See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/330441793

Cooperative Initiative: A Ray of Hope for Rural Handicraft Artisans of

Surendranagar District of Gujarat

Chapter · January 2019

CITATIONS READS

0 1,158

2 authors:

Amisha Shah Rajiv Patel

Gujarat Vidyapith - Ahmedabad Gujarat Vidyapith - Ahmedabad
25 PUBLICATIONS   31 CITATIONS    19 PUBLICATIONS   34 CITATIONS   

SEE PROFILE SEE PROFILE

Some of the authors of this publication are also working on these related projects:

Education through Creativity View project

Academic Research Project View project

All content following this page was uploaded by Amisha Shah on 17 January 2019.

The user has requested enhancement of the downloaded file.

 Cooperative Initiative: A Ray of Hope for

Rural Handicraft Artisans of Surendranagar District of Gujarat

 Dr. Amisha Shah, Asst. Professor, C.S.R.M.,

Gujarat Vidyapith, Randheja.

 Introduction:

The principle of ‘Cooperation’ is as old as human civilization. But cooperative

movement took shape and structure in India with the British enactment of the
Cooperative Credit Societies Act in 1904. Afterwords the movement passed through
various phases and it became an integral part of Five-Year Plans after the
independence of India. Cooperative association is one of the best forms of business
organization especially for the weaker section of the society, as it is based on the
principle ‘Cooperation’ not on ‘Competition’. It works with the value of mutual help
and welfare of the members. In certain situations when it is not possible to achieve the
target by individual effort, collective effort in the form of cooperative association is
preferred, as it is most suitable for tiny, small and medium size business operations.
Hence, it is suitable for the Handicraft industry to a large extent in our country.

‘Handicraft’- itself is an gorgeous word full of grace and artistic appeal. Since
inception of human being, handicraft has become an inseparable part of human life
style, however the form and style has been changing according to passage of time and
environment. Indian handicrafts are famous world wide. Many states of India have
their speciality and expertise in specific handicrafts.

Gujarat is an art-lover state of India, where various traditional handicrafts have been
nurtured by generations of skilled artisans with inherent talents. Hand-woven textiles
such as Patolas, Woolen blankets, shawls, Tangaliya; Hand embroidery; Bead-work;
Tie-dye (Bandhej); Namdhas; Wood carving; Lacquer work; Metal art; Stone carving;
Ivory carving; Pithora painting; Warli painting; etc. are the unique handicrafts of
Gujarat. Many districts of the state represent such cultural heritage in various forms of
art and Surendranagar is one of it.

Khadi Weaving, Tangaliya weaving, Bandhej, Hand embroidery, Bead work, Stone
carving, Pottery, etc. were giving the vibrant charm to the villages of this region
before two-three decades. But now a days, the scenario has become changing due to
the waves of technological development, industrialization and globalization. The
artisans have started leaving their hereditary occupation and some of the powerful
pockets have captured the market. Small and tiny units are not strong enough to
struggle in this competitive market where cheap machine made substitutes are easily
available and giant corporate players and foreign investors have trapped the entire
economy. In such circumstances, cooperative initiatives can be proven as a ray of
hope for the sustainability of rural handicraft artisans of Surendranagar district.

 Objectives of the Study:

The main objective of this research is to study the problems of rural handicraft
artisans working at unorganized sector in Surendranagar District and to explore the
potentialities towards them, if they organize themselves in a collective form like
cooperative association.

 Research Methodology:

400 rural handicraft artisans from eight selected handicraft categories

(Weaving/Tangaliya; Patola; Stone carving; Mud/Wood-work; Tie & Dye;
Embroidery/Crochet work; Bead-work; and Other Handicrafts) were selected as
respondents through stratified random sampling method from all the 10 Talukas of
Surendranagar district. The artisans selected were either self-employed or wage
earners.

The primary data were collected through interview schedule, focus group discussion
and observation methods. Secondary sources like books, articles published in books
and journals, Government reports and records, various websites, census data, NGOs’
reports & literature, etc. were used. The gathered data were scrutinized, verified,
arranged, classified and coded properly. The data were analyzed with the help of
computer programmes such as SPSS (Statistical Package for Social Sciences),
Microsoft Excel and Open Office soft-wares and statistical tools.

 Handicraft Artisans and Cooperative Societies:

The term ‘artisan’ is used to refer to those people who work with ordinary or simple
tools to make things of basic need. They mainly use the locally available resources
and make valuable products without using machines. Thus artisans may be called as
skilled manual workers who imagine, design, plan and articulate things with their
hands (skills), head (creative logic) and heart (involving sensations) as per the
demands of time. Thus, an artisan is a skilled manual worker who crafts items that
may be functional or decorative in nature with uniqueness and individuality due to use
of hands and hand tools. The Office of the Development Commissioner (Handicrafts)
offered a workable definition in the Eighth Plan: “Items made by hand, often with the
use of simple tools, and generally artistic and/or traditional in nature. They include
objects of utility and objects of decoration” (Report of Development Commissioner
-Handicrafts in 1989).

Rural artisans having limited means can join hands together and get them associated
in an industrial cooperative society to protect interest of themselves. According to
International Cooperative Alliance, “ The Cooperative Society is an autonomous
association of persons united voluntarily to meet their common economic, social, and
cultural needs and aspirations through a jointly-owned and democratically-controlled
enterprise". An industrial cooperative is an association of workers and craftsmen
involved in cottage or village industries, who come together to undertake collective
production, processing and marketing of goods manufactured by the members and
provide them with necessary services and assistance. Thus, it is organized by workers,
controlled by worker and managed by workers for meeting their common purpose.
Thus, the prime objective of an industrial co-operative is to benefit the workers
economically and socially. The society generates employment, accelerate capital and
increase productivity and marketability of members; further it protects its members
against exploitation, diffusion and dispersal of wealth. Thus, it develops self-reliance,
co-operation and self respect among the members.

Cooperative society is one of the best forms of business organisations for rural
handicraft artisans, as it is based on the following principles.

If these principles are truly implemented with idealism and good management, there
is no doubt that equality among members of co-operative organization can be
established which can bring fruitful results.

 Exploring the Potentialities of Rural Handicraft Artisans through

Cooperative Initiatives:
The present study reveals that out of total 400 respondents, there were 119 (29.75%)
‘Entrepreneurs’ and 281 (70.25%) ‘Workers’. Hence, majority of artisans were
workers not entrepreneurs. They either did job work from their own place or served in
handicraft units. Hence, many few were found self employed. It was found during the
study that majority of rural artisans face challenges of financial crisis and marketing
problems. The percentage of artisans earning only Rs.1,000 or less (from handicraft
activity per month per family) was 27%; 20% households earned within the range of
Rs.1,001 to Rs.5,000; while 38% families earned Rs.5,000-15,000 per month from
handicrafts. Families of only 15% artisans earned more than Rs.15,000 per month
from handicrafts. Thus, the data shows that majority of handicraft artisans gets a very
small portion of profit as compared to the market price of handicraft products being
sold at luxurious showrooms and art galleries.

As they work individually and not having collective base, their financial base is weak
and marketing skills are also very poor. Hence, although being very good in
production of artistic products, their income is negligible and disappointing their
enthusiasm. Hence, working enthusiastically and unitedly in co-operatives can solve
many hurdles in marketing and selling the handicraft products.

96% artisans agreed that lack of organized identity is one of the most powerful
weaknesses of handicraft sector. Handicrafts, being an unorganized sector, generally
run in small or tiny sized units, don’t have organized identity at individual level. It
was found that only 28% artisans were associated with some of the formal
organizations such as Self-Help Groups, Co-operative Societies or NGOs working in
this area. While majority of the artisans, i.e. 72%, had never experienced any type of
formal membership with any group or association. Surprisingly, only 3.25% artisans
had membership with co-operative society operating at village level. Majority of the
artisans told that there was no unity and sense of cooperation among artisans. They
were highly dispersed and not ready to work under one umbrella. This is one of the
most important reasons for their exploitation and vulnerable condition economically
and socially.

Artisan Identity Card provides true recognition to the artisans and makes them eligible
to avail benefits of various government schemes. But only 14% respondents had
Artisan Identity Card either issued by Ministry of Textiles, Government of India or
Office of Commissioner of Cottage and Rural Industries, Government of Gujarat.
Hence, it is surprising that 86% of total respondents did not have Artisan Identity
Card.

Thus, it has been observed that many of the rural artisans are very devoted, talented
and expert in producing handicrafts but lack of marketing/selling knowledge curtails
their growth and discourages their morale. Hence, there should be some agency or
mechanism which can work as bridge between artisans and customers eliminating the
interference of middlemen living a very small pie of cakes for actual creators.
Efficiently managed cooperatives can be fruitful in this regards. But government must
keep an eye on their performance and ensure decentralization of power and
democracy in decision making. Such cooperatives should be given scope of
participating in fair/exhibitions, opening outlets and priority purchase benefits.

If artisans cooperatives are established, many problems and difficulties will be solved
automatically working together and sharing the burdens. They can take advantage of
various schemes of government at central as well as at state level for cluster
development in handicraft sector. This weaker section of the society can feel warmth
of one another working together in a society with mutual help and cooperation.
Handloom cooperative society can install solar energy plant so that their labour work
can be reduced and their productivity can be increased at a great extent.

Some scholars have inferred some sort of threats towards the originality and fragrance
of manual labour with involvement of professional attitude adopting profit oriented
business model in handicraft sector. There is no doubt- the globalization process has
reactivated the crafts persons helping them to establish co-operatives with the very
noble aim of getting maximum benefits/profits to the artisans but unknowingly the
artisans are moved away from the traditional craft techniques handed down to them
by their earlier generations (Rizvi, 2009). In such situation, cooperatives can involve
the designing institutions for a certain period of time to train and educate youth with
newer designs and innovations which are compatible in contemporary markets. They
can have benefit of the experience of senior artisans so that the traditional touch and
hereditary culture can sustain and propagate in new generations. Hence there may be
equilibrium between two extremes- conventional practices and technological
advancements. Thus, the originality and aesthetics of handicrafts can be preserved and
sustained without compromising the demands of modern markets.

94% of artisans were interested in training if provided to them as handicraft

promotion programme. They showed their interest in the training of new designs, new
products, utilization of modern tools and techniques, marketing and selling techniques
so that they can learn and earn more. This can be made possible under the umbrella of
cooperative initiative. Training programmes can be designed in such a way that it
improves the earning capacity of artisans collectively and are beneficial to them for
uplifting their living standard by providing regular employment. The craftsmen may
be encouraged through various training programme in cooperatives to improve the
quality and quantity of work so that they can be capable of standing firmly in the
competitive market for a long time. Improved technology, modern tools/equipment
and qualitative raw material with adequate quantity can be used in handicrafts.

Cooperatives can sell the handicraft products at direct market minimizing the
intervention of middlemen. Hence, they can explore new markets having broader
production base and quality consciousness. Besides, selling at private level, they can
approach government/ non- government offices, hospitals, educational institutions,
corporate houses, hotels, restaurants, public places, etc.

The present research reveals that very small percentage of artisans in this area were
aware of fairs and exhibitions organized through government programmes or private
level. The reason of such ignorance were financial incapability, lack of information,
lower base of production and many more hurdles. Through cooperatives, artisans can
be encouraged to participate confidently in handicraft fairs and exhibitions from local
to international level.

The study showed that mostly all the artisans do not have much knowledge about
export even though their handicrafts are famous worldwide. Hence, well-managed
cooperatives can provide a support system to grab the opportunities of export markets
too.

Besides, women cooperatives can provide a good platform to the women artisans
engaged in Embroidery, Crochet and Bead-work in this region. Thus inherent talents
of rural women artisans can be channelized in a profitable and motivational path.

Tangaliya Weavers Association established under the Societies Registration Act 1860
at Vastadi Village of Wadhwan block of Surendranagar District has received
Geographic Indication (GI) Number for their product; similarly other unique
handicrafts of this region can have such opportunity to proceed for such recognition
through cooperative association.

Industrial cooperatives can introduce the concept of ‘Contract Handicrafts’ (similar to

‘Contract Farming’ in agricultural sector). They can join hand with corporate sectors,
under their CSR activities. Hence, the artisans can get sufficient reward for their craft
without being exploited. Artisan industries and cottage industries should be linked
with separate market structure as Regulated market for farm produce, supermarkets of
cooperative provision stores or Apna Bazar should be encouraged for such purpose
(Jani & Pandya, 1994).

Further, majority of rural artisans were not aware of the procedure of contacting
various programme implementing agencies and banking institutions, as they got
hesitated about stepping in to the banks. In fact they were afraid of banking
procedures, formalities to be fulfilled, preparation of documents for availing credit
benefits or anything else. Thus, working at cooperative level can facilitate them.

E-commerce is one of the most promising channels in today’s marketing scenario for
selling handicrafts, as today is the age of mobile and technology. Government now
encourage online marketing of handicraft products through its e-marketing links such
as Central Cottage Industries Emporium (www.cottageemporium.in); Rural Bazar
web store; www.craftsofgujarat.gujarat.gov.in; e-store of Garvi-Gurjari
(www.estoregurjari.com); Mahila E-Haat (www.mahilaehaat-rmk. gov.in), etc.
Besides, private players and NGOs also provide such online marketing platform to
handicrafts.

 Conclusion:

Though the whole world is on the path of industrial development and globalization
today, the rural handicraft artisans are an inseparable and very important section of
our society, as they enhance our aesthetic life by providing us beautifully crafted
products. Handicraft artist not only produce product for market, but involve their
psychological vibrations, inherent logic and sensations. Thus, such artisans are not
only economical contributors to the national income, but also thought of national
wealth to be preserved with respect and care.

But in today’s situation, the rural handicraft artisan is found helpless and in search of
alternative employment. The handicraft artisans of Surendranagar have also started
leaving their age old tradition of inherent occupation and do not want their children to
percolate this god gifted art in their next generation. There are so many reasons
responsible for the handicrafts being languished gradually from the market and from
the rural families; one of them is being unorganized and so vulnerable. Hence,
cooperative sector can be a blessing for such artisans which can give them collective
identity, strength to bargain in the market and grab the opportunity of various
development schemes and programmes confidently. Therefore, this paper has focused
on the role of cooperative initiatives in the field of handicraft development by
exploring the potentialities in this sector at Surendranagar district of Gujarat.

 References and Bibliography:

Chatterjee, A. (2009). India's Crafts: Crisis & Opportunity. Craft Revival Trust,
Retrieved from http://www.craftrevival.org/voiceDetails.asp?Code=347.
Chattopadhyay, K. (1980). India’s Craft Tradition. Publication Division, Ministry of
Information and Broadcasting, Government of India.
Commissioner Cottage and Rural Industries. (2016). Cottage & Rural Industries
Policy 2016, Industries and Mines Department, Government of Gujarat.
Development Commissioner (Handicrafts). In Pursuit of Fine Handicrafts:
Compendium of Handicrafts Schemes for 12th Five Year Plan, Ministry of
Textiles, Government of India.
Dhamija, J. (1985). Crafts of Gujarat: Living Traditions of India. Mapin
International, New York.
Geographical Indications Journal No.29. (2009, March). Government of India.
Jadav, J. (1991). Gujarat ni Lokkala ane Sanskruti (Gujarati). Government of Gujarat.
Jaitly, J. (2001). Visvakarma’s Children. Institute of Social Sciences and Concept
Publishing Company, New Delhi, ISBN: 81-7022-895-6.
Jani, V. A. & Pandya, B.A. (1994). Rural artisans and Modernization. Illustrated
Book Publishers, Jaipur, ISBN:81-85683-10-7.
Ministry of Textiles- Annual Reports (2001-02 to 2016-17). Government of India.
View publication stats

National Institute of Fashion Technology (Ministry of TEXTILES, GOI). (2005). A

Baseline Survey Report on Artisans and Crafts of Surendranagar, Gujarat.
Under Special SGSY Project (Ministry of Rural Development, GOI).
Rizvi, B. R. (2009). Craft in Deserts: A Report on Tour to Rann of Kachchh (Gujarat).
Crafts and Craftsmanship, Volume-1, Edited by Lok Nath Soni and B. Francis
Kulirani, Anthropological Survey of India, Government of India, Ministry of
Culture, Kolkata, p.222-229.
Sathe, M. & Bhatia, R. (2014). Patola Craft of Surendranagar, Gujarat: Sustenance
through Green Technology. GlobalIlluminators, MTAR-2014, ISBN:
978-969-9948-22-0, Vol.1, 1-8. Retrieved from the website
www.globalilluminators.org.
Shah, A. (2017). A Study on the Sustainability of Rural Artisans in Handicraft Sector.
Unpublished Ph.D. thesis submitted to Gujarat Vidyapith.
Shah, A. & Patel, R. (2016, December). E-commerce and Rural Handicraft Artisans.
Voice of Research, 5 (3), ISSN: 2277-7733, p. 24-29.
Shah, A. & Patel, R. (2017, June). Problems and Challenges faced by Handicraft
Artisans. Voice of Research, 6 (1), ISSN: 2277-7733, p. 57-61.
Sivayya, K. V. & Das, V. B. M. (1997). Indian Industrial Economy. S. Chand &
Company Ltd., New Delhi, ISBN: 81-219-1266-0.
www.censusindia.gov.in
www.craftofgujarat.gujarat.gov.in
www.craftroots.org
www.epch.in
www.handicrafts.nic.in
www.indiastat.com
www.nift.ac.in
www.shodhganga.inflibnet.ac.in
www.voiceofresearch.org
http://planningcommission.nic.in/plans/stateplan/upsdr/vol-2/Chap_b4.pdf.
http://surendranagardp.gujarat.gov.in/surendranagar/english/sitemap.htm
http://www.census2011.co.in/census/district/189-surendranagar.html
http://www.mapsofindia.com/maps/gujarat/districts/surendranagar.htm

*************