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Black Terracotta Diagnostic Study and Business Development Plan

Table of Contents
I. Methodology for Diagnostic Study ....................................................................................................... 3

II. Location of Black Terracotta Clusters in Jharkhand .............................................................................. 5

III. Introductionthe Craft of Black Terracotta ......................................................................................... 6

1. Terracotta Pottery................................................................................................................................. 6

2. Tradition of Terracotta Pottery ............................................................................................................. 7

3. Black Pottery ......................................................................................................................................... 7

IV. Black TerracottaCraft Production Process......................................................................................... 8

1. Process .................................................................................................................................................. 8

2. Raw Materials ....................................................................................................................................... 9

3. Tools ...................................................................................................................................................... 9

4. Product Range ....................................................................................................................................... 9

5. Current Scenario ................................................................................................................................. 10

6. Product Pricing .................................................................................................................................... 11

7. Bibliography ........................................................................................................................................ 12

V. Product Review ................................................................................................................................... 13

VI. Black TerracottaValue Chain Analysis ............................................................................................. 16

1. Description of the Terracotta Value Chain ......................................................................................... 17

2. Markets ............................................................................................................................................... 18

3. Institutional Framework...................................................................................................................... 18

4. Issues in the Terracotta Value Chain................................................................................................... 18

VII. Black Terracotta Cluster Business Development Plan ........................................................................ 21

1. Summary ............................................................................................................................................. 21

2. Objectives of Intervention .................................................................................................................. 22

3. Intervention Strategies ....................................................................................................................... 23

4. Interventions under the AHVY Scheme .............................................................................................. 24

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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 initiation 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 An initial field visit of 7-10 days was made to meet the artisans, groups and
organizations working in the area.
o Local staff members were identified and interviewed to carry out a survey of the
artisans in the area.
o 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.
o Review of the appropriateness of production methods, raw materials and the tools
used.

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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 Terracotta 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.

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II. Location of Black Terracotta Clusters in Jharkhand
Deoghar and Dumka are two major black terracotta clusters in Jharkhand state, which lies in the
eastern part of India. The district of Deoghar was formed after the re-organization of the Santhal
Parganas. The total area covered by Deoghar in Jharkhand is 2479 square km. Dumka, which is
the adjoining district to Deogarh (and lies at a distance of 25 km from Deogarh), is another black
terracotta cluster. Deoghar is easily accessible from the rest of the state as well as the rest of
India. The nearest railway station to Deoghar is Jasidih. It is about 229 km from Patna, 322 km
from Ranchi, 315 km from Kolkata, and 1,051 km from Delhi. There are direct trains to Jasidih
from Delhi while the flights are up to Ranchi and Patna.

The economy of Deoghar and Dumka is mainly dependent on its industries and agriculture. The
major industrial developments in this district include the growth of a factory at Jasidih producing
wagons used in railways and another factory located at Madhupur, which is putting silicate to
industrial use.

There are quite a few important tourist spots in Deoghar including Burhai, Bakulia, Domohani,
Baidhyanath Temple and Karo.

Map of Jharkhand

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III. Introductionthe Craft of Black Terracotta

1. Terracotta Pottery

The potter at the wheel is a common sight in India and has been enshrined in Indian folklore and
poetry. From small kullhars or cups in which tea is generally served on railway stations, and long
necked surahis (large urns) in which water is kept cool in the scorching summers, to water pots
of various shapes and sizes, and large jars for storing grain, the Indian potter supplies an infinite
variety of useful articles in Indian homes.

In India, many folk tales are told of the potters origin, histories and virtues, foremost among
which is his popular title of Prajapati, the Lord of the People, which was said to have been
awarded by Lord Brahma himself when the latter was breathing life into a clay form to create
man. The potters still retain a respect for the divine origins of their craft.

Potters wheel with uncut roof tiles

Indian pottery is of two typesglazed and unglazed. The village kumbhar (potter) produces only
unglazed wares whereas the kashigar (skilled potter) makes the more artistic varieties that are
often glazed. The origin of his designation is derived from Sanskrit, wherein the prefix ku means
of the earth and a clay pitcher therefore is called a kumbha.1 As far as the forms and designs
are concerned, the craftwork of the Indian potters has not undergone any noticeable change. The
contemporary use of their products is very similar, if not identical, to the representation of
pottery that is seen in ancient Buddhist and Hindu sculptures.

1
Ref: Ministry of Information and Broadcasting (1968), Indian Handicrafts, New Delhi: Publications Division,
Ministry of Information and Broadcasting, Government of India.

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2. Tradition of Terracotta Pottery

The themes and subjects introduced in terracotta art are remarkable for their variety. They not
only reflect the picture of day-to-day life but also depict artistic symbols and forms to denote
peace and beauty. A variety of earthen objects are created with terracotta such as lamps, pitchers,
flower vases, pots, musical instruments, candle-stands and deities.

3. Black Pottery

Terracotta means baked clay. The clay, when fired in kilns after being sun-baked, turns red. But
when the clay is smoke-fired in the kilns and kept in a sealed vessel with the air supply being cut
off, it turns black. All the products that can be made in red terracotta can also be made from
black terracotta.

Artisans in a number of regions in various states practise the craft of black pottery, including
Azamgarh in Uttar Pradesh, Sawai Madhawpur in Rajasthan, and Dumka and Deogarh in
Jharkhand; in addition, Andro in Manipur has its own status where this craft is concerned. These
places are renowned for their black pottery wherein terracotta marathons or jars; surahis or long-
necked and spouted vessels; lamps and containers for betel leaves and ink; and clay toys are
imparted with a lustrous black colour.

Black terracotta figure from Lamp-stand from Kornik,

Jharcraft, Ranchi Deogarh
Members of the potters community, known as kumhars, are generally found in large settlements
of Jharkhand. They make a wide variety of items for household use as well as decorative
purposes. Among the most terracotta products is a large-sized pot, which comes in use for
making mahua (locally made) liquor as well hadnia or local beer made out of rice. Jasidih in
Deogarh district is known for its attractive black gleaming pottery. Roof tiles, ceremonial water
jars, earthen cups, long-necked vases, and pots are the other useful terracotta items. During the
season of festivals, the craftspersons make brightly coloured terracotta animals, figurines and
clay shrines. At Nonihat in Dumka district and Nemdi-Jemdi in Kharsawan district, a large
number of women design terracotta jewellery, masks and toys. Some of the traditions are still
followed in this craft and each village, district, and region has its own style of pottery. The
making of toys and images has a close relation with seasonal festivals and other religious
ceremonies. For instance, clay elephants are in great demand as they are kept on roof-tops to

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signify the ritual of marriage. Some of the clay toys are particularly made for children, which is
why the artists refrain from giving them any sharp curves or waves that may injure the children.
Elephants, reptiles, and horses are amongst the popular terracotta items.

The distinctive black colour is imparted to the pottery by processing the products through a
unique technique. After it is given shape and fired in kilns, the pottery is washed with a slip of
powered mango bark and crude carbonate of soda. The surface is then polished with mustard oil;
a sharp twig is used for decoration. Then the product is subjected to smoke-firing, which results
in its characteristic black shine.

IV. Black TerracottaCraft Production Process

Clay craft is probably one of the earliest man-made creations. The shapes imparted to the clay,
which are required for a variety of uses, are turned on the wheel. However, certain portions such
as the spout or the handle are left out as they are cast separately and then attached to the body.
The product is then decorated by incising patterns on the surface for making geometrical
patterns.

1. Process

The various steps entailed in the production process of black terracotta are delineated below.
(a) Preparation of clay

Black, red and yellow clay, which is used for making terracotta items, is collected locally
depending upon the region. The material is mixed properly and dried under the hot sun so to
allow any sort of moisture that may be present in it to evaporate. Then, the mixture of wet clay is
filtered through a fine sieve to remove pebbles. After the items are given shape with the hands,
they are baked in improvised kilns covered with cow-dung cakes, fuel and sawdust.

(b) Turning the potters wheel

The clay, which is mixed with ash and sand, is first kneaded with the feet. It is then kneaded with
hands on a peeda or seet patia (marble or stone slab) and a lump is made. All the foreign
particles such as pebbles, twigs and roots are then removed. The ready clay is kept on a wheel for
making various forms. A potters wheel has short spokes, turns on a pivot of hard wood or metal,
and is provided with a large hub or thala, which acts as a revolving table. The wooden stick or
chakhayat is inserted into the hole in the rim. The potter throws the kneaded clay onto the thala
at the centre of the wheel, and spins the wheel around with the stick. Due to centrifugal force, the
lump of clay is pulled outwards and upwards; and the potter shapes the mound into a vessel. This
is then pulled out with the help of a string, dried or baked under the sun, and finally fired in a
potters kiln. After firing, the clay article turns into terracotta.

If a vessel with a narrow neck and a large hemispherical base is required, then a different process
is used. In this process, the potter begins with a slab or band of clay mixed with sand that is
folded into a cylinder to which the base is added. It is then placed on the cylindrical platform,
usually the trunk of a tree, which is as high as the potters knee. A piece of thick wet cloth or
phunanphadi is wrapped around the open rim while the craftswomen, holding it with both hands,
circumambulate it on the wheel till the collar is smoothly formed. After this, they beat the pot

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with a wooden beater or phuzei using a stone anvil till it expands into shape and its walls acquire
the requisite thickness. The oar-shaped beater is carved on one side with shallow criss-cross or
linear patterns, which impart their characteristic embossed or basketry look to the pots. Firing
turns the clay into a splendid lustrous orange of terracotta. The pots are fired in simple open-pit
kilns that are very efficient and inexpensive for firing pots at a temperature of 700-800 degree
Celsius. The pots are arranged in layers, to which another layer of leaves, twigs and cow-dung
cake is sometimes added. The mound is then covered with a blanket of paddy husk, which, in
turn, is covered with a thin layer of loamy soil. The firing takes four to five hours.

(c) Smoke firing

Black terracotta is obtained when the sun-baked pottery is washed with a special preparation or
slip, which is known as kabis or gabiz and then smoke-fired in the kiln. This comprises yellow
earth or piari mitti, obtained from nearby water bodies, which is then dispersed in water. The
sand settles down and only clay is left in the dispersion solution. This dispersion is then cooked
overnight until it thickens to form a viscous paste, which is mixed with powered mango bark or
paddy straws. After the kabis is applied, the pottery is polished by using mustard oil. Then, it is
kept in a container or handi with coal and cow-dung cakes or paddy husk; then, the top lid is
sealed by applying wet mud on the edges. After this, the container or handi is fired in the kiln
for approximately 12 hours during which period the coal and other materials kept inside burn to
produce smoke. This smoking process imparts its characteristic black colour to the pottery.

2. Raw Materials

The raw material mainly used for black terracotta is common clay, which is usually available
locally. The other materials required include starch/gum, mustard oil, paddy husk, dung cakes,
coal/firewood, sand, and ash.

3. Tools

The main tools used for making black terracotta are:

Kumhar ka charkha or chakpotters wheel;
Chakhayatwooden stick to rotate the wheel;
Kamachihollow cylindrical tube;
Mariahammer; and
Seet patiawooden slab on which the clay is beaten.

4. Product Range

Black terracotta products range from utilitarian household ones to articles with artistic and
aesthetic value. The utilitarian household products include pots, pitchers, kullhars or tea cups,
diyas, incense burners, and water filters, among other things, whereas the artistic articles include
jewellery sets, bangles, masks, toys, candle-stands, vases, etc.

Conch-shaped incense holders

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 Bangles

5. Current Scenario

Black terracotta, which is created by kumbhars in Jharkhand, has long lost its glory as a craft.
The utility of black terracotta products is now restricted to household articles, used by the local
tribals, that is, Santhals, or they are sold in the local fairs and markets as decorative pieces such
as toys, masks, jewellery sets and containers.

The desk research and field survey have shown that this craft is being practised by kumbhars,
and not by the tribals. Thus, though the local tribals use black terracotta products, they do not
make them.

The black terracotta craft practised in the Jharkhand region is unique and different from that
practised in the other regions in terms of its characteristic black shine, which indicates its
potential in the market. The availability of the raw materials, which are sourced locally, makes it
sustainable and commercially viable in terms of its production capacity. However, despite these
favourable factors, the number of artisans working with black pottery has gone down over the
years or the potters have shifted to production of plain terracotta roof tiles used in the villages.
According to the potters, the primary reason for this shift is the increasing cost of production for
black terracotta as compared to the usual red terracotta, which is much more economical. Thus,
in most of the clusters that the AIACA research team visited, the potters were found to be
practising the red terracotta craft. The terracotta products commonly being made for local
consumption are roof tiles, diyas, utensils, and kullhars. When the terracotta is fired in the kilns,
its baked part turns red, but sometimes the unbaked part turns black. This black tint is the reason
why baked black pottery is often confused with the unburnt black terracotta, which would have
turned red if heated to the optimum temperature or time.

The potters who are still practising black terracotta craft are making products for the local market
and for seasonal melas or fairs. The black terracotta product range being currently produced
currently is very restricted and the skill level of the artisans has gone down over the years. There
are hardly any exclusive products that can be marketed in the high-end segment. Various factors
such as the lack of infrastructure and other resources like permanent worksheds, storage space
and marketing avenues inhibit these artisans from working all round the year, as during the

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monsoons, the potters have to stop the work and shift to other vocations or confine their work to
making toys for the local markets. The lack of employment considerably reduces their income
during the monsoons.

A few local NGOs and groups are making constant efforts to train and upgrade these artisans.
These groups have been organizing workshops to induct more artisans into this craft, besides
conducting design development and technical skill-building programmes for the artisans. Kornik,
an art and culture development society is involved in such activities in the Deogarh and Dumka
districts. Kornik has brought in terracotta experts from Shantiniketan, West Bengal, to conduct
skill-building and product upgradation programmes. In Nonihat, this development work has been
taken up by Gram Jyoti, an NGO which has two women self-help groups (SHGs) working on
black terracotta.

The Department of Industries, Government of Jharkhand, has also set up Jharcraft, a corporation
for the development of handicrafts, handlooms and silk. The main objectives of Jharcraft are to
revive languishing crafts, and promote the rural artisans and their products. Jharcraft has its
emporia in Ranchi, and recently opened three stores in New Delhi. It sources its terracotta
products from Kharsawan, Adhar Mahila Samiti in Bundu, and the Chotanagpur Craft
Development Society in Ranchi. Jharcraft does not buy the products from the artisans; instead it
sells the products from its outlets and gives the proceeds to the concerned artisan in order to
ensure that the quality standard of the products is maintained.

Product innovation: Surahi with tap

6. Product Pricing

The product price range in the Jharcraft outlets for black terracotta varies from Rs. 22 to Rs.
3500, depending upon the type and size of the product. The following are the price ranges for the
various products available at the Jharcraft outlets:

Bangles, masks, small wall hangings, plates, cups, incense burners, candle-stands,
jewellery set: Rs. 22 to Rs. 120;

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 Figures, masks, pots and vases, cups: Rs. 120 to Rs. 450; and
Large terracotta figures face masks of deities: Rs. 500 and above.

The product range available in the local market in Jasidih is very limited and includes flower
vases, incense burners, candle lamps and stands, and water containers (surahis). The pricing for
these products is as follows:
Bangles: Rs. 5;
Flower vases/pots: Rs. 20 to Rs. 40;
Incense burners: Rs. 6 to Rs. 15; and
Water containers: Rs. 35 to Rs. 60.

The production of red terracotta items such as roof tiles (available at the rate of 2000 tiles for Rs.
1800), and kullhars (available for 20 paise, 30 paise, and 40 paise each, depending upon the
size), generates the maximum employment as well as income for the potters.

7. Bibliography

Barnard, N. (1995), Arts and Crafts of India, London: Conran Octopus

Singh, G. (1979), Pottery in India, New Delhi: Vikas
Ministry of Information and Broadcasting (1968), Indian Handicrafts, New Delhi:
Publications Division, Ministry of Information and Broadcasting, Government of India
Terracotta Crafts, [Online], Available at
http://handicraft.indiamart.com/materials/terracota-crafts.html, [Accessed on 15 June
2009]
Pottery in Indian Villages, [Online], Available at
http://www.indianetzone.com/41/pottery_indian_villages.htm, [Accessed on 15 June
2009]
Field visit to Dumka, Deogarh and Ranchi, interaction with the local artisans and craft
groups.

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V. Product Review
The AIACA team purchased a few samples of black terracotta products during its field trip to
Deogarh and Dumka in Jharkhand. These samples were reviewed by AIACAs panel of experts.
The products were sent to all the panelists for review and they were asked to give their feedback
on the following attributes: quality, colour and design, price, and product potential in the
domestic and international markets. They were also invited to offer suggestions on the product
range and designs.

The products varied in price range from Rs. 5 to Rs. 70, as well as in design, usage, quality of the
skill and the products overall appearance.

Product 1, Rs.6; Product 2, Rs.7 Product 4, Rs.10; Product 5, Rs.5

Product 3, Rs.25 Product 6, Rs.5; Product 7, Rs.5

Product 12, Rs.25; Product 13, Rs.35 Product 9, Rs.28; Product 10, Rs.28
Product 14, Rs.40 Product 11, Rs.20

Product 16 Rs.70; Product 17, Rs.70

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 Product 15, Rs.2 each; Product 18, Rs.8
Product 19, Rs.26; Product 20 Rs.56

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 titled
Textiles Crafts of India Assam, Arunachal Pradesh and Manipur for NIFT and has also
assisted in compiling a book titled 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 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.

AIACAs In-house Design and Marketing Team: AIACA has an in-house design and
marketing team comprising designers from the Indian Institute of Craft 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 provided by the above team of reviewers on the products and their
suggestions for future product design and development:

1. Quality: As compared to the other black terracotta products made in Rajasthan, Gujarat
and the North-east, the quality of these products varies from poor to average, as the
chipping of delicate edges and patterns can be seen clearly. The products look very
fragile, and their finishing is not good, which indicates the need for skill development.
Product design and finishing need to be done keeping in mind the chipping and breakage
that take place during transportation.

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2. Colour and Design: The product range and designs are very regular and hence there is
enough scope for innovation. New designs for jewellery and wall hangings can be tried
with better finishing. Products like bowls, incense burners and candle-stands need
improvisation in terms of both form as well as patterns.

3. Price: Considering that both the product quality and designs are average, the products
are priced well. New product ranges and designs can easily be introduced in the higher
price brackets. With modifications in design and finishing, the product can command a
good price.

4. Product potential in the domestic and the international markets: In the present state, the
black terracotta products are inappropriate for the international market. There is need for
product innovation and enhancement in both quality and skill to help the products
achieve international appeal. Even for the domestic market, there is a need to work on
the design, product finish and skill development of the group.

5. Suggestions on product range: Very small terracotta pendants are promising. However,
new shapes of incense-holders, candle-stands, soap dish etc. need to be explored. Some
other products should also be tried such as paperweights, jars, bowls and trays for
potpourri, bird-feeds, garden accessories, wind chimes, number and name plates,
planters and pots for the gifting of delicate herbs such as tulsi, ajwain, mint, and lemon
grass.

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VI. Black TerracottaValue Chain Analysis

Raw Material Rs 800- 1000 for 1

Collection trailer = Raw
(Clay) material for 1000
pots

Labour @ Rs 90 40 Matkas of
Filtration 100 /day = 2 Bags 1.5 feet
process of the cement
Clay

Done by both men

Design inputs: and women. Labour
Carving, cost = Rs 90-100
Shaping etc /day

Done generally by
Polishing (Done
the women.
at least 5-6 times
on each product)

Raw Material Output: Firing 40

Firing (Done
required: Coal. matkas require 20
after product is
kgs of coal)
dried for 4 days) Rs 10.50 for 1 kg.

Raw material: Market Price:

Thermo col1 carton Rs 65 (With
Packaging can for 6 pieces = design)
(Differs for Cost of Rs 22
products)

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Black terracotta has been the traditional craft in the Dumka and Deogarh districts of Jharkhand.
However, owing to market constraints, most of the craftspersons here now make red terracotta
products (with the difference in the two forms only being in the method of baking). This craft is
restricted to a community called kumbhars, who have the skills and know-how pertaining to
terracotta. Instead of building on the uniqueness of the black terracotta craft, however, most of
the potters have abandoned the technique of making black terracotta products and now make
only red terracotta products as they are faster to make and have a higher market demand than
black terracotta products. Many of the potters who are familiar with the black terracotta
technique do not practise the art as they face problems when it comes to selling the product in the
market. Most customers are unfamiliar with black terracotta and believe that the products are
half-baked (as terracotta is darker when half-baked and then takes on the familiar red colour).
Also, the cost of production of black terracotta is slightly more than that of red terracotta, which
discourages the craftspersons from producing black terracotta products unless there is an order
for the latter from the local trader.

A value chain analysis was undertaken for both black terracotta as well as red terracotta products
to understand the value addition processes and hence explore the various interventions that can
help maximize the share of value changes in the chain, for the primary craftsperson.

1. Description of the Terracotta Value Chain

The value chain of terracotta (both black and red) starts with the ingredient, that is, the collection
of the raw material, common clay. Other inputs required during the value addition process are
coal, paddy straw or jute fibre. Most of these are locally sourced. While the clay is available
locally around the area, the paddy and coal are sourced from the local markets within the village.
The price of coal is Rs. 400 per quintal and its average usage is around 4 to 5 kgs a day. The
tools required for the productions are the potters wheel, a wooden stick to rotate the wheel, and
a kiln. Some of the kumbhars of the area also have a provision for a small shed where they store
the beaten mud and the products before they are baked.

The common clay is cleaned, sieved and processed. Next, the processed clay is converted into
dough and placed on the potters wheel to give it the desired shape. Normally, the craftsperson
makes around 40 matkas (earthen pots) during his entire working day, and his approximate job
rate is Rs. 90-100 per day, that is, around Rs. 2.50 per matka. Only men are involved in using the
wheel, as it is taboo for the women to touch the wheel. They, however, provide assistance in
drying, varnishing it with oil, painting, and design addition, though they do not use the wheel.

Once the clay is given the requisite shape, next level of value addition entails the carving of
designs on the article. As mentioned earlier, most of the articles are sold in the local markets
wherein low-value products are in high demand. Hence, not too many design inputs go into the
value addition process. Mostly products like plain matkas, matkas fitted with taps, surahis, and
flower vases are made for catering to the lower end of the market.

The next level of value addition takes place after the products are baked. In order to add gleam to
the black terracotta, oil is rubbed on to the products after which they are left to dry. Despite the
fact that women are mostly involved in this process, their labour contribution is not taken into
account while pricing.

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Most of the products are sold in the closest markets, and also alongside roads or to middlemen as
the products are very fragile and the chances of breakage are very high. Since the products are
of very low value, selling them in far-off markets entails a very high cost of transportation. No
value addition is made by any of the middlemen (except very limited value additions in the case
of jewellery and masks, which can be packed. Thus, the margin that is added to the sale price is
the entire profit for the artisans.

2. Markets

1. Local markets: With little or no access to bigger markets, most of the individual artisans
are supplying their products to local traders in their area. Due to the fragile nature of the
terracotta products, the artisans suffer losses in breakage and during the storage. The
Santhal tribals use a lot of black pottery products for their cooking, decoration and day-
to-day use. Some of the products are used customarily during weddings in the area (with
the custom being that a newly married couple should decorate their rooftop with
elephants and horses made of black terracotta). Many of the teashops use the tea cups or
kullhars (though these are not of black terracotta) for selling tea locally. A lot of the local
inhabitants use clay pots for cooking, storing water and building their roofs.

2. Institutional markets: In an effort to provide livelihoods and promote the revival of the
languishing craft, the Central and State Governments have also initiated training
workshops-cum-production centres in the area. They are making efforts to revive the
craft and upgrade the skill and technique levels of the artisans. The State has set up
Jharcraft, a retail shop for selling hand-made products. Potters also supply their products
directly to Jharcraft. Since they cater to an urban population, they have even provided
packaging workshops and generally add a margin of 10-20 per cent to the original cost.

3. Exhibitions and fairs: Some of the prominent craftspeople participate in state government
exhibitions (Udhyog Melas) where they can sell their wares directly to the end-user.
Some of them have even participated in workshops and national exhibitions. Tribal
melas, which serve as attractive selling centres, are also held.

3. Institutional Framework

The institutions working with the craft in the area include government Institutions like the
Department of Industries and Commerce (DIC), and the Development Commissioner,
Handicrafts (DCH). The Industries Department of Jharkhand has also set up a corporation called
Jharcraft for the marketing of handicrafts of the state. Apart from these, some NGOs too are
working in this area like the Chotanagpur Craft Development Society (CCDS), the Adhivasi
Kalyug Society, Adhar (Bundu), and Kornik, among others.

4. Issues in the Terracotta Value Chain

(a) Proper Costing and Pricing of the Products

Most of the artisans calculate their per day labour charges as Rs. 90 to 100 while
determining the price of their products. The labour charges of the women are not included
while making these calculations. The products made are of low value and low quality, and
hardly any production is done for commercial sales except the high production of roof tiles

18
that are sold locally. The profit margin of the producers is very small in these tiles though
the volume of production is high.

(b) Vulnerability of the Craftspersons

The potters (kumbhars) generally do not have any landholdings and during the monsoons,
nearly all of the craftspeople have to take up jobs as either farm hands or labourers. During
the monsoons, all their craft-related activities come to a standstill as there is no provision for
drying the terracotta or sheds to work in.

(c) Economies of Scale

Since the craft is practised mostly within in the family, most families are mini production
centres on their own and handle all the processes themselves. All members of the family
contribute their time and labour in some manner. There is, however, no consolidation
amongst the families to form larger groups. Most of them work as family units or individual
artisans.

(d) Product Diversification and Design Inputs

Most of the people involved in the terracotta craft are the kumbhars, who live below the
poverty line, and have very little money for any kind of capital inputs, which is why they do
not want to risk diversifying into products with new designs, which may not sell.

Thus, hardly any design development has taken place in the terracotta cluster. Most of the
craftspersons are making the same products or using the same designs that have been in
vogue over the years. Consequently, there is a lot of competition among the artisans as all of
them are producing similar kinds of products and selling them in the same markets.

During Diwali, the production is centred around the making of diyas, lamps, and deities
used for the religious ceremony. Many of the products have exclusive usage, as for instance,
the Santhal tribes use terracotta products during various tribal ceremonies, such as animal
figurines, pots used during wedding ceremonies, jewellery, masks, and pots for storing the
Mahua liquor. Thus, the artisans do get large orders, but these are seasonal during the
festival period and weddings.

(e) Poor Marketing

One of the main obstacles faced by this craft cluster is the shrinking market. The target
segment at which the terracotta products are aimed has, over the last few years, shifted to
using plastic articles such as plastic cups instead of kullhars, plastic pots instead of matkas,
and plastic toys instead of clay toys as plastic articles are considered to be cheaper and long
lasting.

(f) Low Level of Skills

One of the main issues at the primary level is the fact that the craft is limited to very few
families and restricted to Jasidih town in Dumka. Since the only difference between black
and red terracotta products lies in the firing technique, and pottery skills are prevalent
among a large number of people in the area, more artisans should be taught the specific art
of black terracotta. The quality of the products should also be enhanced in order to sell them
in more upmarket stores or in metros where they can fetch a better price. Even in Ranchi,
and shops that sell terracotta products in Deogarh and Dumka, the product range is limited

19
and of poor quality. The making of roof tiles is the only viable business that is fetching
returns for the artisans.

(g) Poor External Linkages

Although this terracotta technique is unique to the area, there is an absence of linkages with
technical institutions, design schools, and marketing bodies which could promote the
development of this craft.

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VII. Black Terracotta Cluster Business Development Plan
1. Summary

Black TerracottaSummary of Main Issues

Jharkhand

No. of artisans currently practicing the terracotta

1500
craft (red and black)
No. of artisans surveyed 500
Total no. Of artisans to be incorporated by year 5
500
(Y5)

Black Terracotta Timeline

Phase 1 Phase 2 Phase 3

Marketing Exhibitions for brand-
assistance building and market
exposure
Organizing
existing
Tradeshow participation
artisan and Technical inputs
and linkages to
linking them
commercial buyers
to NGOs and Create
entrepreneurs marketing
materials

Design and product development workshops

Skill Development Training

Unlinked and
non-working Financing linkage for working
artisans capital
Scale up number of
artisans in society
Mobilization
Registration
and trust-
of local Create common
building with
artisans facility center for
new artisans
society artisans

The factors that would dictate the strategy for development of the black terracotta cluster in
Jharkhand include the relatively high number of artisans in the cluster, the tradition of terracotta
in the region, the local demand for the terracotta products (roof tiles, products for auspicious
ceremonies) and the potential for contemporary products in the urban markets.

AIACA and ACCESS would undertake a series of interventions under the Baba Sahab
Ambedkar Hastshilp Vikas Yojana (AHVY) scheme based on the following four key objectives:

21
skill upgradation of the artisans and improvement in the quality of the terracotta products;
upgradation of the tools and implements used in the production, thereby increasing the number
of working days and wages of each artisan; development of new product lines better suited to
contemporary high-end markets; and creation of new market linkages to high-end market
segments.

2. Objectives of Intervention

The objectives of ACCESS and AIACA in intervening in the black terracotta cluster would be
guided by the principles of scaling up to reach the maximum number of artisans, upgrading the
skill levels of the artisans, increasing artisan welfare, and promoting commercially sustainable
production and marketing structures in the cluster. On the basis of these principles, the following
would be the main objectives of intervening in the cluster:

Objective 1: Upgrade the skill levels of the artisans and scale up their operations
As highlighted in the value chain analysis, there are currently approximately 1500 artisans,
who either work independently as family units or are linked to regular value chains in the
terracotta craft through the existing entrepreneurs and NGOs. A majority of the artisans
make roof tiles or pots and small artifacts for the local market. Very few of them make
products for the Government shops or urban markets. The primary objective of intervention
would be to strengthen the artisans who are working with both red terracotta and black
terracotta, and to upgrade their skill level through a series of training programmes to enable
them to make products which that can be sold outside the local market as well. ACCESS
and AIACA would target to strengthen 500 artisans and make them part of the value chain
through their intervention by the end of year 3 (Y3) of the project.

Objective 2: Upgrade the tools and implements and introduce more efficient ways of
production
In addition to strengthening the number of artisans, ACCESS and AIACA would seek to
increase the total income of each artisan by improving the tools and equipments that are
currently being used. More efficient technology and ways of production would be
introduced by the end of year 1 (Y1). Upgradation of the skill level, and introduction of
better tools and implements, and more efficient ways of production would help develop
better quality higher-end products that can be sold for higher prices in urban markets. Newer
market linkages would be explored that would fetch better prices for the products. This
would lead to an increase in both the number of working days and wages per artisan.

Objective 3: Develop new product lines more suited to urban markets

Diversifying the product mix and improving product quality would be the key to increasing
sales of terracotta products. ACCESS and AIACA would seek to develop an entirely new
product profile for the cluster through market trend analysis, and design and product
development inputs. While doing so, they would take care to ensure that the essential
characteristics of the black terracotta craft genre are not lost.

Objective 4: Create market linkages to multiple market segments, especially higher-end

domestic markets
Increasing the sales and wages of artisans would depend not only on the development of
new products, but also on ensuring that the latter can be sold at higher price points.
ACCESS and AIACA would work towards linking the cluster actors to urban markets

22
 within India first and then re-assess the potential for the export market in year 3 (Y3) of the
intervention plan.

These objectives would be the main criteria used for tracking the progress of the project and for
evaluating the success of the intervention.

3. Intervention Strategies

In order to achieve the above objectives, ACCESS and AIACA would primarily use the
following strategies while intervening in the cluster:

Strategy 1: Scale up existing artisans and organisations

The artisans in the cluster, who are making tiles and pots for the local market, are the only
artisans in the cluster who have work during some months of the year. Along with these
artisans, others who make just pots, jewellery and other decorative items have some work
and sell their wares in the local market or government-organized fairs. Others who are
working with Jharcraft and other local NGOs like the Chotanagpur Craft Development
Society (CCDS), Adhivasi Kalyug Society, Adhar (Bundu), and Kornik, would be given
further support to enable them to develop good quality and contemporary product lines
within the cluster.

Any intervention that seeks to increase the number of artisans and improve their incomes
would thus have to engage with these organizations. ACCESS and AIACA would seek to
work with the existing organizations to help them scale up by organizing skill upgradation
training programmes, and offering them design and product development services,
marketing assistance and various other Business Development Services (BDSs).

Strategy 2: Create artisans collectives to mobilize and link new artisans

In addition to working with the existing organizations, ACCESS and AIACA would work
towards developing a federated organization of artisans in the cluster, in the form of a
producers company or a societyso as to create a commercially sustainable, artisan-owned
production and marketing structure in the cluster. This would enable ACCESS and AIACA
to strengthen 500 artisans over the project period and create a production structure of the
artisans themselves.

Strategy 3: Provide Business Development Services (BDSs) and infrastructural support to

facilitate commercial sustainability and scaling up
Hand-holding and BDS support would be provided to both the artisans collectives as well
as to the existing organizations to help them become commercially sustainable and scale up.
The main support services provided at the cluster level would be skill-building workshops
for enhancing the skills of new artisans, design and product development workshops to
develop new products, and financial linkages for facilitating the disbursement of working
capital credit. The artisans collectives would also be provided with infrastructural and
additional working capital support through the AHVY scheme.

Strategy 4: Create new market linkages

ACCESS and AIACA would work toward developing a brand for the black terracotta
cluster that would be the foundation for enhancing linkages with commercial buyers and
increasing the total sales from the cluster. Brand-building initiatives would include

23
 developing new product ranges, developing a set of marketing materials including a website
and product catalogue, and holding a series of exhibitions in key markets.

4. Interventions under the AHVY Scheme

On the basis of the above objectives and strategies, the following interventions would be needed
under the AHVY scheme:

(a) Training of Artisans (for Handicrafts)

Given that currently, only approximately 500 artisans have been working regularly as part of
existing value chains, it would be essential to organize skill-building training programmes to
scale up and strengthen the number of artisans capable of producing quality products. For
achieving this, all the 500 artisans would require training and skill-building inputs over the
project period. ACCESS and AIACA would undertake skill-building in a phased manner.
Five training workshops would be held annually for a four-year period to cover 500 artisans,
who will be brought into the artisans collectives.

(b) Integrated Design and Technical Development Project

A significant investment in design would be needed to help diversify the product profile of
the cluster from only roof tiles, pots and jewellery. An integrated design and technical
development project would be initiated in year 1 (Y1) of the project. ACCESS and AIACA
would 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
would made to diversify the base skill and develop a new product range including jars,
bowls and trays for pot-pourri, bird-feeds, garden accessories, and wind chimes, among other
things.

(c) Design and Technical Development Workshops

The Integrated Design and Technical Development Workshops would be augmented by
annual Design and Technical Development workshops over a five-year period to continue the
process of skill upgradation and design development and to oversee and fine-tune the
production of the new designs developed.

(d) Organizing Exhibitions

ACCESS and AIACA would organize a series of exhibitions in major Indian metros to
enhance consumer awareness of the black terracotta craft, test-market new product ranges,
and increase the sales of artisans in the cluster. In addition, AIACA would also work on the
representation of products from the cluster in existing exhibitions across the country such as
the Dastkar Nature Bazaar. Selected artisans would be taken to the exhibitions so that they
can directly interact with customers, get product feedback and also gain exposure to retail
outlets in the major metros.

(e) Publicity MaterialsCatalogues and Website

ACCESS and AIACA would develop marketing and publicity materials to help build the
black terracotta brand and to enhance awareness among both commercial buyers and end-
consumers of the product profile, characteristics and the craft production process of black
terracotta. A website for the cluster would be created, which would be handed over for
operation to the artisans collectives. The new products developed would also be featured in
commercial product catalogues, which would be distributed to AIACAs network of

24
 domestic buyers as well as importers across the world. During Y1 and Y2, the new products
developed would be featured as a section in the Craftmark product catalogue. During Y3, a
dedicated product catalogue for the black terracotta cluster would be developed.

(f) Entrepreneurship Development Programme

Selected artisans would be taken to participate in 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 collectives would
be put through the training programme every year for three years to create a cadre of trained
professionals to run the collectives.

(g) Trade Fair Participation

The new products developed in the cluster would be displayed at three trade fairsIHGF,
the New York Gift Fair (NYGF), and Ambiente, Frankfurt in order to create linkages with
commercial buyers and to generate bulk orders from Y3 onwards. Two artisan
representatives from the collective would also be taken to the IHGF so that they can be
trained in participation in trade fairs.

(h) Organizing a Computer, Printer and Internet Connection for the Artisan Society
A computer, printer and internet connection would be provided to the artisans collectives
through the project so as to enable its members to interact with commercial buyers and to
generate the required paperwork for managing customer orders and sales.

(i) Warehousing and Common Workshed for the Artisan Society

Storage and office space, as well as a common workshed would be provided to the artisans
collectives under the AHVY scheme to enable the Artisan Society to start functioning and to
scale up to cover a greater number of artisans.

(j) Margin Money and Credit Guarantee Support for the Artisan Society
Margin money support and credit guarantees would be provided to the artisans collectives
to enable them to raise working capital, service customer orders and scale up production
over the course of the project.

(k) Salary for the Cluster Manager

A cluster manager would be hired to manage all initiatives at the cluster level, provide
logistical support to Access and AIACA, and offer hand-holding support to the artisans
collectives.

4. Project Output Targets

The following would be the primary project targets over a five-year period:
Increase the number of functioning artisans in the cluster to 500.
Increase the total sales revenue from the cluster to one crore a year by the end of the
project period.
Develop 25 new product ranges, and extend the product profile from pots and cups to
other product segments.
Link 20 new commercial bulk buyers to the project cluster by the end of the project
period.

25
 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. 1,06,55,360.
Appendix 1 with a detailed budget break-up is attached. In addition, Rs. 52,00,000 is the 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 would be covered under the credit guarantee facility
in the AHVY scheme.

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