! b e f i n a n c i a l aspects arc disouened fn "to

previous chapter. The present chapter deals with the

manufactwing process of the c ra f t s under study. l o c a t i o n

of the handicrafts units, reasons f ~ r the selection of

location, source of raw materials, frequency of raw

materials purchase, mode of raw materials purchase,

value of raw materials conswed during 1989-90 and the

value of production during l9k3g9-90,

Production is changing Lhe value of a 'bas10

material, by thawing i t s shape Lhroufih a series of

work elements, Production is referred Lo as my process

or procedure developed to transform a s e t of inputs like

men, materials, c a p i t a , infomat ion and energy into a

:iyceL%lad s a t of o u t p u t s l i k e f iniahed produc t n a&

s e r v i c e s in proper q u a n t i t y a d quality, thus achievf r ~ g

the ob3ecl ives of m enterpr ise , Thus, the essence of

production is the c rea t ion of goods Euld services, may be

by the transformation of raw maaterial or by assembling

SO many par ts , 1

Production is an intensional act of producing

something useful in an orgadsed manner. It is certainly

no t a simple ac t of pu t t ing together the resources l i k e

1. J a i n and hggarwal, lBProduction Planning, C o n t r o l and I n d u s t r i a l Management", Kharzna Publishers, Delhi, 1990, p e l *

materials, machines and skills. The objeatives of

product ion are :

I ) vptiruwrl use of reaourocn u t op t ln~wr i coot ,

and

ii) manufactuer of desired quality goods.

Production is d i r e c t l y c o m e m d with the

srganised effor t for the conversion of materials with

$11e finished product having a market value, Thus,

production is an o r g m f ~ e d ac t l v I t y intended ts provide

sewices o r t o increase the value o r usefulneae 09

mna-terial things, "1

The roanuf actwing process, raw materials,

t o o l s and SmpLaenLs used by the craftsmen are

rThey vary from craft t o craft, An atteropt is made t o

present the d i s t i nc t features found in all t h e 10 crafts

under study,

1, Kostas, N . , Demitsiotis, "Operations Managementm, McCraw-Hill International - Book Company, 1981, p.4.

MWFACTURPN mmSS OF Tm CRAFTS UNDm STUW r

< 4

The chief raw -

craf t m e copper, s i l ve r , brass, gold and chemicals,

Eeatlle machines, blwk-arnbllxy and gold-nrnithy LooLa,

equipment f o r electroplating are necessary in t h e craft,

: The manuf:acturlng of jewellery

is of two t ypes -- gold covering and qlectroplating, In

the case of electroplating jewellery ik first prepared

i n copper metal the manufactured ar t ic les are put t o

electroplating process, Normally, 22 carrats gold is

used in the process, In guaranteed a r t i c l e s gold

eovcrfng process is wlder taen on copper i ngo t s with

the help of a machine. The gold covered articles are

more valuable than the art icles of e lcc l ropla t ing, 7Q

p e r cent of the input is lost i n the process of manu-

l e > Sheet Metal :

The raw materials used t o prepare sheet metal-

wares are brass, copper and b e l l metal etc . Tool s used

by craftsmen are similar t o those of blacksmithy and

goldsmithy. The craftsmen are mostly blacksmiths o r

goldsmiths,

: The raw material i s ~ b t a i ~ e d

e i t h e r through meltin& mirlerals or by melting old scrap,

and now more of ten through sheetmetal. The shaping of

an obgect is bone ei ther by beat iw with a h

i-ot or 8hee-t metal $0 the approximate shape, while

k a t k n g , or by pouring the molten m e t a l into a m~uld,

made o f clay f o r ordinary ware, w a x f o r more delicate

obJects, The beating process is often preferred for b e l l

metal md copper, par t icu lwly someitimes as it is believed

$0 make the obdecl maore durable, It can also be subjected

t o Pureher Lmpesiw f o r stseng.thenin;ll~, by heating the

a r t i c l es red hot and suddenly dipping in cold water, I9

it t u n a black i n the process, it $8 rec t i f i ed by light;

hamnloriw, Thers is also the turning proceas done an

the la thae, often worked by a string. The part o f the

ar t ic le t o be turned is fixed to the o u t e r end of the

lathae by gum. A s the lathae rotates a chisel i s applied

t o the port requiring turning. It not Q d y cuts away

the m ~ ~ a n t e d bulk but also smoothens tM art ic le by

scraping and brushing. Soldering i s done by using

metal alloy which the ar t isan himself prepares where

ar t ic les are malluf nctured fn several pieces, which have

t o be Join ted together to form a composite whole.

Po l i sh ing is done by vigorous rubbing e i t h e r by hand o r

if it is a plate by f e e t , using a rag or by machine

where power is used.

Raw materials required are brass, other alloys

and wax. Tools used by the craftsmen include the t o o l s

of a blacksmith,

: The process i s demanding ard

delicate, F i r s t , model is made thea coated with a

special clay and f i r e d moulten bronze is poured into the

mould aM allowed t o set , The mould i s then broken and

idol taken out f o r f inishing, &.aucts 0% this craft

resembles the Hindu Gods, This craf t is mos t ly famous

a t p l l i g r i m c e u t r c r ~

iv ) 0 0

@Mudug ( sof t ) wood is the basic raw material

f o r lacquerware toys. Besides, colours , Kewara (mogali

leaves) and lac are required. Tools and equipment are

carpentau i n nature, In addition, wooden lathaes (mnn-

driven) are a l so used in the process.

: Tha procssaes of product ion are

very few and f a i r l y simple, First, the wood i s cut into

convenient pieces depending upon the kind of a r t ic les t o

be produced. Secondly, the piece of wood i s carved until

i t acquires the proper shape and the rough surface is t o

be f i l ed with the help o f a sand paper. Thirdly, the

coloured lacquerbar is applied t o the t oys and it is

polished with t h e Kewara (Mogali) leaves. If the toy

requires any nore appeel, fur ther point ing is done by

the female members of the f a m i l y , The s k i l l involved

in the production of articles lies in carving and colow-

bng, The prirkciple artl a l e s produced are cat@gorircrad

f o r convenience, as consumer durables, idols , animals,

birds, Lay u tens i l s , image o f hwnan beings, ~ c i e n t i f i c

models and special i tems of export variety. ~rmits,

animal olnd b i r d toys are s k i l l f u l y produced by %he

artisans which resemble real l ive admars, fruits and

birds because of the colour effect of the articles,

The major items o f raw materials used by the

craftsmen are red sander, teak, or any o the r country wood,

wood polishes, brass wire, ce l lu lo id , $krews, hinges and

na i l s , Wood carvers are the caspenlerfi, Naturally, t he

tools used f n wood carving are similar t o those of

carpentary l i k e chisels, small h

: The process begins with cuttinpl

of wood i n t o required size, The ultimate product required,

determines tha size of wood t o be cut; the design sketches

on the plank are drawn by f ree hand. Just l i k e stone

carviw, wood carving is done with the help of chisels

and hammers when the shape a d structure o f tha rswired

product maniPests finishing i s done with the emery paper.

Colours are not generally applied. Dull f in ishing i s

done by means of wood pol ish , Items of t h i s craft include

images o f Cod Dasavathora (ten manifestations of Cod)

Rma Pattabhisheka (Cod's coronation) e tc .

The raw materials used by the craftsmen of

Kondapalli toys are "tellopunki woodu (sof t wood),

tarnarirld seeds, cslours, paints, gum, h i t a t i o n gold

l ea f and nails , A 1 1 the ~ B W materiala (411'6 10ca1Iy

available. The t o o l s used are simple and include sledges,

cwborandw stone grinding maehhes,

: The process takes six t o ten

days inc luding the period taken for a r t i f i c i a l sensoning

of wood. The first s tep in the manufacturing process is

the cutting of wood in to required sizes; a triangular

piece is cu t from large blocks according t o the s ize of

the toys required. These pieces are subject t o a process

af slow heating w i t h the aid of saw d u s t t o eliminate

moisture. F i r s t , the main f om i s carved out with the

help of a sharp ohisel and the surface is f i l ed and

f ix tures like hrudg, f ingeru, ears, nose etc,, are

joined to the main body with an adhesive paste made of

tamarind seeds. The paste also serves t o se t r i gh t

m a l f o m a t i o ~ 'Phe m ~ ~ n d step i s the applioaticn o f

l i g h t glue which is followed by a process of drying.

The l a s t step, which involves considerable s k i l l , is

the f in i sh ing and paintings o f the toys in suitable

colours, The craftsmen use o i l and water colaws for

paintilab: the toys, "I

The chief raw materfaLs required f o r Lhfs

craft are woollen yarn, cotton yarn and dyes. Besides

a%Z these, soda ashl sulphuric acid and a nurakr of

chemicals are also used in carpet manufacturing. Wooden

looms are used as primary equipment. The t o o l s used in

t h i s craft are punjas and scissors,

: 'Llhe mandacturhg process of

woollen carpets runs i n continuous stages. First , t he

saw wool Ss carded and the carded wool i s dyed in capper

vessels a t very high temperature. The dyeing woollen

yarn is put t o solar heat f o r a while. U W ~ W t h i s ,

1. Narender, "The Toy Maker of K o r l d o ~ ~ a L l i ~ , lrldian Express, Bangalore, May 6th9 19909 p.4.

the woolLon yarn is t w i s t e d up and down oontinuously.

If it is not done so, there is a danger of dye off,

Seconuy, the wrapping procesa is done in whioh catton

ya rn of six t o ten counts is used, For this pwpctje,

waft process woollen yarn is used. Thirdly, the wrapped

yarn is f ixed by lavers. They vary in length from 4' t o

401. L a s t l y , a f t e r the completion of the foregoing

stages, ths craftsmen starts weaving, In the process,

a knife is used t o cut the woollen y a r n a f t e r knotting

it in the warp, A n inst ent by name $PmJAB is used

t o s e t the kno t s in the order, A t the end, scissors

are used t o cut the p i l e s to ensure even f in ish ,

'L'he princ9pal saw r n u t e r i a l ~ unad in tho manu-

facture of cot ton durries include cotton yarn, eolours

and chemicals, TQQLS and. equipment are siralllas do

those used by h loom weavers, Cotton durries are made

on both horizonteab and ve r t i ca l looms, CsaLsmen in

'this c r a f t are p r i ~ n a r i l y weavers.

: Uurries ar shakranji" are

mmufactured with co t ton , 2ke manul"acturing process of

co t ton dursies is s9mi2ar Lo tha t of handlooms weaving,

The designs of temple boarders are adopted in the process

of high qua l i ty durries. Mostly, t h e size of the cotton

dwr ies varies from 4" 6' x 9 ' .

Raw materials used by t he craftsmen a re gada

cloth and c o l o ~ s . The colours are prepared by the

craftsmen. The bloclta which aro used f o r p r i n t i n g on

the cloth are made up of t e a wood. Blocks with designs

are prepared by. specialised wood c

: The c lo th is first bleached t o

an indigenous process, then soaked in a m y r o b l a n solu-

t i o n mixed with fresh buffalo milk, the later t o prevent

ng, The ou t l ines consfsting of floral

patterns, mimals, birds ete,, are printed An black and

red, The cloth is wasl~ed in running waster before sun-

r i se , then slaschsd, a d the w a x process dona with the

Kalam (pen) made of an iron l oop attaohed to one end o f

a barnboo s t i c k , while %he loop is covered by a thick pad

of human hair secured by a string, whfch absorbs the

molten wax when the Kalm is dipped i n t o it. The crafts-

mexl make the wax run down the points of the Kalam by

pressing the pad gently t o cover a l l the required areas

excluding those thht hove t o be t i n t ed blue. The waxing

is generally done by women. The whole cloth is then

dipped i n the blue indigo dye and the xx?moved by

boiling. The other colours are next applied a t the

appropriate places, with a small Kalam made of a bamboo

st ick with a piece of f e l t attached to b l o t back a Y

oxcean dye that mw spout. Aftar nn applicat ion o f

alum s o l u t i o n the co lours are pemanerrtly fixed, then

ing water f o r two days and d r i e d over

water weeds, to add brightness ard pol i sh . 4

The wortant raw materials used by t h e crafts-

men are lacshell, lithaphone, soap stone, boroze, colour

md nagina, The maira tools and equipments are wooden

rods over wklich %he laclc paste is stuclr, a hearth, force

blowing pipe, pot f o r heating glass dimonds,

: The manufactusing process f o r

beaded bangles is fascinating and commancing with sett ing

of a p a i r of p l m beangles on a frame, Later l ac is

applied and the required shape is attained with t h e use

of heat. The stage consists o f applying s i lver ar gold

paint to be followed by the fixing of cut or round i m i -

t a t i o n glass pieces, 2

The craftsmen usually carry on their occupa-

t i o n in t h e i r residence, because they can not afford t o

maintain n separate building f o r production. WLken asked

1 . All India tlandicrof ts Board, "Indian K~lamkar i '~ , (Brochure), The Development Commissioner f o r Handicrafts New Delhi, 1978e

2. Upadhyay , M.N., "Handicrafts of Indiaa, Op.cit., p.71.

tho respondents whether they hove t h e i r mitn in their

-house o r in a separate building, as many as 260 respon-

dents (92.86 per cent) have said t ha t they have produ-

c t i o n wit kn t h e i r residence, While the rest have said

that they hove their production unit in o separate bull^

ing ,

Location of t h e Unit :

Handicrafts are located both in rural and.

urban areas, Such crafts as sheelmetal , miniature

bronze icons, lacquemare toys, wood carvings, painted

wooden/Kondapalli toys, are located in rural areas.

Wxeseas t h e craft6 l i k e imi ta t ion jewellery, woollen

p i l e carpets, cotton durries and stone-studded bangles

are located in usban areaso h e n asked the reasons for

select ing the locat ion, the respondents have sa id the

availability of raw materials, native place, availabi-

lity of sltilled workers and proximity t o m a r k e t are the

reasons as presented in Table 6.1. As many as 92

respondents (j2.86 per cent) have soid t h a t the availa-

b i l i t y of maw material is the reason f o r the selection

of the location. Over 30 per cent (85 respondents) ha1

mentioned tha t the present locat ion is t h e i r native pl '

More than one-fourths of respondents (26.07 per cent)

have selected locat ion because o f the avallabili'cy of

!-i -4J k 0 O H

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skillad workers. The r e s t (10.71 per ccrnt of tlle

respondants) have i%~id that they have chosen the loca-

t i o n as 9% near t o the market to sell Lhair f i n i s h e d

products,

Craft-wise mdy3is, over one-thlrds of respone

dents (37.50 per cent) of metalware crafts chosen the

Location because of the avai labi l i ty of s k i l l e d workers.

While 32.50 per cent of respondents have selected the

Location because o f native place. In case of woodware

crafts, majority of the respondents (73.75 p e r cent)

have selected the locat ion basing on the avai labi l i ty

of raw materials. About half of the respondents (48.89

per cent) of textile crafts have mentioned t h a t native

place is the reason P o r the selection of the location,

In the miscellaneous category a mador i ty 0% the respon-

dents (66.66 per oent) have expressed that proximity t o

market is the season f o r the selection of the present

location. Thus, most of the respondents have ci ted

avai labi l i ty of raw rnateridls, s k i l l e d workers d

proximity t o market are the reasons f o r the selection

of t h e present location,

The production of handicrafts is carried out

by tools and equipment and p a r t l y by hand. In an enquiry,

it 1:i forlntl tllrrt 160 raupotldt.xlt3 (5'/:14 par cent) in

the sample are carrying on production operatiorls pert ly

by hand and pa r t ly by machine in such crafts as imita t ion

jewellery, sheet metal, miniature bronze icons, lacquer-

ware toys, woollen p i l e carpets and cotton durries.

Whereas 120 respondents (42.86 per cant) have been

carrying on operations by hand in such crafts as wood

carvings, painted wooden/kondapalli toys, kalamkari

p r i n t s and stone-studded bangles, In these crafts the

crdtsruen are not using any machi~lory in the production

pCOCeSSe

To reap the benefits of c o a t of production,

coupled with increased production, it is necessary to

develop suitable machinery for the h a d i c s a f t s , The

Regional Design and. Technical Uevekopment Centre,

B a ~ a l o r e can work i n t h i a directiono However, care

must be taken that mechanised process does not disturb

the originality and tho a r t i s t i c value of handicrafts.

Source of Raw Materials :

Rsw materials Tom an inLegral part of any

product. Products cannot be made without raw ioateriols.

Craftsmen obta in required raw materials from such sources

as suppl ier / local r e t a i l outlets, mastercraftsmen, dealer

and co-operative societies. The different sources of raw

materials purchased by the respondents i s presented in

Table 6.2. Over f i f t y per cent (141 respondents) of

respondents have said that they are purchasing raw mate-

r ids from suppliers/locel re ta i l outlets. he other

sources of raw materials s purchase are co-operative

societies (22.50 per cent), mastercraftsmen (17 .I4 per

cent) and dealers (10 per cent). Ma J o r i t y of the reapon-

dents in woodware (75 per cent), metalware (47.50 per

cent) and tex t i les (42.22 per cent) have said t h a t they

are purchasing raw materials from suppliers or local

re tai l ou t le t s , While U3,33 pear ~er l t of rssporlclerats in

miseel2meous category are purchasing rw materials f r m

dealers. Thus, the suppl ier or local retail. o u t l e t s are

are a e maf n sowees of saw materials fo r metaware,

woodware and texti le crdts . While d e d e r s are the main

sowce of raw material f o r crdlsmen in miseellaneow

group.

The incidence of craftsmen buying raw materials

d i r e c t l y from the suppliers/local, r e t a i l o u t l e t s i~ high

in the case of lacquerware toys, painted wooden/~ondapalli

t o y s and Kalamkari p r in t s . The incidence of dependence

on r~lnstescraftsmc~n f 'or raw rnateriahs i s rrlore i n the Gas@

of imitation jewellery, wood carvings, and woollen p i l e

carpets. The dependence on the dealer is more in the

cace of stone-studded bangles. The degree of dependence

on co-operative societ ies is found to be more in t h e

case of sheetmetal and cot ton durries.

Wrchase of Raw !laterials :

The frequency of purchase of raw materials

depends on the nature of t h e production activity and the

f fnancial a b i l i t y of the craftsmen. An attempt i s made

to find out how frequently craftsmen in different c raf t s

pwchase raw materials,

Table 6.3 shows frequency of raw materials

purchase. Over one-thirds of the respondents (34.20 per

cent) have said t h a t they purchase raw materials once in

a month, T h i s type of pracucc is Pound in case o f imita-

t i on jewellery, sheetmetal, wood oamings, woollen p i l e

carpets and kalamkari prints. As many as 89 respondents

(31.79 per cent) have s a i d that they purchase raw mate- &

r i a l s once in a f o r t n i g h t . %bid, is extensively found in

imitat ion jewellery , sheetmetal, miniature bronze icons,

lacquerware toys, painted wooden/~onclapalll toyo, cot ton

du r r i e s , and kalomkari pr in ts . Over one-fourth8 of

respondents (27.50 per cent) have revealed tha t they

purchase raw materials once i n a week. This practice

is widely prevalent among the respondents belonging t o

miniature bronze icons, lacquemare toys, painted wooden/

Kondapalli toys, c o t ton durries and s tone-s tudded bangles.

0s OD0 W a

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Iiowever, 18 resporrdent 8 (6.43 par cent) are purchacing

raw materials daily. This practice i s found in t h e case

of lacquerware toy8 (only one respondent) and stone-

studded bangle s,

Craft-wise, most of the respondents i n the

metalware group (42.50 per cent) are puchasing raw mate-

r i a l s once in a fort night. While 40 per cent of responq

dents i n the woodware group are hying raw materials

fo r tn tgh t ly . About 45 per cent of tile respondents (40

respondents) in the t e x t i l e s group ore buying once in

a month. However, a majority of the respondents (56.67

per cent) in iniscellnneous category, ore buying raw

materials daf ly,

lt)y and Large, over one-thirds of the t o t a l

respondents are buying raw materials once in a month.

While the rest purchase raw materials fortnightly, or

weekly or dai ly ,

Generally, businessmen purchase raw materials

e i the r by cash o r on cred i t basia. In order t o find

o u t t i l e moda of' purchase of raw materials by craftsmen,

a question. "How do you purchase raw materials" has been

asked and the responses are shown i n Table 6.4. AS it

can be seen from the table that half of the respondents

(4% 64 per cent) hxve said that they purchase raw mate-

r i a l s from their sources in exchange of finished goods.

While 102 r@sp~nd@nts (36.43 per cent) have said that

they buy r a w material8 by paying cash immediotaly. While

32 respondents (4 1.43 per cent) have revealed tkat they

are getting m w materials on the bas is of p a r t l y cash

and pa r t ly credit. The rest (2.50 per cent) have

mentioned that they a r e obtaining raw materials on credi t

basis ,

Craft-wise, a major i ty of the respondents in

metalware (52.50 per cent) , text i les (57.78 per cent)

a d miscellaneous group (83.33 per cent) have said that

they a r e getting raw materials in exchange of t he i r

finished goods, Wile 47.50 per cent in each group of

metalware and wosdware have egressed t h a t they are

obtaining raw materials on cash basis,

Thus, it is understandable from the above that

a ma3osity of t h a sesporlderr.ts in nlmoal; all .the c r a f t 8

except in woodware crafts are obtaining raw materials in

exchange of finished goods. While 4'7.50 per cent of

respondents in woodware craf ts are purchasing raw

materials for cash,

A n attempt is made t o know the source-wise

purchase and mode of Q c q ~ i r i x raw materielsr Out of

141 respondents are buying raw materials from suppliers/

local retai l out le ts , 102 respondents (72.34 per cent)

are buying raw materials on payment of cash, 32 respon-

d e n t ~ (22.70 per cent) are obtaining raw materiels on

the basis of pa r t ly cash and p a r t l y aredit. Seven

respondents (4.96 per cent) are ge t t i ng raw materials

on cred i t basis from suppliers/local re ta i l out le t s .

Those craStsaen who are p u s c h a s i e raw olater ids from

nastercraf t smen (48 respondents), dealers (28 respondents)

and co-operative societies (63 respondents) are getting

saw materials i n exchange of t h e i r 9 in f shed good3 r

Therefore, the respondents who are getting raw

materials from supplier/local re ta i l o u t l e t , are having

the payment of cash, credi t and partly cash and p a r t l y

credi t as the mode of purchase, While the respondents

who are g e t ti% raw materials from mastercraf tsmen,

dealers and co-operative soc ie t i e s are obtaining raw

materials on Lbs basis of f in i shed goods,

* *

The craftsmen face some problems in obtaining

raw materials. When asked "Are you facing m y problems

i n ob tulnint; ruw mwler.LttlnN, 162 ran1)nralollta (l;~.n6

per cent) have replied in af f imi t lve . When asked about

the specific problems faced, out of j62 respondents who

are Pacing problems (Table 6.5), 62 respondents (38.27

per cent) have expressed tha t i r regular supply of raw

materials from different sources i s t he i r problem. About

one-thirds of the respondents (52 respondents) have

stated that high cost of raw material is t h e i r problem.

While 27 respondents (16.67 per cent) have felt that

low quality of raw material i s t h e i r pro blern.

Craf %-wise, moat o f the respondents (44 p e r

cent) in metalhiare group are f a c i m the problem of

i r regular supply, While over one-third6 of the respon-

dents (16 respondents) in woodware group are facing the

problem of' high c o s t of raw material, In t e x t i l e s group,

23 respondents (46 per cent) are facing the problem of

i rregular supply of raw materials. Similarly, in misce-

l laneous category, one-half of the respondents (eigh.t

respondents) are facing the problem of irregular supply

of raw materials,

Thus, a majori ty of the respondents are facing

the problems of irregular supply and high cost of raw

materials. The problem of i r regular supply of raw

materials i s more so in metalware and textiles crafts,

Therefore, it is suggested tha t the Government

tllrough its ogerloiea ~ h o u l d supply raw a n t e r i o l ~ t o tire

artisms i n a l l csafts, Andhra Pradesh Wandicrdts

Development Corporation should open 'raw material depotsg

in a l l craf t centres f o r the regular and uninterrupted

supply of raw materials a t a seasonable cost, So that

may be able t o reduce the cost of production.

The administration of t h e existing raw material depots

m a y be s t rewl ined to ensure t h e i r smooth andi effective

Sunctfoning,

The value a f raw materials conawed i n d i f f e r en t

crafts may di f fe r as it depelncas on the nature sf product

and c o s t of raw material, Therefore, an attempt is made

Lo know the total v a u e of raw materids ~onsumed by

di f fe ren t crafts under study. St can be observed f rom

Table 6,6 t h a t a l i t t l e over k, 48,32 Lakhs worth of raw

n~c~tc~l-icnla heave b ~ ? @ n C O I ~ S I U I I ~ ~ d \ ~ x * i ~ ~ & 1989-90 by ulL the

craftsmen in a l l the crafts, This works out t o an

average of ilr.16,713 per each respondent. It is evident

from the table tha t raw materials worth of Ba23,11,500

bas been used f o r textne c r d t s , On an average, each

craftsmen in t ex t i l e crafts has spent [s,25,683 on raw

materials. Woollen p i l e carpets has recorded the highest

TABLE 6,6

VALUE OF KnW WTEFUCALS CONS DURING 1989-90

Nme of the craf t T o t a l Average pe r value craftsman

Rr , Rs* ...........................

Imitation Jewehlery 7,1Ip000 25 , 390 Sheet Metal 4,27,000 151250 Miniature Bronze Icons ,56,000 6rWo

Lacquerware toys 2,74,500 9,150 Wood Camings 3,'18,000 1 0,600 Painted wooden/ Korldapallli Toy a

TEXTILES ;

W ~ o l l e n Pile Carpets 32,60,000 42,000

Cotton Dusries 7,66,500 25,550

KaLmkwi Prints 2,859000 9,500 ...... .DII I I I .L~I I I

Tota l 23911,500 mII Iwo.- .LIm

25,&3 ...... MISCELLANEOUS :

Stone-studded Bangles 4,98,400 16,610 Sil..eL(--.---- u-lD---

Total h,98,400 16,610 ...... wmIl)w*.*)..).LI(..

Grand Total 48,32 200 16,713 ...........................

Source : F i e l d Survey,

t~vek*uge per c~aftwlnwl (fb.42 ,~009, Au lag* uu matulw u1.u

c raf ts are concerned, raw materials worth of k.12,94,000

has been spent during W89-90. Imitat ion jewellery has

an average of Rr. 25,390 per craftsman. The t o t a l worth

of raw materials used in woodware crafts is comparltively

low. As a resul t , i t s average per craftsman is as low as

ls,8,847. The craftsmen in stone-studded bangles have

spent b. 4,98,400 on raw materials. Thus, it is clear

from the above t h a t craftsmen in t e x t i l e crafts have

spent more sn raw materials than t h e craftsmen in sthes

groups. Each craftsman in woollen p i l e carpets on an

average has spent k. 42,000 on raw material. However,

i t Is as low as ils, 6,500 in miniature bronze ioons.

The produclion value includes the cos t o f

mal~rials , c o s t of labour and miscellaneous expenses,

Value of t o t a l production during 1989-90 is shown in

Table 6,7, A l i t t l e over k.75.82 lakhs worth of pmducts

have been produced by all 280 respondents in different

c ra f t s dur ing 1989-90, In other words, on an average,

each respondent has produced handicraft a r t i c l e s worth

of ilr. 25,971. I t can be observed t ha t i n crafts l i k e

imitation j e w e l l e r y , woollen p i l e carpets, cot ton durries,

the average production has been above the ove ra l l average;

while less in fie case o f sheetmetal, miniature bronze

icons, lacquerware toys, wood carvings, painted wooden/

~ o n d a p a l l i toys, kalamkari prints and stone-studded

bangles

An attempt is made t o know the material cost ,

component and conversion cost component ( labour end other

expenses) i n the total coat of production of craIts under

study. As it can be seen from Table 6,8, the material

cost for a l l the crafts in the t o t a l production cost is

63.73 per cent (b.48,32,200). The res t of t he amount in

the t o t a l cost of production is spent on cornersion cost

which includes labow cost and other miscellaneous expenses,

Craft-wise , the percentage of material cost , i n t o t a l c o s t f o r each craf t has varied from 45 per cent

t o 77 per cent. The cost of material in t o t a l c o s t is

found t o be more (71.21 per cent) i n text i l e crafts. It

is Inore than three-fourlhs in woollen p i l e carpets and

co t ton d u r r i e s , regarding stone-studded bangles the

moterial c o s t is 70 per cent i n total cost o f production.

As f a r as m e t d a r e crafts are concerned, the material

cos t i s 57.48 per cent ($. 12,94,000) in total cost. In

case of imi ta t ion jewellev and sheetmetal crafts, over

60 per cent in t o t a l cost of production is material cost .

The material cost is jus t below 50 per cent in woodware

CLULFT-W ISE UTSTRIBUTION OF PRODUCTION COST, bNTEERIAL COST AND CONVERSION COST

m e - m w - w c . - - = - " - ~ - - - ~ - ( b L . p . o c L s m w . s

Name of t h e craft Cost of Cost of Total cost materials convar- of produ- sion c t i o n

FPFI h, - ~ ~ ~ - - ~ - ~ - ~ - w ~ m ~ m ~ ~ ~ ~ ~ ~ ~ m m ~ ~

WTALWARE 2

Imi ta t ion Jewellery 7 551400 10,66,400 33.33) ("101

Sheet Metal

Miniature Bronze Icons ?

~ - 4 W ~ Q 1 1 - W - ~ ~ - W - W e ~ L I I , ( I ~ P I w * . . ~ W ~ . I O

T o t a l 32,94,000 8,23,400 21,97,400 m-w- ~ m o 9 w - ~ - " 1 ~ ~ ~ m 1 O D . . . I t r . I . 3 ~ I ~ w - ~ ~ Q . I

WOODW O . Lacquerware Toys

Wood eawiws

Pairltod woodan/ Kondapalli Toys

Total 7,28,300 7,79,000 15~~Q7~300 ~ - C ~ ~ ~ - ~ ~ - - - - ~ - ~ I ~ L ~ ( L O - - P - - - - . D - P -

Z'EXTHLES z Voollen P i l e Carpets 12

Cotton Dwrfes

K a E a k a r i P r i n t s

m w - m r - c m ~ ~ @m-a- -wrne - - -~aw-wmrn~m

Total 23,11,500 9,341600 32946.100

MISCELLWEOUS :

Stone-studded Bangles 4

Total 4,98,400 2,13t600 7912poOo Grand Total 48,32 000 2 7 ~ 5 0 p 600 75 ~ 8 2 9 8 0

I - m ~ m m ~ m - w ~ - M b - m - W L - - - - - - - - -

Source : Field Survey,

crafts. Thus, on the whole, the percentage of material

cost in t o t a l cost is over 60 per cent. It is the

highest in texti le c r d t s , particularly in woollen p i l e

carpets and cotton dwries.

To sum up, it is a well-known fac t that the

a r t i s a m i n t h e handicraft industry ore f inanc ia l ly poor

and socially bacltward. It is observed even in the study,

t h a t a major i ty of the craftRmen are poor, I-lence, they

are depending on mastercraf tsmen, dealers, and other

middlemen f o r t h e i r raw m a t e r i ~ l s , The Goverment is

no doubt , encouraging co-operative societies in di f fe ren t

crafts f o r .the b a n o f i t of respective uoc ie t l eo which are

dominated by the mastercraftsman (r ich artisanra) and

local p o l i t i c i a n s . It is high time to pay h e d i a t e

a t ten t ion t o solve many of the problems facing the

industry. Because a large number o f people are depending

on the handicrafts for t h e i r bread and butter. The

Government should come forward t o u p l i f t t h e poor artisans

i n d i f fe rent crafts. Though, the Government of India and

the Coverllnlent of A n d h r ~ kyodeoh are do i n & neverel t h ingu ,

but, unfortunately, the fruits are grabbed by the middle-

men. Hence, it is necessary t o eliminate the middlemen

by establishing direct channel between the Government

and the artisans,

It i s observed t h a t artisans are depending

mostly on the dealers, t he maslemraftsmen and the cs-

operative sociaties $ o r t he i r inputs. If suitable

steps are taken t o curtail the aver-dependence cn the

afore mentioned by providing inputs direcLly Prom

suppl ie r /ou t le t s t o the artisans. There is every poss i -

b i l i t y t o r e d u ~ e t h e material oost , the middlemenq B

exploitation e t c , Hence, it is suggested t h a t raw

naateriaL sales depots be establishred by the Goverment

with suitabla credi t f a c i l i t y , While selling raw mate-

r ia l s , care must be taken that the acLuwE user should

o d y be benefi t ted, For that purpose, ident i f icat ion

cards may be issued t o the artisans. If the raw mate-

rials are supplied at concessional rates, the cost of

production w i l l be low and ultimately the price of the

finished pmcEuct w i l l also be low*