by the copper craftsmen are facing stiff competition from machine-made items. Thus, proper interventions are needed at different levels to protect this craft. On the input side, providing proper technical training along with some financial support to groups of artisans would help, while bringing in innovations in design could prove to be the key to success in combating competition from machine-made 23

products as machines can give shape to the copper sheets but they cannot create new designs. 5. Suggested Interventions in Copperware Craft in Uttrakhand (i) Create local suppliers for the raw material As of now, the supply of raw material is monopolized by one supplier, who thus dominates the supply chain. This provides an opportunity for creating a few enterprises whereby craftspersons can themselves become suppliers of raw material to the industry, which would reduce the cost of raw materials for the craftspersons while also providing local employment opportunities to the poor. These enterprises could be run by a group of artisans, wherein the craftspersons are organized into groups and provided entrepreneurship development training. An enterprise could also be run by an individual entrepreneur selected on the basis of his entrepreneurship skills. These enterprises can be initially supported through start-up capital, and then gradually established as sustainable ventures. (ii) Restructuring the value chain As of now, most of the craftspersons have their independent enterprises in which other artisans are also employed on a job-work basis. However, owing to segregated production centers, they compete among themselves as well as with the industrial products. In order to make them competitive in the market, a formal institutional framework in the form of a producer company should be developed which would ensure the aggregated supply of raw material to the enterprise (and individual artisans) as well as undertake aggregated marketing of the products. (iii) Design and product development inputs Most of the copper products are low on design inputs with mostly the traditional designs being produced and replicated. The products, therefore, need to be adapted for contemporary markets. Design and product innovation is also required to enable the products to appeal to a wider consumer base. The metal offers immense opportunities for experimentation and consequently the development of a new and wider product range. (iv) Improve markets Most of the produce is sold in the local markets and only a fraction of it goes outside the local market. Efforts thus need to be made to explore better as well as premium markets in the metros and thereby establish market linkages. These linkages need to be facilitated and promoted by a professional team of experts (who would also streamline and execute other interventions). In order to introduce and access the premium markets, specific efforts need to be made (initially involving select groups and enterprises) to establish wider marketing channels.

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VII. Copperware Cluster Business Development Plan

Summary Even though a significant number of artisans are involved in the copperware craft in Uttrakhand, it continues to remain one of the lesser known crafts of the region. Currently, approximately 600 artisans, of which 400-450 are working part-time and 100-150 are working full-time, are involved in the craft. The historic significance of the craft, involvement of a considerable number of artisans and the market potential of the products would thus dictate the strategy for intervention in the cluster. AIACA and ACCESS will undertake a series of interventions under the AHVY scheme that are based on the following five key objectives: increasing the number of working artisans in the cluster; increasing the availability of raw material for the artisans in the cluster; providing better and improved tool kits and equipment for the artisans, developing new product lines better suited to contemporary and high-end markets; and creating new market linkages to a range of market segments. 1. Objectives of Intervention The objectives of ACCESS and AIACA in intervening in the copperware cluster will be guided by the principles of scaling up to reach the maximum number of artisans, raising the incomes of the artisans through an increase in productivity, increasing artisan welfare and promoting commercially sustainable production and marketing structures in the cluster. Based on these principles, the following will be the main objectives of intervention in the cluster: Objective 1: Increase the number of working artisans in the cluster As highlighted in the value chain analysis, currently, approximately 100-150 artisans are linked full-time to the value chains in copperware through the existing network of entrepreneurs and traders. The primary objective of intervention will be to increase the number of copperware artisans who are trained and working on a regular basis or parttime basis as part of a value chain that connects them to markets. ACCESS and AIACA will target all the 300 artisans to be made part of the value chain by the third year of the intervention. Objective 2: Increase the availability of raw material to the artisans In addition to increasing the number of artisans, ACCESS and AIACA will seek to make raw material availability easier for the artisans. As experienced during the field visit, and highlighted in the value chain, the difficulty in procuring raw materials is one of the main hindrances to the expansion of production by the artisans and their ability to command a high price for their products. Bringing about an increase in the total income of each artisan by ensuring the easy availability of raw materials at more competitive prices would thus be one of the primary objectives of the intervention. Objective 3: Provide better and improved tool kits and equipment The largely obsolete tools and equipments that are currently being used by the artisans limit the scope of experimentation with new designs and shapes. The existing tools cannot be used to refine the finish of the products and to enhance their overall aesthetic appearance, which is essential for marketing high-end products and imparting them a 25

contemporary look. Thus, there is a need to provide new, improvised tools to ensure production of optimal quantity, and enhancement of the quality and finish of the products. This would also ensure that the tradition of hand-made products, which is such an important aspect of the craft, is not compromised. Objective 4: Develop new product lines more suited to urban markets Diversifying the product mix and improving product quality would be the key to raising the sales of products based on the traditional skill of copperware. ACCESS and AIACA will seek to develop an entire new product profile for the cluster by undertaking a market trend analysis and providing design and product development inputs. In doing so, care will be taken to ensure that the essential characteristics of the genre of copperware craft are not obliterated. Objective 5: Create market linkages to multiple market segments, especially higher-end domestic and export markets Bringing about an increase in the sales and wages of artisans will depend not only on the development of new products, but also on ensuring that such products can be sold at higher price points. ACCESS and AIACA will work towards linking the cluster actors to high-end markets within India and in export markets, especially in the Unites States and Europe. These objectives will be the main criteria used for tracking the progress of the project and evaluating the success of the intervention. 2. Intervention Strategies In order to achieve the above objectives, ACCESS and AIACA will primarily use the following strategies while intervening in the cluster: Strategy 1: Scale up existing individual artisans, entrepreneurs and NGOs The skilled artisans in the cluster, who have been supplying their products regularly to the traders in the local market, are the ones who have kept the hand-made copperware craft alive. Along with these artisans, others who have either left the craft or are pursuing it on an irregular basis, as also those who have been identified by local organizations like UPASAC and Chirag would be given further support to develop contemporary higher end product lines within the cluster. Any intervention that seeks to increase the number of artisans and improve their incomes will thus have to engage with the local NGO, Chirag, HGVS or UPASAC. In addition to working with the existing NGOs and entrepreneurs, ACCESS and AIACA will work towards developing a federated organization of artisans in the cluster in the form of a producers company or a society so as to create a commercially sustainable, artisan-owned production and marketing structure in the cluster. Strategy 2: Create raw material depots and upgrade the tools and machinery The value chain analysis shows that currently there is only one supplier for the raw material, who monopolizes the entire trade in three districts. AIACA and ACCESS will assist some of the artisan collectives to stock the raw material that can be made available to the artisans at competitive prices throughout the year. The introduction of 26

new improved tools and implements, and better technology would also help increase productivity and facilitate diversification in the product range. Strategy 3: Developing new copperware products and creating new market linkages ACCESS and AIACA will work toward developing new copperware products that would be the foundation for enhancing linkages with commercial buyers and increasing total sales from the cluster. Brand-building initiatives will include developing new product ranges, developing a set of marketing materials including a website and product catalogue, holding a series of exhibitions in key markets to publicize the new product profile of copperware, and ensuring the representation of products at trade fairs in India and abroad. Strategy 4: Provide business development services and infrastructural support to facilitate commercial sustainability and scaling up Handholding and BDS support will be provided to both the NGOs and artisans collective in order to help them scale up and become commercially sustainable. The main support services provided at the cluster level will be in the form of skill-building workshops for enhancing the skills of new artisans; design and product development workshops to develop new products; financial linkages for working capital credit and the provision of raw material at more competitive rates. The artisans collective will also be provided with infrastructural and additional working capital support through the Baba Sahab Ambedkar Hastshilp Vikas Yojana (AHVY) scheme. 3. Interventions under the AHVY Scheme On the basis of the above objectives and strategies, the following interventions will be needed under the AHVY scheme: i) Training of Artisans Given that currently approximately 100-150 skilled and 400-450 semi-skilled artisans have been working as part of the existing value chains, skill-building training will be essential to scale up the number of artisans capable of producing quality products. All the 600 existing artisans will require training and skill-building inputs during the project period. ACCESS and AIACA will undertake skill-building in a phased manner. Five training workshops will be held annually for a three-year period to cover 600 artisans, who will be integrated into the artisans collective. ii) Integrated Design and Technical Development Project A significant design investment will be needed to diversify the product profile of the cluster in addition to the existing devotional and traditional products. An integrated design and technical development project will be initiated during year 1 of the project. ACCESS and AIACA will identify appropriate designers and hold a series of workshops in the cluster to develop a number of new product ranges covering different product and market segments. Efforts will be made to diversify the product range within puja accessories such as bells and incense-holders as well as to develop other lifestyle products such as tea light holders, napkin holders, and trays for holding towels in spas and the hospitality sector.

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iii) Design and Technical Development Workshops The Integrated Design and Technical Development Workshops will be augmented by annual Design and Technical Development workshops over a five-year period to continue the process of design development and usage of certain machinery to enhance the product quality, and to oversee and fine-tune the production of new designs developed. iv) Organizing Exhibitions ACCESS and AIACA will organize a series of exhibitions in major Indian metros to enhance consumer awareness of copperware, market-test new product ranges and increase the sales of artisans in the cluster. In addition, AIACA will also work on the representation of products from the cluster in existing exhibitions across the country such as the Dastkar Nature Bazaar. Selected artisans will be taken to the exhibitions so that they can directly interact with customers, obtain product feedback and also gain exposure to retail outlets in the major metros. v) Publicity MaterialsCatalogues and Website ACCESS and AIACA will develop marketing and publicity materials to help build the copperware brand and to enhance awareness about the product profile, characteristics and craft production process among both commercial buyers and end-consumers of the products. A website for the cluster will be created, which will be handed over for operation to the artisans collective. The new products that are developed will also be featured in commercial product catalogues, which will be distributed to AIACAs network of domestic buyers as well as importers across the world. During years 1 and 2, the new products developed will be featured in a section in the Craftmark product catalogue. During year 3, a dedicated product catalogue for the copperware cluster will be developed. vi) Entrepreneurship Development Programme Selected artisans will be taken for the India Market Readiness Programme (IMRP) organized by Aid to Artisans and AIACA in Delhi in conjunction with the India Handicrafts and Gift Fair (IHGF). Two artisans per year from the artisans collective will be put through the training programme every year for three years to create a cadre of trained professionals to run the collective. vii) Trade Fair Participation The new products developed in the cluster will be represented at three trade fairs IHGF, the New York Gift Fair (NYGF) and Ambiente, Frankfurtso as to create linkages with commercial buyers and generate bulk orders. Two artisan representatives from the collective will also be taken to the IHGF to train them about participation in trade fairs. viii) Computer, Printer and Internet Connection for Artisan Society A computer, printer and Internet connection will be provided to the artisans collective through the project so as to enable them to interact with commercial buyers and generate the required paperwork for managing customer orders and sales. ix) Warehousing and Common Workshed for the Artisan Society Storage and office space, as well as a common workshed will be provided to the artisans collective through the AHVY scheme to enable the Artisans Society to start functioning and to scale up to cover a larger number of artisans. 28

x) Margin Money and Credit Guarantee Support for the Artisans Society Margin money support and credit guarantees will be provided to the artisans collective to enable them to raise working capital, service customer orders and scale up production over the course of the project. xi) Salary for Cluster Manager A cluster manager will be hired to manage all initiatives at the cluster level, provide logistical support to Access and AIACA, and provide handholding support for the artisans collective. 4. Project Output Targets The following will be the primary project targets over a five-year period: Increase the number of functioning artisans in the cluster to 600. Increase the total sales revenue from a cluster to 2.5 crores a year by the end of the project period. Develop 15 new product ranges; extend the product profile from puja accessories to other lifestyle products. Link 20 new commercial bulk buyers to the project cluster by the end of the project period. Bring about a 30 per cent increase in the number of working days and incomes of functioning artisans in the cluster. 5. Project Budget The total budget for the proposed interventions over a five-year period is Rs. 1,49,30,360. Appendix 1 with a detailed budget break-up attached. In addition, Rs. 12,00,000 is the estimated budget for offering direct support to the artisans federation formed in the cluster and the total working capital credit borrowings of Rs. 32,00,000 can be covered under the credit guarantee facility in the AHVY scheme.

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