kala raksha vidyalaya
TRANSCRIPT
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THE POOR AND THE PRIVATE SECTOR
PUBLIC PRIVATE COMMUNITY PARTNERSHIP
CASES FROM THE FIELD
CASE II: Kala Raksha VidyalayaEducating to Preserve the Old by Creating the New
Published by
ACCESS Development Services
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What is a SOCIAL ENTERPRISE
Social enterprises are organizations whose missionis to bridge social opportunity into sustainablereality innovatively, effectively and efficiently.
They shift the future for the better by innovatingsocial solutions to solve human development
problems whether in poverty, hunger,
environment, human rights, education, politicalfreedom and other important issues.
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They focus on the sustainability of their solutionsby generating strategic value to their stakeholders,
which have measurable
Social/environmental/economic outcomes for
their beneficiaries.
They develop strategic fit as well as social return
on capital that match their donors/investors
preferences and, in many cases, earning incomefrom STAKEHOLDERS products and services.
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Social Entrepreneurship Is about
Innovation and Impact, Not Income
We have seen that the function of
entrepreneurs is toreform or revolutionize the pattern
of production . .
Joseph A. Schumpeter
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FLOW OF PRESENTATION
1. The problems(opportunity)
2. Vision and mission3. Theory of change
4. The solution
5. Social impact6. The team
7. Target Market
8. Partnership (PPCP)
9. Risk & Opportunity10. Implementation Plan
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COLORS OF KUTCH
Kutch is blessed with rich and vibrant tradition of Handicrafts- known for its nutcrackerspenknives, embroidery, batik work and bandhni (Tie- Dye) .
There are about 16 different types of embroideries done in the Kutch region, but the
most well known one, with its chain stitches and countless mirrors, is the Rabari
embroidery.
Out of total 136 industrial cooperative societies, 71 belong to handicraft.
ww.vibrantgujarat.com
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DESIGNING A FUTURE FOR
KUTCHWEAVERS
Ms. Judy Frater , American anthropologist
Researcher had come to Baroda 1970,
she saw a bundle of RABRI ART lying in a cart thatchanged her life.
Her quest led her to Kutch, to the salt-marsh village of Bhujodi near Bhuj.
It took her a couple of decades of living with the Rabaris to find theanswers, which form the basis of her 1995 book, Threads Of Identity.
Realising and Troubled that rabari art was declining
Decline in the demand for traditional articles for consumption
Reduced availability of raw materials
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Set up a project called Kala Raksha in 1990 with ten rabari women to
find a market for their work without commercialising it.
In 1993, it was established as a registered society and trust.
The group started to make high-quality pieces of embroidery for the
Indian market and for some foreign buyers.
As the art gained popularity and earnings grew, more local artisansjoined
Today, it has nearly 1,000 embroidery artisans in suf and kharek
embroidery styles, of seven ethnic communities from 13 villages .
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KALA RAKSHA
VIDEO PART 1
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VISIONKALA RAKSHA means "Art Preservation."
The Trust aims to preserve traditional arts of the region by makingthem culturally and economically viable.
Trust activities are artisan driven.
The Trust provides training as needed to make this possible.
KALA RAKSHA encourages community members to work together
toward the goal of self sufficiency.
Generating income through their traditions, community members
can realize their strengths and maintain their identity as they
develop.
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Genesis Of The Problem In FY 03-04, KR could register sales of only Rs55 lakhs against a
targeted sales of Rs65 lakhs
Emerging globalised markets, business of traditional craft hadundergone tremendous changes.
Market-driven professional design has become an essentialentity that is separate from the production of art.
Because traditional artisans rarely gain access to contemporaryformal training in design Due to their social and financial barriers, the artisans are often
reduced to mere labourers, both in terms of income and socialstatus and social mobility is limited by their low education ,irrelevance and unawareness
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TWO-PRONGED STRATEGY
1. Revitalise the traditional arts as a viable livelihoods option
2. Adapt the traditional form of art to the taste and preferences of
the new clientele that is urbane, sophisticated and a connoisseur
of art.
And to facilitate this relationship to the new market, and to maximize
their earning through craft on a long-term basis, Artisans mustlearn to innovate, diversify and improve their work that is in sync
with the new market
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SOLUTION
Education must address and interlink understanding of
traditional crafts, contemporary design input, and marketing.
KALA RAKSHA VIDYALAYA (KRV)
was started by KR in November 2005
VIDEO Part 2
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KALA RAKSHA VIDYALAYA
The school is unique in its environment, curriculum content and the
pedagogy adopted.
The focus is on disseminating knowledge and skills that can be directly
applied by the artisans to their existing heritage-base and foster
innovation suitable to contemporary markets.
With a permanent staff strength of 9 people, the Vidyalaya is operating with
three departments: Administration, Building & Ground, Accounts.
The students at KRV undergo various courses in which they learn theintricate aspects of colour, design, costing, merchandising, etc.
The curriculum is designed as a hands-on course for practising craftspeople
and focused on preparing them for the marketplace.
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RATIONALE AND STRUCTURE
The curriculum is designed as a series of modular classes which are
conducted over a period of one year in a residential local setting.
Established links with premier Indian design institutions like
National Institution of Design (NID),
the National Institute of Fashion Technology (NIFT),
Srishti Design Institute
Indian Institute of Crafts & Design (IICD)
Faculty from NID and NIFT are advisors in establishing Kala Raksha
Vidhyalaya.
Visiting faculty from the Fashion Institute of Technology, NY, and the
Rhode Island School of Design to develop the basic curriculum for
Kala Raksha Vidhyalaya.
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COURSE CONTENTS
Every student works toward creating a final collection that isdisplayed and evaluated by a jury panel of experts, and ultimately
available for sale in a public Mela.
The six modules (called Sessions) spread over a one-year period areSession 1 : Colour : Sourcing from Heritage & Nature
Session 2 : Basic Design : Sourcing from Heritage & Nature
Session 3 : Market Orientation : Concept & Costing Techniques
Session 4 : Concept, Communication & Projects
Session 5 : Finishing & Collection Development
Session 6 : Merchandising Presentation
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SOCIAL ENTERPRISE MODEL
Making Markets work for the Poor
An Innovative Model Artisans cannot leave their homes and profession - livelihood-
sustenance pressures.
A residential programme- series of workshops , conducted in
short periods of two weeks spread over the year
Artisans are paid a stipend of Rs1500 per student per session- No
risk involved
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SOCIAL ENTERPRISE MODEL
Making Markets work for the Poor
In first session, the male participants were convinced of its utility,
second year, the male students attended on a no-stipend, no-fee
basis.
In the third year, men were asked to pay a fee of Rs10,000 that
was fixed by KRVs
For women, craft is still largely a wage earning activity rather
than independent business opportunity. for the first 5 years
women participants will be members of KR and after that stipend
of Rs750 per session
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Public-Private-Community-Partnership
KRV was started with generous funds from the Development
Commissioner Handicrafts, Govt. of India, (DC-H);
Private funding agencies like the
All Together Now International,
ArtVenture (now ArtAction), Bestseller Fund,
COMO Foundation,
Eileen Fisher Project Marigold,
UNESCO and a host of private donors.
The cost of training per artisan student works out to be Rs110,000
and all artisans till recently were sponsored from these grants.
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SOCIAL IMPACT
KRV is a design school for revitalising the ethnic art form of mostly the
marginalised groups like the Dalits or pastoral nomads, the Jats,Rabaris, Meghwals, the Mutua, all different Muslim maldhari groups.
Each community has its own distinctive style of embroidery, like suf,
kharek and paako. KRV also works with male weavers, printers and bandhani artists.
Learning is mutual where the elders experience help the younger ones
to grasp new concepts and the enthusiasm of the younger ones inspirethe older ones to look around for new designs.
Between 2006 and 2010, 52 women graduated from KRV year long
course in design education.
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A SUCCESSFUL LIVELIHOOD INTERVENTION
Building Local CapacitiesThe talent of the Kutchi artisans was always globally acclaimed and hasbeen passed down as a legacy over generations. But it was little
realised by the artisans. KR gave them the belief that there was indeeda market demand for their ethnic creations and it was possible to make
out a living being an artisan.
Existing talent base was raw that needed polishing to make a cut in themarket.
KALA RAKSHA VIDYALAYA ARTISAN DESIGN ASSOCIATION
Only income generation cannot foster development.
Communities must also learn to productively use their income.
They must be made aware of their choices and capabilities.
A community centre built and KRVADA formed.
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PACKAGE Not just restricted to solving the economic aspects of Artisians
Besides income, the health and education concerns of its associated
artisans. the curriculum was integrated to include Preventive Health Care and
Basic Education Programmes for the students.
This coverage on nutrition, hygiene, economics and managementempowers their participation in the programme.
BRIDGING THE DIGITAL DIVIDE New technology is an important component of the design
KRV has established links with premier design institutions like NID, NIFT,and many others to provide technical inputs to its artisans
SOCIAL IMPACT- MOVEMENT
The artisans have slowly started to realise the difference betweenskilled and unskilled labour and the importance of designs as a
means of cultural distinctiveness.
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RISK- Issues in Scaling up
INTERNAL ISSUE
Both KRV and KR have been extremely
slow in scaling up.
KRV does not believe in working for
the artisans, it is an institution to work
WITH the artisans.
Working in close connection with the
associate artisans has meant slow
expansion for KRV.
Formed primarily as an educational
institute of its parent organisation KR,KRV does not generate any income.
Running the institute remains a major
financial challenge.
EXTERNAL ISSUE
Facing problems on in marketing of
traditional handicrafts
In the business of craft selling,
competition, creating value, quality
consistency and proper supply chain
coordination are the key management
challenges
KRV is also facing the threat of
relocation from two leading industrial
houses that have been approved of
setting up coal-based ultra megathermal power plants in close vicinity.
An uncalculated loss to the artisans in
case KRV is forced to move or shut shop.
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IMPLEMENTATION
WORK ON FINANCIAL CHALLENGE KRV
MARKETING PROBLEM- KR
THREAT OF RELOCATION
PRESERVING THE CRAFT & ARTISANS
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KRV
Build partnership with NID, NIFT, Srishti DesignInstitute & IICD
KRV a Residential program- make NID, NIFT studentscomplete one course of KRV.
Networking of students with traditional/ruralartisans
Students planning to become an entrepreneur cantie-up with the desired artisan they worked with.
Trained and professional rural artisans can visit such
institutes and take workshops on traditionalknowledge on crafts .
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ACCESS TO ONLINE MARKETING
KALA RAKSHA products are sold through
Shops at hotel ilark in bhuj, Rann riders in dasada,
Kala raksha trust, Retail customers at exhibitions held outside kutch,Online orders
Only collaboration with EQUAL CRAFTS
NEED: Availability of products in multiple best selling sites of India like-IndiaCrafts.com, nethaat.com, Handicraftsindia.com etc
Making rural products reach modern urban markets
Links with- FabIndia, Megamart, DelhiHaat, Taj hotel group'sKhazana boutiques, Kala Madhyam supports traditional (folk andtribal) Indian artists and artisans, Dastkar Mela etc.
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DIVERSIFY INTO MORE PRODUCTS
Kala Raksha Products
Purses & Handbags
Shawls & Scarves
Cushion Covers
Table Linens
Wall Hangings
DIVERSIFY
Apparels Sarees, Suits, Kurtis and traditional dresses
Franchise should be opened in metro cities.
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GALLERY
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