The Green Gold : Bamboo Craft of Goa

BAMBOO CRAFT OF GOA the green gold

Copyright Š National Institute of Fashion Technology, Mumbai 2019 All rights reserved No part of this book will be reproduced stored in a retrieval system or transmitted in any form by means of electronic mechanical photocopy recording or otherwise prior permission from National Institute of Fashion Technology except by a review/ reader who wishes to quote a brief passage in connection with paper review/ essay written for inclusion in periodical, newspaper or broadcast.

DECLARATION We hereby declare that the information given in this document is authentic and the copyright to reproduce this document in the form is reserved to National Institute of Fashion Technology, Mumbai. The diagnostic study was conducted between 08/10/18 to 15/10/18. The information is valid for year 2018-2019.

Submitted by: Khyati Garg Manvi Mehta Pranjal Gogoi Shivani Patil Sunayana Dash Batch - 2016-2020 Semester 5, Fashion and Lifestyle Accessory Design

PREFACE The range of diversity in living traditions in handicrafts and in textiles in India is breathtaking and it has been an ongoing effort in NIFT to document and showcase that knowledge and to impart to its students a heightened understanding of the legacy and technical skills of the multitudinous Indian craft traditions. This effort has gained a fillip through the Craft Cluster Initiative supported by the Development Commissioner Handlooms and Handicrafts which has institutionalized the initiative in the curriculum of all design and management courses of NIFT so as to build on the synergies of sustained interaction with craft communities in all corners of the country. It was also aimed to give an insight into regional sensibilities, diversity, resources & environment.

Further, the intervention provided a window to us on methods to work in the crafts sector with artisans and aid them to promote themselves through various means of design & technology that they have learnt.

This project focuses on repositioning craft in industrial economy and developing new product and product range as per the current scenario applying traditional skills and materials. Products designed on this documented research captures the essence of craft with a modern sensibility.

ABSTRACT As a part of our curriculum for the subject of Craft Based Design Project (Semester V, Fashion and Lifestyle Accessory Design, National Institute of Fashion Technology, Mumbai) this is documentation of products developed based on the Bamboo Craft of Goa done by Khyati Garg, Manvi Mehta, Pranjal Gogoi, Shivani Patil and Sunayana Dash Through an in-depth study of t he processes, techniques, current scenario of the crafts and the socio-economic conditions of the craftsmen and interaction with the craftspeople, this cluster intervention sensitized the students towards the craft and the artisans. It was also aimed to give an insight into regional sensibilities, diversities, resources & environment.

Further, the intervention provided a window to the student on methods to work in the crafts sector with artisans and aid them to promote themselves through various means of design & technology that they have learned.

Bamboo is the prime raw material used for making products of various categories that includes baskets, lamps, purse, wedding ceremony gifts, hand fans. Weaving and braiding are major techniques used in the craft. There are a number of standard developed weaves such as circular plaiting, diamond twill plaiting,hexagonal plaiting which are used to create combinations for products. Project aim is is to provide base reserach for product development. Combining the weaves with different materials to increase the perceived value of the products.

ACKNOWLEDGEMENT After immense effort and diligence it was possible for the team to extract the required data. This would have been possible without the unsurpassed guidance, valuable feedback and constant encouragement by our mentor Ms. Pallabi Rani, Assistant professor of Furniture and Lifestyle Accessory Design department and Mr Sripati Bhatt ,Assistant professor of Furniture and Lifestyle Accessory Design department. We submit our sincere thanks to our Course Coordinator Mr Kumar Sudeepta, who charted this compilation and was unstinting in his support and offered constructed critique at every step.

We would like to thank all the craftsmen who very enthusiastically indulged in sharing their knowledge with us. Especially Ms. Sonali Parwar and her family for their hospitality and availability. We extend our gratitude to all the craftsmen who we have had the pleasure to work with during this cluster. Our special thanks to Mr Gopal S. Pawar and his wife Mrs. Janki Pawar craftsman from Advalpal,Goa for sharing his wisdom and experience of working in this field for the last two decades. Also we are grateful to Mr Shrikant Nair and Ms. Anita Male, Goa Handicrafts and rural and small scale industries official for his constant involvement in making the endeavour successful. Most importantly we would like to thank National Institute of Fashion Technology Mumbai for giving us the opportunity of product development for bamboo craft.

TABLE OF CONTENTS 1. Introduction 1.1 Craft Based Design Project 1.2 Background of Goa Craft 1.3 Bamboo Craft around the world

14-27 16-17 18-19 20-27

2. Data Collection 2.1 About the cluster 2.2 Product Range 2.3 Ethnicity of selected craft

28-35 30-31 32-33 34-36

3. Artisan Profile

37- 41

4. Product development 4.1 Raw Material 4.2 Tools and Techniques 4.3 Process 4.4 Product Analysis 4.5 SWOT Analysis

42-51 44 45 46-47 48-49 50-51

5. Our Contribution

52-55

Team

57

References

59

TABLE OF FIGURES Fig 1: Mario Miranda Gallery

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Fig 21: Weaved mat

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Fig 2: Bamboo baskets in Mapusa market

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Fig 22: Colouring strips in Sulphur Dyes

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Fig 3: Lamps in Bicholim Trainning centre

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Fig 23: Sonali Parwar

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Fig 4: Map of India showing states in which

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Fig 24 : Gopal S. Parwar

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Fig 25 : Janki Parwar

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Bamboo craft is practiced Fig 5 : Setting strips for weave

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Fig 26: Twill weave mat

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Fig 6: Bamboo mats in Mapusa market

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Fig 27: Bicholim artisan splitting bamboo

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Fig 7: Bamboo basket from Africa

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Fig 28 : Koita

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Fig 8: Intricate weave of China

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Fig 29 : Bamboo stripes

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Fig 9: Bamboo installation Japan

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Fig 30 : Arranging Stripes

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Fig 10: Slit bamboo lamp

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Fig 31 : Weaving

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Fig 11: Bamboo basket from Vietnam

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Fig 32 : Colouring of strip

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Fig 12: Nepal bamboo products

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Fig 33 : Weaving thin strips

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Fig 13: Assam Japi

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Fig 34 : Finishing of product

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Fig 14: Reed and Bamboo craft Karnataka

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Fig 35 : Bamboo products

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Fig 15 : Goan selling ice cream in Advalpal

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Fig 36: Basket in making

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Fig 16: Goa with love

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Fig 37 : Basket handcrafting

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Fig 17: Map of Assonora

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Fig 38 : Teammate listing details

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Fig 18: Map of Bicholim

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Fig 39: Team

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Fig 19 : Baskets and mat at Mapusa market

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Fig 40: Municipal Corporation Office Goa

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Fig 20: Mapusa Flower Market

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Fig 1: Mario Miranda Gallery

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CHAPTER 1 INTRODUCTION

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Fig 2: Bamboo baskets in Mapusa market

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1.1 About Craft Based Design Project Craft based programme for Fashion and Lifestyle Accessory Department is divided into two modules Craft documentation and research and Craft based design project. Craft documentation was completed in semester five in which, we visited cluster of bamboo craft in Goa. Craft documentation was completed in semester five in which, we visited cluster of bamboo craft in Goa. Through an in-depth study of the processes, techniques, current scenario of the crafts and the socio-economic conditions of the craftsmen and interaction with the craftsmen, this cluster intervention sensitized the student towards the craft and the artisans. Second part of the module i.e. craft based design project is conducted in semester seven which focuses on design intervention and product development.

We aim to reach out to the artisans and craftsmen at the grass root level.

The artisans and craftsmen involved in the programme will benefit through knowledge dissemination and exposure to urban markets and design intervention, innovative designs and linkages with new markets. This product development is not just a result of five students visiting goan village but the countless artisans who accepted these students as their own and poured out their hopes, dreams and most intrinsically, their craft.

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1.2 Background of Bamboo Craft Bamboo is said to be the biggest grass grown on the earth’s surface. The humans from ages have adorned Bamboo. Bamboo is used in various requirements of any kind of life on earth, from providing food for pandas, elephants and chimpanzees to being cultivated for Timber, Leaching, Culinary purpose, Medication, Construction, Textiles, Weapons, Musical Instruments, numerous traditional usage and many other uses. We find bamboo most on the Asian grounds, basically in China and India. They are around 50 genera and 700 species in Bamboo that is used, when it comes to the above-mentioned uses.

In developing countries, bamboo has been used in many traditional uses, in rural industries like handicrafts, furniture, and utensils in houses. It is also used widely in multiple industries in modern times. It also serves as an alternative to wood and other construction materials. Bamboo is also used immensely in producing pulp and paper.

Bamboo is been exquisitely used all over in Indian Craft and Culture. From variety of baskets to furniture the Bamboo craft is grown immensely. Places like Assam, Arunachal Pradesh, Nagaland, Manipur, Meghalaya, Mizoram, Tripura in Northeast India is very famous for Bamboo crafts. The tribal people, for the basic needs like knife, shelter, furniture, food, containers and many more purposes used bamboo most of the time.

Likewise in southern India Bamboo craft is trendily emerging for its durable quality, lightweight and for its leisurely handling. Bamboo’s main production is basketry; various kinds of baskets are made irrespective of size, shape and design. Other than baskets trays, mats, folding fans, screens, toys, glue, ladder, furniture, wind musical instruments and many more are made out of bamboo. Coiled basketry; Plaiting basketry; Twining basketry and Wicker and Splint basketry are different forms of basket weaving of human civilization. Baskets are used for numerous purposes like in storage; in transportation of harvests; in processing the seeds and grains; in laundry; in catering; fish traps; in commercial business of vegetables, fruits, flowers and many more. In ritual occasions also the bamboo basket is used to carry the offerings for the God.

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Fig 3: Lamps in Bicholim Trainning centre

States in which bamboo craft is practiced

Fig 4: Map of India showing states in which Bamboo craft is practiced

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1.3 Bamboo Craft Around the World EMOTIONAL CHARACTERISTICS 1.

2.

3.

4.

Elegance Integrity Plainness In traditional Chinese culture, bamboo is a symbol of Oriental beauty. It represents the character of moral integrity, resistance, modesty and loyalty.

5. Bamboo is the symbol of gentleman in buddhism. Bamboo’s long life makes it a chinese symbol of uprightness and indian symbol of friendship.

6. Bamboo symbolizes the vietnamese hometown and vietnamese soul.

7. Straightforwardness, hardworking, optimism, unity and adaptability PHYSICAL CHARACTERSTICS 1. Fast growing (91 cm / 36 in within 24 hrs) - 4 cm in an hr 2. Absence of secondary growth 3. Columnar/cylinder-formed (to some extent oval) Evergreen perennial 4. Type of grass 5. un-carbonized bamboo can as strong, hard, and durable.

6. Hollow from inside 7. High tenacity 8. Fibre length (33mm-0.12in) 9. Untreated bamboo will swell when it comes in contact with water and will crack.

10. High strength to weight ratio 11. Bamboo flowering intervals can be as long as 20-120 years.

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BELIEFS RELATED TO BAMBOO IN DIFFERENT CULTURES Several Asian cultures believe that humanity emerged from a bamboo stem. Tre Gia Mang moc - the meaning of this phrase which is in vietnamese is that When bamboo is old, the bamboo sprouts appear.Vietnam will never annihilate, if the previous generation dies the women will take their place.

In vietnamese mythological stories the hero Thanh Gong carries a bamboo cane weapon.In Japan a bamboo forest sometimes surrounds a shinto shrine as part of a sacred barrier against evil. Many buddhist temples have bamboo groves.

Countless poems praising bamboo is written by ancient chinese poets. In Khasi culture,the men prepare the bamboo split known as ka salit for cutting the umbilical cord of a baby at birth.They also use it as they believe that bamboo is skin friendly and will not cause septic to the skin. In this way, they believe that bamboo has a healing effect.

According to a myth of a tribe in northeast India all human beings descend to earth with the help of ladders. The materials these ladders were made up of were interpreted differently from person to person.

TREATMENTS AND PROCESSES Treated with borax and boric acid as a retardant and insecticide. Cutting Lamination Boiling and drying srtips Squared sections - compressing the growing stalk within a square form. Bending by the application of heat and pressure. Weaving of bamboo strips.

Fig 5 : Setting strips for weave

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Fig 6: Bamboo mats in Mapusa market

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TECHNIQUES AROUND THE WORLD In different regions, a number of plaiting techniques developed throughout time.There are a number of standard weaving patterns, out of which hundreds of combinations can be made.

Chrysanthemum base plaiting - In western japan,circular plaiting. This technique is sometimes translated as ‘bull’s-eye plaiting’ or ‘snake-eye plaiting’ Clematis plaiting, a variation of hexagonal plaiting Compound lozenge plaiting Diamond twill plaiting. - Called floral twill plaiting when repeatedly used as design over a large area.

Hemp leaf plaiting, known as asa ami or uroko ami in western Japan Hexagonal plaiting, Irregular plaiting in western Japan, also known as yatra ami Mat plaiting or simple plaiting Octagonal plaiting Pine needle plaiting, called “waive plaiting”when same orientation used for every row Plover plaiting Square plaiting, or cross pattern- Thousand-line construction, or comb plaiting ,Technically not plaiting, but aligning elements parallel to each other and then fastening them with any of the above methods. Also known as “parallel construction” .

Twill plaiting, or netting plaiting Twining Bamboo Craft of Goa | NIFT Mumbai

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BAMBOO CRAFT OF AFRICA

Fig 7: Bamboo basket from Africa

African basketry is a dynamic craft, altered by social changes and shaped by both environmental and economic factors. Traditionally, shapes and weaves were determined largely by the uses for what the baskets were intended. Less secular uses for traditional basket containers include money banks, jewelry boxes and divination vessels.

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BAMBOO CRAFT OF CHINA

Fig 8: Intricate weave of China

In China hand weaving hats from bamboo is an ancient traditional folk art, and one of the first style was the round rain hat. The product range is actually very diverse, and items are classified according to their form and function.Through many complicated working procedures, bamboo is cut into strips and pieces of various widths, thicknesses, lengths and sizes, and then woven into different patterns with techniques that require considerable skill and experience.

Bamboo weaving is also very strict in terms of choosing the bamboo, different products must be made of bamboo in different growing period.

BAMBOO CRAFT OF JAPAN

Fig 9: Bamboo installation Japan

Bamboo work is a traditional Japanese craft with a wide range of fine and decorative arts, and has been used for traditional architecture as well as for utilitarian items such as fans, tea scoops, and flower baskets. The art of basket weaving such as kagome is well known; its name means - kago (basket) and me (eyes), referring to the pattern of holes in a woven basket.

It is a woven arrangement of laths composed of interlaced triangles such that each point where two paths cross has four neighboring points, forming the pattern of trihexagonal tiling.

BAMBOO CRAFT OF INDONESIA

Fig 10: Slit bamboo lamp

A variety of products, both useful and decorative are made from natural fibers such as pandanus, rattan, bamboo and grasses. Rice spoons, bowls, containers, woven mats, baskets, lamp shades, boxes, natural paper products and a multitude of various products are made from natural fibers in Indonesia.

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BAMBOO CRAFT OF VIETNAM

Fig 11: Bamboo basket from Vietnam

Bamboo has been a valuable resource, so reproducing it also has been significant skill to Vietnamese, and there are more than 700 hundreds of bamboo crafting villages in Vietnam, and 2 of them will be introduced in this article. Although we have many types materials for manufacturing in this century, these villages still actively manufacturing bamboo products, because necessities in the past has now become arts. Artisans in villages run their small enterprises.

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BAMBOO CRAFT OF NEPAL

Fig 12: Nepal bamboo products

The Eastern, Central and the Western parts of Nepal are rich in bamboo. Despite their artistic use, bamboo are also used for construction of house, for beams, pole, roof, fencing, ladder, lattice, scaffolding, netting, house walls, etc. People also make mat, Doko, Dalo, Namlo, Madami basket from bamboo.

In Nepal, poor and ethnic communities are found to be more dependent on bamboo.

BAMBOO CRAFT OF NORTH EASTERN STATES

BAMBOO CRAFT OF KERALA AND KARNATAKA

Fig 13: Assam Japi

Fig 14: Reed and Bamboo craft Karnataka

Bamboo and cane are integral to the culture of the region. The forests of the Northeast are abundant in bamboo and the plant is used to make all kinds of items – from houses, furniture, cradles, haversacks, containers and mats to hats (such as the Assamese japi), jewellery, musical instruments and animal traps. Bamboo artefacts from the region have become increasingly popular and are now available across India.

Bamboo is cultivated all over Karnataka and Kerala and gets ready for use in three to four years. Craftsmen design wall hangings, baskets, furniture, lamp shades, mats, coasters and stands. Items made are of good quality bamboo and the finished products are prepared in many designs. Baskets are made in coiled and plaited pattern. Since ages, people in India have been involved in making bamboo products for storage and other domestic and agricultural uses.

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CHAPTER 2 DATA COLLECTION

Fig 15 : Goan selling icecream in Advalpal

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2.1 About the cluster GOA Goa, a domain on the west coast of India, is the 25th state of the union states of India. Goa was liberated from Portuguese rule in 1961. It was a part of Union territory of Goa, Daman & Diu till 30th may 1987 when it emerged as a separate state. Goa covers an area of 3702 square kilometers and comprises two Revenue district viz North Goa and South Goa. Goa shares its boundary with terekhol river in the north which separates it from Maharashtra in the east, in the south by Karnataka and in the west by the Arabian sea • • • • •

Capital Panaji Language Konkani Area 3702 km2 Population 1.817 million Weather 26°c

Fig 16: Goa with love Bamboo Craft of Goa | NIFT Mumbai

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Bamboo craft in Goa is concentrated in Bicholim and Assonora districts of North Goa. Department of Handicraft textiles and Choir craft complex has set up bamboo training center in Bicholim.

Fig 17: Map of Assonora

Fig 18: Map of Bicholim

Assonora is a village located in Bardez, Goa. It is located in North Goa, 12 km away from Mapusa and 24 km away from Panaji.

Bicholim also known as Divchal and Dicholi, is a city and a municipal council in North Goa district in the state of Goa, India

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Fig 19 : Baskets and mat at Mapusa market

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2.2 Product Range Generally the products of bamboo are of two types, namely articles required for day to day use and of medium quality, that are more suited to local requirements; and another type is articles of finer quality, both decorative and functional, to meet the requirements and tastes of more sophisticated markets. Cluster has a limited product range. Products made in bamboo are varieties of baskets for various purposes, lamps, trays and traditional products used in wedding like winnowing fan and decorative storage.

Of all the handicrafts of Goa, the art of weaving bamboo baskets is the simplest in form and most adaptable to usage. These artisans play a crucial role in Fishing and agriculturalist villages by creating a range of items necessary for the occupational requirements of the villagers; these include mats for drying grain, winnowing fans for separating chaff and baskets for storing fish.

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Fig 20: Mapusa Flower Market

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2.3 Ethnicity of craft Bamboo is an environmentally-friendly material that has received much attention in the 21st century. It has a very close and old relationship with mankind. Bamboo craft is believed to be the oldest creation of man and is considered to be the oldest craft which was initiated in Goa region by a community called Mahars. The Mahars introduced items such as valli, which is still used for washing rice and grains, patlo means a basket which is used for multipurposes and it is available in many different sizes, mats or chicks used as curtains or sun protectors and furniture. These craftsmen mainly made products which were of use to fishermen during catching of fish and also fabricated a basket in which they could store the dry grains and other food items. These baskets continue to be the bedrock of the craft. Apart from fisherman baskets, many other items like mats, winnowing mats, hats, hen cage etc. are made which have the traditional techniques with user centric design.

Beauty of bamboo craft lies in its elegant stance. It is simply intricate. Heart of the craft is its weaving. Ethnicity of weave give meaning and shape to craft and contributes in its classification. Essence of craft lies in its twill weave and its commitment towards making utility oriented aesthetic products. Cluster is connected to its roots making the same traditional product with age old techniques focusing on the needs of the local community. Bamboo can boost area’s economy with appropriate design intervention which can broaden the local market and can also introduce the same in industrial economy.

Fig 21: Weaved mat

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Fig 22: Colouring strips in Sulphur Dyes Bamboo Craft of Goa | NIFT Mumbai

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CHAPTER 3 ARTISAN PROFILES

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Name - Sonali Parwar Date of Birth - 17/04/1995 Age - 24 years Location - Bansai, Kakoda, Vodlemol Cacora, Goa - 403706

Family profile

Sonali is daughter of Rajaram Parwar and Kalpana Parwar. Sonai Parwar has one sister, Priya Parwar who is sales and one brother Nitin Parwar who is a photographer by profession. She lives with her uncle, Raya Parwar, aunt, Laxmi Parwar, cousin sister Disha Parwar and her husband Damu Parwar and their son Gandharva.

Education - High School qualified

Fig 23: Sonali Parwar Bamboo Craft of Goa | NIFT Mumbai

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Craft experience Acquired knowledge of bamboo craft techniques from her parents and started making bamboo craft products from 5th standard onwards. From February to June 2019, was hired for training GHRSSIDC artisans. Works with training centre on contract basis.

Skills - Makeup Artist (Wedding makeup artist), Rangoli, Crochet, Macrame, Beautician Occupation - Bamboo Artisan and Makeup Artist Hobbies/ interests - Singing, Dancing Characteristics

Bamboo craft has been valued throughout time, the existence of this craft in Sonali’s life today proves the efforts put into its preservation with complete sincerity, passion and dedication towards bamboo craft and all other skills that are inherited and learned by her. Sonali is true towards every task that she performs and completes it with perfection.

Expectations

Enjoys the whole process while making any particular product and would continue to work as a bamboo artisan in future. Open to learn new techniques and design according to the trend.

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Name - Gopal S. Parwar Date of Birth - 02/04/1958 Age - 61 years Location - Advalpal,Assonora Goa - 403503 Contact Details - 9764089988 Family profile - There are seven members in the

Parwar family, his wife Janki Parwar with his four daughters and a son. Bamboo craft is practiced through generations in their family and live in Assonora from last 10 decades.

Education - passed 7th standard (Marathi medium) Craft experience - 50 years Occupation - Bamboo Artisan and Worker in a factory.Gopal

Parwar also plays musical instruments in orchestra band

Fig 24 : Gopal S. Parwar Bamboo Craft of Goa | NIFT Mumbai

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Name - Janki Parwar Date of Birth - 09/05/1974 Age - 45 years Location - Advalpal,Assonora Goa - 403503 Contact Details - 9764089988 Family profile -There are seven members in the

Parwar family, her husband Gopal Parwar with her four daughters and a son. She learned bamboo craft from husband and has creatively used the knowledge in many products.

Education - passed 5th standard (Marathi medium) Craft experience - 20+ years Occupation - Homemaker and Bamboo artisan

Fig 25 : Janki Parwar Bamboo Craft of Goa | NIFT Mumbai

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CHAPTER 4 PRODUCT DEVELOPMENT

Fig 26: Twill weave mat Bamboo Craft of Goa | NIFT Mumbai

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4.1 Raw material and sourcing The major raw material for this craft is bamboo, botanically known as bambusa, belongs, paradoxically enough, to the family of humble grass, graminae. Kapehi bamboo is a type of bamboo used for making baskets. Varieties of Bamboo available in konkan belt are Manvel (Dendrocalamus strictus), Katang (Bambusa bambos) or thorny bamboo, Manga (Dendrocalamus stocksii) and Chivari (Munrochloa ritchiei).The varieties introduced in recent years include Bhima (Bambusa balcooa), Burma (Dendrocalamus brandisii), Giant Burma (Dendrocalamus giganteus) and Yellow or common (Bambusa vulgaris) bamboo.

Bamboo takes 5-6 years to attain maturity though every year new shoots arise from the base. Maximum life of bamboo is 30-35 years thereafter the flowering starts. Bamboos cannot be used once they start flowering.

These bamboo are grown in forest or homesteads/farms than sold in the market.

Homesteads are small areas on the lands of farmers where some bamboo is grown for their own use. Bamboo is purchased from Khedegaon for 70 rupees to 100 rupees each bamboo stick depending upon its size (varies from 8m to 15m). The bamboo is selected depending on the appearance and water content. Bamboos with higher water content are not favourable for the craft. Brown coloured bamboo with slight tint of green is considered to be right bamboo for making products and must be used within 8-15 days. Bamboo products cannot be made after it is dried. Bamboo sticks which are sweet in taste must not be used because they catch termites resulting in decay of bamboo if kept for long and decreases the lifespan of the product. Craftsmen carry these bamboo sticks on their shoulder (cover 5 km - 6 km distance walking) or the bamboos are transported to the area of production by hiring a tempo. Approximately 50 bamboo sticks are bought and transported at once. The expense of transportation is thousand rupees for each time. As part of this natural and chemical colours, varnish and borax powder is also used as raw materials to make bamboo, furniture, weaving, jewelry etc.

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Fig 27: Bicholim artisan splitting bamboo

4.2 Tools and Techniques Knife which is commonly known as Koita in the rural language used for splitting, cutting and slicing the bamboo sticks. Widely used weaving techniques are plain weave and twill weave.

Fig 28 : Koita Bamboo Craft of Goa | NIFT Mumbai

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4.3 Process

Fig 29 : Bamboo stripes

Fig 30 : Arranging Stripes

1. MAKING OF THE STRIPS Each bamboo strip is cut into 4-5 parts and each part is further split into 4 quarters. Splitting of bamboo strips in equal measurement with thickness is done one day prior making the product.

Cut strips sometimes dries up, thus when a product is made, strips are dipped in water to maintain flexibility. Strips are stored in a dry place.

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2. PREPARING BASE FOR THE WEAVE Broad strips are arranged in a circular form with combination of 4, 6, 8 and 12 strips and different weaves are used to make varieties of baskets. Strips are held together from the center and then thin strips are used to weave the strips together. Craftsmen place their foot in the center to avoid displacement

Fig 31 : Weaving

3. WEAVING While weaving, each strand is pulled hard and is simultaneously locked to maintain product’s rigidity. Before the existing strip ends, new strip is added to maintain continuity in the weave. Strips are bend while weaving to provide shape to the basket.

Fig 32 : Colouring of strip

Fig 33 : Weaving thin strips

Fig 34 : Finishing of product

4. COLOURING OF STRIP

5. SHAPING

6. FINISHING OF THE PRODUCT

Sulfur based dies are used for strip colouring. Dyes are first diluted in water and then bamboo strips are dipped in the colour. Strips are then left for dying for at least 2 hours. Shade of the colour depends on the dye solution and duration of dyeing.

Broader strips provide basic structure to product and thin strips weave shape. Few bamboo strips are thick and are hard to bend by hand thus the other end of koita is used to hammer strips. Hammering makes weave firm and compact and also adds to finishing of the product.

End of the strips are cut to size, inch more than the product size. Braiding is done on the edge to lock the weave. Extra strip is then inserted between weaved products it is further hammered with koita for clean finish. After completion of the product, varnish is applied to enhance its look.

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4.4 Product Analysis Innovation

• Color variations • Mixing similar material (like cane) • Innovation in product range (Hat, bottle cover with handle, lamps) (rarely make these products since it takes a lot of time) • Functional forms those are light weight because of the characteristics of bamboo • The weaves selected must complement to the product that is made. (with respect to mass production or a gifting product) • Different product variation • Experimenting with forms of baskets

User • • • •

Fishermen, flower vendors are primary users.

Idols frame for festivals Marriage gifting products - storage units, winnowing mats Customization as per user need

Traditional Practice

• Bamboo craft has been carried out in their families since decades.

• Majorly they follow the same techniques of their ancestors and also explore their own different weaving techniques.

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Modernisation • •

No inclusion of machinery Craftsmen don’t have many orders but are ready to make products according to customers.

Ethnic Value

• religious practices, taboos, traditions and traditional knowledge • Use of bamboo products on auspicious occasions

Sensitisation towards traditional craft

• Craftsmen don’t want the next generation to work on the craft.

• Number of craftsmen have drastically reduced within the last few years in Mapusa Market.

• Preserved some very old articles they have made. There is an emotional attachment towards their craft but craft is not enough to sustain them.

• Openness towards the craft - they don’t hide when they work on their products, rather they are quite proud of what they have made.

• Curious • Not really willing to take any risk

Fig 35 : Bamboo products Bamboo Craft of Goa | NIFT Mumbai

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Fig 36: Basket in making

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4.5 SWOT Analysis STRENGTH

1. Easy availability of raw materials.

2. Use of power tools is very limited in the cluster, thus creating scope for their introduction in the cluster.

3. Scope for product development.

4. Scope for product diversification.

5. Existing business of the artisans is well established.

WEAKNESS

1.Traditional method of production.

2.Treatment of raw materials is poor.

3. Lack of training facilities/ guidance for encouraging them to take up power tools.

4. The price of the products in this region is very low and even the low price has not encouraged buyers in the region.

5. Lack of marketing linkage.

6. Proper packaging & display is not there.

OPPORTUNITY

1. The Bamboo products are highly in demand in other parts of the country.

2. Traditional products are generally manufactured thus creating opportunity to produce new diversified products.

3. Creation of self employment in this sector.

4. Business opportunities for the artisans.

5. Two different materials can be fused together to imburse the properties of respective materials that complement each other.

THREAT

1.The artisans may give up the trades as they are not able to earn the expected income.

2.Problem of storage and availability of raw material after production rate is increased.

3.Competition with similar products produced in other states.

4. Due to lack of proper packaging & transportation facilities the transportation of these products is very troublesome & not encouraging.

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CHAPTER 5 OUR CONTRIBUTION

Fig 37 : Basket handcrafting

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Fig 38 : Teammate listing details

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We as a team tried to inform the artisans about Government schemes and Emporiums. We tried to connect them with the Handicraft department official. Along with his contact details, we also shared our details with the craftsmen for any further help required.

The technique of bamboo craft is simple yet effective.

Our first-hand experience with the material helped us to understand the potential and limitations of bamboo as a raw material. The technique requires a lot of precision to obtain a finished product.

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Fig 39: Team

TEAM Khyati Garg Manvi Mehta Pranjal Gogoi Shivani Patil Sunanaya Dash

Fig 40: Municipal Corporation Office Goa

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REFERENCES 1.

2.

3.

4.

https://www.bambuhome.com/ http://www.giskaa.com/bamboo-bags https://www.kraftinn.com/contemporary-table-lamp https://homegrown.co.in/article/803072/replace-your-everyday-basics-withthis-indian-labels-bamboo-fabric-apparel 5. https://www.itokri.com/collections/bamboo-craft/products/2018-504-2-2-handcarved-bamboo-bangle-size-2-8-single-peice 6. https://www.itokri.com/ 7. http://bamboojewelry.com/ 8. http://keralabamboomission.org/mob/Malayalam/wp-content/ uploads/2018/03/Bamboo-catalogue.pdf 9. http://www.craftandartisans.com/cane-bamboo-of-karnataka.html 10. https://blog.evivatour.com/bamboo-crafting-vietnam/ 11. https://www.outlookindia.com/traveller/ot-getaway-guides/northeast-artscrafts/ 12. https://books.openedition.org/irdeditions/26112?lang=en 13. https://www.jstor.org/stable/23001708?seq=1#metadata_info_tab_contents 14. https://archive.org/details/bamboocanecrafts00ranj 15. https://www.bioversityinternational.org/fileadmin/bioversity/publications/Web_ version/572/ch31.htm 16. https://lanka.com/about/interests/handicrafts/ 17. https://www.architonic.com/en/story/simon-keane-cowell-bamboo-the-designmaterial-that-just-keeps-on-giving/7000456 18. https://shop.gaatha.com/buy-designer-bamboo-furniture-online/ 19. https://craftsandlooms.com/ 20. https://www.itokri.com/collections/itokri-partner-dastkar/meta-filter-craftprocess-bamboo-craft 21. https://www.handikart.co.in/crafts/bamboo.html 22. https://www.tradekeyindia.com/mateshwari-moorti-art/bamboo-handicraftitem.htm 23. https://www.city.beppu.oita.jp/06sisetu/takezaiku/ english/03learning/03takumi/index.html 24. http://chitrolekha.com/the-enchanting-beauty-of-bamboo-craft-of-bankura/