A Case Study in Innovation of Kala Raksha Vidhyalaya

KALA RAKSHA VIDHYALAYA A CASE STUDY IN INNOVATION Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn Prof. Giselle Rahn

SCAD, Fall 2014

SCAD, Fall 2014

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Kala means ‘Art’ Raksha means ‘Protect’ (in this context, ‘Preserve’) Vidhyalaya means ‘School’

KALA RAKSHA VIDHYALAYA: School for the Preservation of Art

Image on cover: A visiting faculty guides a student of the Kala Raksha Vidhyalaya during the color course Photo credit: Judy Frater

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Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

A student of the Kala Raksha Vidhyalaya working on her emroidery design Photo Credit: Judy Frater

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

acknowledgements A Special Thanks to, Prof. Giselle Rahn, for her guidance, valuable insights and feedback; Judy Frater, Lokesh Ghai and Swasti Singh Ghai for answering my questionnaire and giving my research a very realistic perspective.

My peers for their valuable feedback and support through the course; My family, for their support and patience.

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

bio Poorvi Das is a Fashion and Textile Designer. Her work experience includes garment design, textile applications for interior space, home furnishings for exports and design for the development and sustainability of Crafts. She is also a member of the FiberArts Guild of Pittsburgh, with her fiber work being exhibited in juried shows around Pittsburgh.

After finishing her Under Graduate Diploma in Fashion Design from the National Institute of Fashion Technology (NIFT) in India, she went on to specialize in Textile Design at the National Institute of Design (NID), ranked as one of the top design schools in the world by Business Week.

At NID, she sensed the importance of inter-disciplinary design and the need for designers to understand the business and management side of the process so as to come full circle and provide a better solution. This motivated her to apply to SCAD, where she is currently pursuing her MA in Design Management.

Her Portfolio can be viewed at www.coroflot.com/poorvidas.

You can contact her at poorvidas@gmail.com

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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contents 10

INNOVATION

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PURPOSE OF STUDY

13 THE INNOVATION 15 PART 1: KALA RAKSHA VIDHYALAYA Background

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Emergence of a Need The Creations & Development of KRV Campus & Location

Students

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Advisory Board

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Outcomes of the Program

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35 PART 2: DETAILS OF THE INNOVATION Antecedents Heterogeneous Engineering Rhetorical Closure

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Faculty Trainees / Mentors

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Faculty

Embroidery Motif Photo Credit: embroideuk.com

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Unintended Consequences Drivers of the Innovation

History and Interpretation of Innovation - DMGT 702 OL

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contents 49

KRV: A New Perspective on Sustainability of Crafts and the Craftsperson

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How is KRV an Innovation?

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COINs

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Attributes of Innovation

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Change Agents Adopter Categories and Characteristics

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Impact of the Social or User Groups on the Innovation

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How Might KRV Evolve? What Might Replace It?

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Conclusion

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65 REFERENCES

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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innovation My understanding of innovation is compliant with the definitions of both Barnett and Crawford, where Barnett describes innovation as, “any thought, behavior or thing that is ‘new’ because it is qualitatively different from existing forms” (Barnett, 1953) and Crawford says, “the innovation is ‘new’ off course, but it is the result of the work required to make the invention useful or practical” (Crawford, 1983) .

The great selection of readings in this course really widened my understanding and perspective on the meaning of innovation and I was able to understand it, not just as ‘something new’ but also as the ‘process of implementing something new’. The article by Lauriston Sharp (1952) and interesting case studies in Rogers ‘Diffusion of Innovations’ (2003), highlighted very subtle details of the innovation process, which I would have never known otherwise. The reading on the ‘Case of Portuguese Embroidery Motif from Kutch Photo Credit: indianfolkdesigns.blogpot.com

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Expansion’ (Law, n.d.) was great in explaining how the success of an innovation is dependent on heterogeneous factors, which come together at a perfect time.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

purpose of the study The study aims to research and explain the genesis and evolution of an innovation, to include how successfully or unsuccessfully it was diffused, while identifying in the chosen idea, concepts from the literature (including unintended consequences, heterogeneous engineering, attributes of innovation, etc.) so as to analyze and distinguish between an authentic and claimed innovation.

I decided to base my research on the ‘Kala Raksha Vidhyalaya’, a design school for working traditional artisans in Kutch, which aims to empower the craftsperson by educating the artisan in design, traditional craft and marketing, so as to enable them to adapt and respond to the shift in market, maximize earnings, conserve traditional craft heritage (Kala Raksha, 2010) , while developing self-confidence in ones skills and pride in ones tradition.

I selected this topic as I thought it would provide a good opportunity for research and understanding of an innovation that is radical and paradigm changing, having positive social and economical implications for the craft sector. Having visited Kutch previously and my familiarity with the regions crafts, culture, people as well as Embroidery Motif from Kutch Photo Credit: indianfolkdesigns.blogpot.com

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work of organizations like Kala Raksha, provided me a capability to understand the implications of this innovation.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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I also felt this innovation captured a lot of concepts we learnt over the duration of this course, including Heterogeneous Engineering, SCOT, Democratizing Innovation and COINs Finally, having grown up in India and exposed to her craft heritage as well as the challenges of a developing nation, I am very inclined towards projects and ideas, which have a positive social implication.

Embroidery Motif from Kutch Photo Credit: indianfolkdesigns.blogpot.com

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Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

the innovation Kala Raksha Vidhyalaya (KRV) is the first design school (SACHI, 2014), open to working traditional artisans of Kutch (conservatively estimated at 50,000 (Kala Raksha, 2010) ), initiated and established by Kala Raksha Trust (a grassroots social enterprise, dedicated to the preservation of traditional arts (Kala Raksha, n.d. ) in 2005. It aims to provide knowledge and skills directly relevant to the artisan’s traditional art, to enable market appropriate innovation, while honoring and strengthening the tradition (Kala Raksha, n.d.).

Judy Frater conceived the idea, in response to the changing market requirements for the artisans and the detrimental impact (on traditional design heritage and social status of the artisans) of Government and non-government initiatives addressing this shift (Ashoka, n.d.) . This concept was guided by her experience of 20 years of living and working in Kutch, directly interacting with craftspeople. It pursued a new approach to the rejuvenation and sustainability of traditional arts (Kala Raksha, n.d.).

A class in session at Kala Raksha Vidhyalaya Photo Credit: Judy Frater

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Yearly, KRV educates 30 artisans of Kutch, India – many non-literate women, in design.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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A student of KRV presenting her design to the jury Photo Credit: Judy Frater

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Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Part 1

KALA RAKSHA VIDHYALAYA

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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kala raksha vidhyalaya BACKGROUND Kutch, a district of Gujarat state, is a drought prone area, circumscribed by the great salt marsh Rann of Kutch and the Arabian Sea, in Western India. It is one of the most prolific regions in the area of textile art, including weaving, natural dyeing, block printing, bandhani, batik, and a dazzling gamut of embroideries and applique.

A great range of ethnic communities live in the region, many of whom have maintained traditional dress and craft practice through generations.

Originally, crafts were integrated in the local social system, some made as an act of love by a mother for her daughters dowry, others catering to the clothing needs of the local ethnic communities. In both cases, the user of the craft was intimately known and understood.

Crafts were closely connected with the traditional clothing of the locals, where designs were specifically categorized and varied according to particular communities (e.g. Khatri, Harijan, Bharadwaj, etc). Women wore different patterns and colors to represent the stages of their life (young girl, married woman, mother, widow). The skills of weaving, dyeing and printing evolved to cater to the clothing Map of Gujarat, showing the location of Kutch in green.

Photo Credit: Wikimedia Commons

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needs of the locals.

Embroideries on the other hand, were chiefly practiced by women, who

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

painstakingly prepared their daughters dowry as an expression of love. These embroideries were valuable and never made for commercial purposes.

In both cases, traditional aesthetics evolved from functionality, technical constraints and cultural factors in a slow and organic manner.

With increasing urbanization and dependency on low-cost, durable, mass produced goods, the traditional market for crafts began witnessing a change.

Locals sought cheaper mass produced products, compelling artisans to find new markets. Simultaneously, urban markets began appreciating traditional crafts and objects and artifacts, that once stayed within the family or social exchange within the community, assumed the status of marketable artistic commodity purchased for their craft value and ethnic quality by a large portion of the urban community (Ashoka, n.d.).

EMERGENCE OF A NEED This shift in market, although a positive implication in terms of augmenting the A mother embroiders for her daughters dowry Photo Credit: Shrujan

artisans’ income, also proved challenging. In the new market, crafts did not necessarily have a utilitarian or functional basis, which previously drove the designs.

With new clientele and expanding markets, design innovation was expected to

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Children in traditional clothes and accessories Photo Credit: Pallavi, Textile Arts Center

Rabari: Nomadic cattle herders in Kutch Photo Credit: Mitchell Kanashkevich

A woman dressed up in traditional attire Photo Credit: Kimberly Coole

Women in traditional attire Source Unknown

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Traditional blouse embroidered in Ahir embroidery Photo Credit: Kala Cafe

History and Interpretation of Innovation - DMGT 702 OL

A woman embroiders for her daughters dowry Photo Credit: Pallavi, Textile Arts Center

Prof. Giselle Rahn

SCAD, Fall 2014

An embroidered ‘toran’ or door hanging.

Photo Credit: Pallavi, Textile Arts Center

Habotai Silk Bandhani Photo Credit: Gaatha Suf Embroidery Photo Credit: Kala Cafe

Silk design knotters at work in verandah - 1973 Photo Credit: Shivashanker Narayan

Block Printing Photo Credit: foto-morgana, flickr

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Left: Ajrakh blocks; Right: Maldhari wearing an Ajrakh shoulder cloth Photo Credit: Khamir

Traditional Ajrakh Source Unknown

History and Interpretation of Innovation - DMGT 702 OL

Dyeing bundles of silk Photo Credit: Paul Cronk

Weaving a shawl Photo Credit: Pallavi, Textile Arts Center

Prof. Giselle Rahn

SCAD, Fall 2014

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be fast and more diverse as compared to earlier. Artisans lacked information and understanding of the tastes of the new end user (who was far away, had a different lifestyle and culture).

By the 1990’s NGO’s and traders were providing work to hundreds of artisans.

However, apart from some conscientious organizations, efforts towards commercialization in this context led to a spiraling decline in quality and traditional design (Kala Raksha, n.d.) as well as decline of social status of craftspeople, who had become laborers.

Further, in efforts to revive quality, it was recognized that new designs were needed to make craft sustainable and cope with the new market. The traditional solution to such an intervention implied that trained (urban) designers give designs to craftspeople. However, this approach was detrimental in many ways. The equation elevated the status of the designer as someone who has knowledge and skills that enable him to conceive of aesthetically appropriate products, while craftspeople have skills to merely produce such designs (Ashoka, n.d.). In a way, it took the credit of the tradition away from the craftsperson completely, something, which inherently belonged to him in every way, effectively disempowering him. Also, designs given by the designers lacked the cultural and aesthetic depth of the traditional craft and threatened its death or loss of skill and aesthetics.

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Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Women creating embroidered designs Photo Credit: Oregon State University

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Judy Frater, the founder of Kala Raksha (established in 1993), a Kutch based grassroots social enterprise dedicated to preserving and protecting traditional crafts, recognized the disconnect and inefficiency of such a model and its implications. As per Judy, “people missed the point that they are the creators, and in trying to ‘help’ them with ‘design intervention’, they snatched away the artisans’ cultural identity and heritage, had designers blend it in a blender and hand it back to them as if it is their own creation - and the final blow – have them work as laborers in their own traditions” (personal communication, 2014). She believed that

The Kala Raksha Community Center

the artisans should be the ‘masters’ of their own tradition (rather than ‘workers’ for

Photo Credit: Craft Footprint

someone in their own tradition) (personal communication, 2014).

Further, she observed that when designers were brought into Kala Raksha, they spent a lot of time just trying to learn a bit about traditions, and this seemed inefficient to her. Instead, she believed that artisans could learn design faster that designers could learn a tradition.

Judy saw that artisans needed better incomes and social status and felt that relevant education could serve both purposes. She hoped for a design school for craftspeople, believing that such a model would not only enable the craftsperson to Artisans at Kala Raksha

innovate according to the new market requirements, but also sustain the heritage of

Photo Credit: Colorado State University

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the craft.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

In 2001, the earthquake in Kutch, caused major destruction and thrust Kutch into global limelight. In response to the damage and in an effort to overcome the professional loss of income to craftspeople as a consequence, design interventions in the form of more urban designers was once again put to use. Judy also noted that as laborers, artisans earned a meager wage and could often earn better working in the factories that sprang up after the earthquake as indicators of ‘development’ (personal communication, 2014). Realizing that no one else was thinking from her perspective, Judy decided to address the need.

THE CREATION AND DEVELOPMENT OF THE KALA RAKSHA VIDHYALAYA In October 2005, the Kala Raksha Trust launched the Kala Raksha Vidhyalaya with the aim of teaching the craftsperson, not only how to understand the market, but also be creative and masters of their own tradition (personal communication, 2014).

Project Director Judy Frater was awarded the Ashoka Foundation Fellowship to realize the project.

As explained by Kala Raksha (Kala Raksha, 2010), “The core concept of the Judy shows a quilt with an artisan

Photo Credit: Wendy (Textile Trails)

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institution is that tradition is more than technique; it comprises concept and knowledge as well. The method of the institution is to work within traditions, by History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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understanding and drawing from their salient features. The focus of KRV’s education is on acquiring knowledge and skills that will enable artisans to use design effectively in their work, in order to successfully reach appropriate new markets, while at the same time strengthening traditional identity.” Two broad goals include ‘building on tradition’ and ‘increasing value’.

To develop the curriculum, Judy worked with master craftsperson as well as faculty from the Fashion Institute of Technology, NY, and the Rhode Island School of Design Hansuben gives a presentation of her work Photo Credit: Judy Frater

under the Ashoka Foundation sponsorship. Course content, educational goals and teaching methodology were documented and reviewed as the classes were in session.

KRV continues to have well established links with premier Indian design institutions, including the National Institute of Design (NID), the National Institute of Fashion Technology (NIFT), Srishti School of Art, Design and Technology, and the Indian Institute of Crafts and Design. The trust utilizes these links to evolve an appropriate curriculum and build a corps of Visiting Faculty for the school.

CAMPUS AND LOCATION The campus spreads across eight acres of land near Tunda Vandh, in Mundra

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Taluka, Kutch in a peaceful rural setting, near the Gulf of Kutch. The campus includes studios (for weaving, block printing & dyeing), student dormitory, exhibition hall, computer aided design center, classrooms and guest-house for visiting faculties (Kala Raksha, 2010).

The institute’s environment, methodology and curriculum are uniquely designed for traditional artisans as elaborated below: Environment: The institute has been created to evoke a more residential feel as opposed to a school feel, in keeping with the fact that most artisans practice their craft at home and many have not been formally educated.

It is designed using traditional design and architectural elements of the region, recycled materials and made earthquake resistant (as the region is prone to earthquakes).

Methodology: Local bases is the key to the relevance of KRV, and classes are taught in the vernacular language, with faculty being encouraged to present concepts through Kutchi culture (Bhanani & Frater, n.d.). Translators help in facilitating this. The course structure accommodates the inability of craftspeople to An artisan presents her work during the KRV Mela Photo Credit: Judy Frater

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be available for an entire year (due to professional and social needs) and balances the academic year with classes on campus and homework projects at home (Kala

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Raksha, 2010). In keeping with the social and cultural norms of the region, classes are held separately according to gender. KRV pays women students a stipend (instead of taking fees) and takes a token fee from male artisans students. This is so because it is challenging for women participants to participate in the program due to social restraints/pressures and family responsibilities. They have to balance cultural skepticism and resistance to their education, with the desire to learn, innovate and grow (Bhanani & Frater, n.d.).

Curriculum: The programs aims to empower traditional artisans by providing them with tools to create products that appeal to larger market places (Marati, 2013).

The curriculum is continuously revised, and structured keeping two broad goals in mind including ‘building on tradition’ and ‘increasing value’ (Kala Raksha, 2010).

The duration of the course is one year, and includes six modules in the following subjects (Kala Raksha, 2009): • Color (Sourcing from Nature and Heritage) • Basic Design (Sourcing from Nature and Heritage) • Market Orientation, Concept & Costing • Concept Development, Communication & Sampling • Finishing and Collection Development • Merchandising and Presentation 26

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Clockwise from top left: An artisan conceptualizes her designs at KRV (photo credit: Julie Hall); Discussing her work with a fellow student artisan (photo credit: Julie Hall); Nitesh works on his story board (photo credit: Judy Frater); Namaben presents her concept - Summer Garden (photo credit: Judy Frater);

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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As an artisan cannot spend long periods away from work, the modules are held intensively for a duration of two weeks. The schedule also takes into account the varied agricultural and festival seasons of different ethnic groups that attend the school (Kala Raksha, 2010).

Between sessions artisans work at home on projects assigned to them, where homework intentionally complements ongoing work and is appropriately organized as an introduction to the next class. This helps create continuity between classes (Kala Raksha, 2010).

A mentoring program, where mentors attend classes with participating students and visit them during the interim periods, so as to guide their ongoing projects at home, ensures the appropriate implementation of class material (Kala Raksha, 2010).

Curriculum innovations include meeting with craft consumers in urban cities, developing a language of visual symbols for analysis, mock juries for artisans’ relatives, and exchange programs with urban design students for product development (where the urban students are engaged not to give designs to KRV students but to be their clients (Kala Raksha, 2010).

Tulsiben presents her work.

Photo Credit: Judy Frater

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The course is designed to prepare students to design and produce a final collection.

The participants finally test their designs in an authentic market opportunity, with a History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

final jury comprising of buyers and other market experts and the annual ‘Vidhyalaya Convocation Mela’ or celebration, which includes a fashion show of designed collections as well as products for sale for visitors. The Mela is open to the public, allowing the opportunity for direct sale and market feedback for the students (Kala Raksha, 2010). Over the years, the KRV annual Mela has grown in popularity and is visited by people from around the world, many of who plan their visit to India accordingly (Frater, 2014).

The program culminates in the creation of a final portfolio, to encompass not just new designs but also brand identity and marketing (Marati, 2013). The portfolios are then digitized and placed online so as to expose student talent to people outside the community and facilitate direct contact to world markets for each artist through e-portfolios (Kala Raksha, n.d.). These can be viewed on the KRV website (www. kala-raksha-vidhyala.org/eportfolios_2006.php).

FACULTY Proud graduates with their certificates during the 2011 KRV Convocation.

Photo Credit: Judy Frater

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Visiting faculties are usually design education professionals. KRV uses its Institutional links to build a corps of visiting faculty for the school. Having visiting faculty enables flexibility, variety and good quality of design instruction.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

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Permanent faculty are local residents and usually serve as a link between visiting faculty and students.

FACULTY TRAINEES/MENTORS KRV invited graduates of previous years to serve as Faculty Trainee and Mentors.

This reinforces the education the graduates have received, increases value for their education, provides a culturally appropriate bridge between students and faculty Hansraj cosults with Athira.

Photo Credit: Judy Frater

and assists in identifying and selecting future local faculty members.

STUDENTS KRV is primarily intended as an education institution for teaching design to working traditional artisans. It is assumed that participants have achieved a certain level of expertise in their respective crafts. The students must be atleast 17 years of age and know their traditional craft (Kala Raksha, 2012). Student’s ages vary from 17 to 80 in a batch.

Classes for men and women are usually held separately in keeping with the cultural Learning from graduate mentors.

Photo Credit: Judy Frater

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norms. It is seen that women usually practice embroidery, while men practice weaving, dyeing and printing. Lokesh Ghai, a visiting faculty at the institute shares

History and Interpretation of Innovation - DMGT 702 OL

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(personal communication, 2014), “the participation of different communities creates a unique platform for creative dialogue, leading to collaborative projects between artisans.�

ADVISORY BOARD The Advisory Board for KRV comprises of locally based Master Artisans in different craft media. They attend regular meetings with the staff and have played an Eager students in the class.

Photo Credit: Judy Frater

instrumental role in establishing guidelines for admission, course content and teaching methodology.

Other members of the advisory board include faculty from design institutes in India, craft experts, historians, architects, local guides, designers, etc.

OUTCOMES OF THE PROGRAM (after 8 years of its existence) The outcome of the program after its existence for 8 years are very promising as per information and progress reports on websites, information shared by visiting faculties Swasti and Lokesh and assed statistics of graduates. Judy, who has been in close contact with the process since its inception and before, finds that more artisans are finding pride in their skills and gaining the confidence to create and represent themselves as individual designers.

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Judy mentions that the artisans have grown from, ’just tell us what to do’, to the excitement of trying new ideas, the satisfaction of good design and the confidence and ability to do it again (Bhanani & Frater, n.d.).

Artisans have become more aware of the design process and learnt new ways to find inspiration and express themselves, while using media and tools (like sketching and cameras).

Hansuben and Chandrika work together on a project.

Photo Credit: Judy Frater

KRV changed artisans’ attitudes. Artisans found pride in their traditional and cultural identity. They have begun to identify themselves as designers and are instilled with the confidence to work collaboratively to market products designed by them.

In 2008, the men alumni formed KARVADA, the Kala Raksha Vidhyalaya Artisan Designers Association, as a platform for marketing and development.

Currently, a marketing company is being considered as per the request of women graduates.

As per an assessment of women graduates between 2006-2010, it was found

Govind with his creation at the Fashion Show Finale.

Photo Credit: Judy Frater

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that women have gained self-confidence, emerged as distinct individuals with recognized capabilities.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Sangita observes in morning sketching.

Students working on their theme board Photo Credit: Judy Frater

Lacchuben Raja with a ‘bokani’ made by her.

Photo Credit: Judy Frater

Adil and ankita with a Kaftan prototype

Tulsiben shares her story board

Presenting her samples at the final jury.

Receiving the graduate certificate

Presenting her work

Hitesh with his creation at the Fashion Show finale.

Photo Credit: Judy Frater

Photo Credit: Judy Frater

Photo Credit: Judy Frater

Poorvi Das

Photo Credit: Judy Frater

Photo Credit: Judy Frater

History and Interpretation of Innovation - DMGT 702 OL

Photo Credit: Judy Frater

Photo Credit: Judy Frater

Prof. Giselle Rahn

SCAD, Fall 2014

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KRV graduates participate in internships, marketing opportunities in India and abroad, conduct workshops, participate in exhibitions and interact with clients directly.

The success of the course has led to the implementation of the Business and Management for Artisans course at Somaiya Kala Vidya.

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Part 2

DETAILS OF THE INNOVATION

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

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details of the innovation ANTECEDENTS Before the Kala Raksha Vidhyalaya, there was no similar design institute for craftspeople. However, Kutch saw a number of NGO’s working with the craftspeople for development and design intervention in the form of designers giving designs to craftspeople to address the expectations of the new market economy. NGO’s and the Development Commissioner Handicrafts taught artisan skills.

Around 1994, Judy used the museum at Kala Raksha, as a resource for the women artisans working there, to become more conscious of their traditional resources and Artisan Devalben gives a thumbs up to a workshop student Photo Credit: Judy Frater

use them towards designing innovatively for the contemporary markets.

Artisans also participated in a number of workshops where they taught craft to others. However, there was no school like KRV, which bridged the gap between craft and design directly for the craftspeople.

HETEROGENEOUS ENGINEERING Social and Cultural: Before KRV The changing market economy completely changed the functionality of the Karli learns batik at a workshop Photo Credit: Judy Frater

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craft. Where once it was created for ones own family members, or those of close acquaintance, it now catered to distant markets and users, which the History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

A Museum Workshop at Kala Raksha for artisans Photo Credit: Wendy (Textile Trails)

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

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craftsperson did not relate to well. The expanding market required innovation from the craftpersons side to occur rapidly, causing a decline in quality and traditional aesthetics. Design interventions by means of urban designers dictating designs to craftspeople proved further detrimental in reducing the status of the once master of the craft to a mere laborer. Craft was no longer done with the same love and passion, but rather as a means of earning livelihood. Becoming laborers for designers and middle men, traditional artisans lost their rightful ownership to the craft.

On a more positive side, as markets expanded, many NGO’s started working with women to produce embroidered products. Until then, women had never sold their Three generations tying fabric for Bandhani

work, which they traditionally made for their daughters dowry. This really helped women get a little financially liberated and improved livelihood. As women also became earning members of the family, they gained in self-confidence. Until a few years ago, women never left their villages, which one sees changing very much in the recent years. While married women cannot leave their houses out of family responsibilities, the beneficial implications of an added income has allowed a slight leniency in the mobility and participation of unmarried women and widows.

The rapid urbanization of Kutch as well as penetration of mass-produced fabrics

Women artisans make products for Kala Raksha Photo Credit: Judy Frater

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and clothes resulted in people no longer adhering to the clothing norms that defined communities.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

One also saw a decline in traditional heritage, with artisans trying to address the new markets and designers implementing designs, which had not basis in the traditional design vocabulary.

Social and Cultural: After KRV Artisans have gained lot of confidence and prefer to call themselves ‘Artisan Designers’. They find pride in their craft heritage and are taking back their ownership of it. Artisans have also become more conscious of their individual work and look at developing it into a brand.

Different communities, who attend the classes together, collaborate to make new products or new ideas. Artisans, who were never educated earlier (especially women), feel a sense of pride and achievement after graduating from KRV. Since the school does not require the participant to be formally educated, it is easily adopted.

Women who do not have family responsibilities (unmarried girls and widows or women with older children) attend the program and societal pressures have relaxed a bit seeing the advantage of additional earnings.

There is an excitement about new ventures and business models by the craftspeople to promote and sustain their crafts in the new market, which they have a better understanding of and are enabled to address better now.

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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Women members of SURE Photo Credit: Judy Frater

Ralli ni Rani: The Queens of Quilting Photo Credit: Judy Frater

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Artisan Sajnuben adds on the ‘Ralli ni Rani’ label on to the quilts before the exhibition in Chennai Photo Credit: Judy Frater

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

One also finds many craftspeople having the confidence to start their own businesses.

Political: Before KRV The Government, through the office of the Development Commissioner Handicrafts, financially supported and encouraged design intervention projects, where designers told craftspeople what to do. The government also sponsored workshops to teach craft skills to the artisans.

The government also supported the growth and development of the craft and skill by funding NGO’s working in the field.

Political: After KRV The Government notices the benefits of the initiative and provides some funding for the program through the office of the Development Commissioner of Handicrafts.

One still hopes that the government will acknowledge this idea as an efficient method for sustainability of crafts, and will support the replication of such a model across craft clusters of India.

Jayanti bhai presents and sells his products to the Crafts Council President at the annual KRV Mela Photo Credit: Judy Frater

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Economic: Before KRV Originally, craftspeople catered to the local market. Women, who embroidered

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products for their daughters’ dowry, never sold their work. When mass produced fabrics became popular amongst the locals, craftspeople lost their original markets.

Simultaneously however, with urban visitors, products from Kutch became popular in the new urban markets. If the craftsperson got it right, he stood to gain financially. Many women artisans sold their precious embroidered dowry products as it brought in a substantial amount of money. Women also began embroidering to sell products and worked with NGO’s in the region, getting a wage for their skills for the first time. The added income improved their livelihood and fulfilled basic necessities to quite an extent.

Many artisans became laborers for artisans’ who turned entrepreneurs as well as designers.

Still, wages were paid per piece/measurement of embroidery. At one point the wages for doing work as a skilled artisan, became lower than the wages in the new factories, set up after the earthquake in 2001. This enticed a lot of craftspeople, who thought it more practical to work there instead.

Economic: After KRV As per assessment reports, graduates from KRV have improved their levels of income to a great extent. With approaching their craft from a holistic perspective of 42

Poorvi Das

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

being design conscious, understanding markets and building market links through effective communication and presentations, KRV alumni are able to be the masters of their craft doing away with middlemen. This improves their economic status.

Many graduates who were previously employed by other craftspeople, have opened entrepreneurial ventures of their own.

Technological: Before KRV With industrialization and the easy availability of factory produced fabrics and clothes, the need for locally produced fabrics by craftspeople went down substantially. The new clients requirements (wanting a design in a particular color which was not done earlier and would need a new technique, replacement of the usually used coarse wool, with finer varieties) lead to artisans adopting new materials and techniques.

Technological: After KRV During the course, students learn to work with new mediums and ways to design, using digital cameras and Computer Aided Design Programs. The work of students from every batch is compiled electronically and shared through the KRV website in order to facilitate direct contact with world markets. Many understand The use of technology A student artisan photographs the Bhuj market Photo Credit: Judy Frater

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the importance and reach of the World Wide Web and try to establish an online presence.

History and Interpretation of Innovation - DMGT 702 OL

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SCAD, Fall 2014

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Artisans access the computer data base at the Kala Raksha A Museum Photo Credit: Wendy (Textile Trails)

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

RHETORICAL CLOSURE In 2014, Judy Frater resigned from her role at KRV to take on the idea to an institutional level, by accepting the role of Founder Director at Somaiya Kala Vidya (Kala Vidya means ‘knowledge of art/craft’), a division of K.J. Somaiya Gujarat Trust.

The trust has a 50-year highly esteemed track record with Somaiya Vidyavihar, Mumbai and manages 30 different educational institutions . With the same mission as KRV, in its pilot year, Somaiaya Kala Vidya will be teaching the Business and Management for Artisans course.

Thus KRV attained rhetorical closure.

UNINTENDED CONSEQUENCES Judy fears that after graduating from the school, artisans should not become Somaiya Kala Vidya: The logo for the new institute was a collaborative effort with the artisans. The new program aims to take the idea to an institutional scale and has incorporated a post-graduate ‘Business and Managment for Artisans’ course in its pilot year. The Design course is to begin in 2016.

Photo Credit: Judy Frater

traders, getting other less fortunate artisans to do their work. Consequently, she is contemplating an artist model rather than designer.

As per Lokesh Ghai, a visiting faculty, who was closely associated with the journey of KRV, Somaiya Kala Vidya is an unintended consequence of KRV. At KRV, the main focus was design education (personal communication, 2014). However, in time, one realized the need to educate artisans in business and management too.

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

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DRIVERS OF THE INNOVATION The Innovator: Judy Frater played a pivotal role in the conception and realization of the innovation. She continues to be the force, vision and link behind the idea. Her anthropological background and many years of living and working in Kutch, gives her a great understanding of the people and culture. She interacts with artisans directly, who find it easy to approach her and talk to.

Although American by birth, Judy speaks the local language perfectly, which demolishes a huge wall in understanding and collaborating with a culture.

Swasti, a visiting faculty at KRV and educator at the National Institute of Design comments, “one cannot ignore the role of Judy Frater, who’s education in anthropology and experience of forming and running the NGO, Kala Raksha played and continues to play an important role. Added to this, her ability to relate to and interact with artisans as equals, instilled a faith and respect in her. Her pro people and tradition approach helped give the experiment deep roots (personal communication, 2014).”

The Master Craftsmen: Judy mentions that the first thing she did to bring the idea Anthropologist Judy Frater with artisans in a village in Kutch Photo Credit: Judy Frater

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into reality was to contact the master craftsmen of the region. Some understood her vision, while others listened out of the respect they had for Judy. With their help she

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Clockwise from top left: Judy works with an artisan on a project (photo credit: Judy Frater); The Museum at Kala Raksha (photo credit: Wendy, Textile Trails); At an exhibition with woment artisans, Judy Frater visiting Santa Fe with an artisan.

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Prof. Giselle Rahn

SCAD, Fall 2014

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worked on the curriculum. The Master craftsmen also nominated the first batch of students for KRV (many being relatives).

Over the years, master craftsmen have played an important role in driving the innovation. As there is one master craftsman for each skill atleast, and each skill is practiced by a particular community or caste (e.g. Ahir, Khatri, etc.), most communities knew about KRV. Swasti, mentions, “that the reach of the master craftsmen within their community was wide and deep. As a result, distant villages also got to know about the program (personal communication, 2014).�

Design Institutes and Visiting Faculty: Kala Raksha’s strong institutional links with design schools around India and abroad helped build the curriculum as well as identify and invite visiting faculty for the course. It should also be mentioned here, that in India, premier design schools encourage students to appreciate the traditional craft and heritage of the country.

Judy feels that the faculty really help carry the torch, especially when she finds graduates emerge confident and willing to take on bigger challenges.

Graduates of the Program: Graduates from the program convinced and inspired others in their community to take the course. Often, people saw the success of a friend or relative and enrolled.

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SCAD, Fall 2014

Craft Experts: Prominent people in the craft industry and council were made aware of the program and invited to the annual Mela. This helped spread the word, especially to potential funders for the project.

Funders: Judy won the Ashoka Foundation Fellowship to realize the project. In March 2009, she received the Sir Misha Black Medal for design education. The project also received funding from the Indian Government through the Development Commissioner, Handicrafts. KRV also has a presence on social and cultural funding websites like globalgiving.org and cultureunplugged.com and information on their website for people who would like to donate.

KRV: A NEW PERSPECTIVE ON SUSTAINABILITY OF CRAFTS AND THE CRAFTSPERSON The innovation tried to replace the model for design intervention, where urban designers simply gave designs for craftspeople to produce. Such a model proved detrimental in terms of degrading the social status of the craftsperson, taking the Visiting faculty’s Neha (above) and Lokesh (below) teaching the sketching and collection development courses at KRV. Photo Credit: Judy Frater

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ownership of his tradition away, and deterioration of design vocabulary, aesthetics and quality of traditional crafts. Further, this model was inefficient, as designers took longer in learning craft knowledge and skills.

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In its concept and translation, KRV was radical and paradigm changing.

The innovation had an impact on the following industries: Business: KRV improved the income dramatically, with many artisans being represented in higher end craft markets, online and on the ground. Many artisans also started their own entrepreneurial ventures. Groups like KARVADA were formed, to improve business and reach of male artisans.

Education: Many students who studied at KRV had undergone little or no formal education (especially women). With the prerequisite of student eligibility being the knowledge of skill only, students who had never gone to school before also had an opportunity to learn and were instilled with pride on graduating. The approach in education to region specific skill and development was unique.

In a region where women are usually not encouraged to study, KRV witnessed their participation (women students were either not married or had grown children) and found families accommodative to it.

Manufacturing: Craftspeople were more conscious of the design process and were able to incorporate their learning’s in their work.

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

KRV was a radical approach and addressed multiple areas including social and cultural (helping the craftsperson gain pride and confidence in their traditional skills), behavioral and practical (where it challenged the traditional model of design intervention and taught the craftsperson relevant methods to improve their capabilities), and educational (where the environment, method and curriculum was specially designed according to the participant and their needs).

HOW IS KRV AN INNOVATION? KRV was a radical concept, which effectively addressed a need. It was a new way of thinking about the solution to a problem (bridging the gap between craftsperson and market and the degradation of traditional craft quality). It was the result of first hand experience and deep understanding of the issue.

The implementation of the concept, where the school ran successfully for nine years, the recognition received (in March 2009, Judy Frater received the Sir Misha Black Medal Award for Design Education) and the approach being implemented at institute level at the Somaiya Kala Vidya confirm that was an innovation.

Further, it was a result of many factors (heterogeneous engineering) and demonstrated relevant aspects of innovation including COIN’s and end user participation in the evolution of the innovation (Democratizing Innovation).

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SCAD, Fall 2014

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COINs Swarm creativity had a major role to play in the realization of KRV. Judy Frater, an anthropologist, curator and founder of Kala Raksha, initially consulted master craftsmen on curriculum and methodology. They have remained advisors and are important change agents and champions of the diffusion.

On winning the Ashoka Fellowship, a curriculum was drawn by the faculty of Rhode Island School of Design and Fashion Institute of Technology, NY. KRV has strong links to design institutes in India including the National Institute of Design (NID), National Institute of Fashion Technology (NIFT), Srishti School of Art, Design and Technology, Indian Institute of Craft and Design (IICD) and Indian Institute of Rural Development, which prove to be a great resource for advise, collaboration and identification of visiting faculty for the school.

In recent years, students at KRV have created collections in collaboration with students from art and design schools in India and abroad.

Craft and design experts of India, including Ashoke Chetterjee, Laila Tyabji, Jaya Jaitley and Subrata Bhowmick actively participate as jury members and advisors.

However, the biggest contributors are the participants and craftspeople themselves.

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Master artisans share their knowledge with KRV students Photo Credit: Judy Frater

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History and Interpretation of Innovation - DMGT 702 OL

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SCAD, Fall 2014

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Judy’s approach, ease with which artisans interact with her and her openness and dialogue with them play a significant role in shaping and evolving the idea.

ATTRIBUTES OF INNOVATION Observability: The innovation enjoyed good observability due to the presence of senior master craftspeople being part of the board and Judy and Kala Raksha being very well known in Kutch. There are a number of incidents where students enrolled in the program seeing the benefit to another from the same village. E.g Trialability: The schedule of the class is organized so as to not keep participants away from their homes for long periods of time (limiting it to two weeks per module). Agricultural festivities as well all marriage or other relevant celebrations are accommodated. Knowing the societal pressures against education faced by women, KRV paid them a stipend, which did help. Women participants were mainly unmarried or those who had grown up children and not family responsibilities.

This resulted in a huge and extreme age gaps of women participants in the class (between 17 and 80 years) Collaborative projects with students from urban design schools Photo Credit: Judy Frater

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The school had living accommodations so it was convenient to house the students on campus for the duration of time.

History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

All these factors gave the innovation good traialability. None the less, it was also difficult for craftspeople to leave their businesses for long stretches of time. As Judy mentions, “time is the biggest constraint. Can they take a year off their livelihood?”

Complexity: The curriculum and methodology of teaching tried to reduce the complexity by using the local language and also having a translator who’d facilitate this between faculty and students.

According to Judy, “participants mostly understood within the first class. The school had a few drop outs, but they became fewer each year, as word spread and expectations came in line.” However, as Judy continues with the BMA course this year, she realizes that, “there is a limit to the number of habits an artisan is ready to change.” She feels that, “accepting the education at a deep level still has not come.” She believes that, “artisans have definitely utilized what they can easily absorb, however, to convince them of business aspects that come with professional design will take time. For. E.g. making a collection every season/year, photographing samples and sending the out for orders before major production, etc.”

With regards to deterrents that might have made the complexity of the program a little high, Swasti mentions the need for artisans to leave their professional work

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SCAD, Fall 2014

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for 15 days every other month and homework that was to be done at home might have led to affecting the ongoing work rhythm. Nonetheless, the learning’s from the course were valued by them and they found ways to participate in the program.

Lokesh Ghai, also a visiting faculty at KRV mentions that, “literacy has been a challenge, as most elder women students cannot read and write.” He adds, “creative ways are worked out to accommodate such students.

Judy also remarks that the construction of two of Asia’s largest coal fed thermal plants near the campus became a major deterrent and there were mentions of relocation of the school on some websites.

Relative Advantage: According to both Judy and Lokesh, artisans realize the advantage of the program, which convinces them to be a part of the program. Judy states, “ they are proud of their achievement and everyone has made a visiting card that says, ‘Artisan Designer’ and ‘Graduate of KRV’.

Both Lokesh and Judy mention that there have been a few instances where students dropped out due to social and financial reasons.

Compatibility: Judy finds that, artisans appreciate aesthetics and good design, though they had not thought of it consciously before. They also enjoy working with design media like cameras and CAD. 56

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

As per Swasti, Judy’s insistence on visiting faculty to get well acquainted with local traditions, processes and techniques and base their teachings on it ensured the recognition and appreciation of indigenous aesthetics, which was used as a context for future work. She adds, “a hands on approach was integral. The culmination of the project into a final collection gave the artisans a good context to apply their learning’s and generated a great sense of confidence.” Over the years, Swasti finds the platform for collaboration particularly interesting, a relationship which is grounded in deeper appreciative understanding.

Graduating student Lakshmi speaks at the annual Convocation Mela Photo Credit: Judy Frater

CHANGE AGENTS Judy collaborated with master craftspeople right from the beginning as she conceived of the idea for the school. She engaged successful master artisans in each craft as an Advisory Board. She mentions that she convinced them and even if they weren’t convinced, they had a lot of respect for her. Swasti adds that the reach of master craftsmen within their respective communities was far and deep and spanned across to other villages too. Lokesh also says that the graduates also took on this role along with the staff of the institute and teachers.

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The Convocation Mela (Celebration/Festival) is held annualy in Kutch. Student collections are presented to jury members for assesment and exhibited at a fashion show by the artisans. Collections are also displayed for sale to visitors. The Mela is attended by locals as well as tourists.

Photo Credits: Judy Frater

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

ADOPTER CATEGORIES AND CHARACTERISTICS Judy had the master artisans nominate student for the first batch. They mostly selected family members. Judy says, ‘after that, people with ambition joined’. The school has seen 124 graduates in the past nine years, including men and women.

Judy mentions that while she had originally thought this was for all artisans, she realized in time that the program was more for entrepreneurs and people who wanted to start or grow their own businesses.

Swasti mentions that artisans who have been affiliated with a craft based organization like Shrujan, KMVS, SEWA or Kala Raksha seem to be more adoptive of the program as compared to artisans who are on their own. She further explains that, “in villages where artisans earn enough from their mediocre work for middlemen, there is no incentive to give up that inconvenience and unnecessarily challenge themselves.”

Lokesh finds that there has not been much support from other local NGO’s in promoting or recognizing KLVs program amongst their craftspeople. He thinks this might be a result of their fear of losing ‘monopoly’ of the craftsperson.

Judy explains, “to spread word about the Vidhyalaya, KLV relies on the advisors and graduates. Whole villages are invited for the annual Convocation Mela (Festival), Poorvi Das

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where KLV also bears the transportation fees. KLV organizes coverage for the fashion show and Mela, and advertisements are put in newspapers for admission.

Very often KLV canvases by going to villages to talk to people, especially in the case of women candidates.

IMPACT OF THE SOCIAL OR USER GROUPS ON THE INNOVATION The biggest impact that the user group has had on the innovation has been in the evolution and development of the curriculum of KRV, over the years.

Recent changes include visits to urban cities and homes in the market orientation class, so students have a better understanding of the end-user. Students of KRV now collaborate with students in urban design schools (where KRV also felt the need to give urban students more inputs in traditional work so as to make the collaboration beneficial) to develop a collection.

There is a huge increase in IT capability among the artisans and the communication network is very active and fast. This opens up the market possibilities and potential for marketing individual work.

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

A big impact is the implementation of the program at an institution level at Somaiya Kala Vidya (SKV). The two initial years of the Program at SKV will focus on a ‘post-graduate’ course in Business and Management for Artisans, to help artisans mobilize their production capacity and use design and innovation to grow. Design courses are to be introduced in 2016.

SKV also plans to introduce a course in Textile Traditions for non-artisans, where artisans will take on the role of teachers. This could also mean the inclusion of nonartisans in the class rooms of the future for a more varied interaction.

Swasti also makes an interesting point in saying that the efforts of Design education at KRV were very textile oriented and overlooked other craft skills of the region, including pottery, metal work, leather, etc. it is possible that since user groups mainly belonged to these skills (which were vast in itself), the curriculum at KRV has been more focused to the textile crafts of Kutch.

HOW MIGHT KRV EVOLVE? WHAT MIGHT REPLACE IT? In 2013, Judy Frater, the Program Director of KRV resigned and took on the role of The Business and Management Program for Artisans at SKV Photo Credit: Judy Frater

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Program Director at Somaiya Kala Vidya, which will implement the concept at an institutional level.

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I feel that KRV provided a very good model for the growth and development not only of the craft, but also the craftsperson, which was overlooked or perhaps not looked in the right way for many years.

This approach of education based on the skills and resources of a region (for example craft in Kutch, farming at another part where that is the chief occupation), so as to strengthen the core industry might be very relevant, especially where traditional educational models fail to hold the attention of students, especially girls.

The replication of such a model in the craft sector across the country will help address the same issues that the artisans of Kutch once faced and will help empower other artisans in their traditional skills.

I feel, organizations inspired by KRV might try to replicate the same model in different parts of the country and the world. I also feel it is only a matter of time when the government in India, sees this as the better solution and supports its implementation.

In Kutch, at the moment, the journey of KRV continues to evolve and manifest as new, more relevant courses and methods in the curriculum, such as the Business and Management course at SKV.

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

Another emerging phenomenon is the growing confidence of graduating artisans who question ‘what next’, manifesting this into groups like KARVADA and SAHASARA, with the intention to work collectively to market themselves and their work productively, establish direct links with new markets and be the masters of their tradition.

However, having said this, one cannot ignore the fact that this entire effort is fuelled by the vision and commitment of few, especially Judy Frater. For KRV to be sustainable into the far future, it is important that the framework and structure of the idea be defined well. It is also crucial to instill a strong sense of self worth and confidence in the craftsperson so that if the need arises, he is able to steer his path to development and growth conscientiously himself.

CONCLUSION The journey of Kala Raksha Vidhyalaya, a radical approach to design education for artisans, illustrates the process of a successful innovation from conception, actualization to implications/outcomes and further evolution.

It explicitly demonstrates concepts such as Heterogeneous Engineering, COINs, Adopter Categories, Attributes of Innovation and User driven innovation.

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“In 2010, Kala Raksha Vidhyalaya launched the concept ‘Artisan Design’, to raise the value of artisan creativity. On 17 August 2013, KRV made a dramatic debut in Mumbai. For the first time, women embroiderers and men weavers, block printers, bandhani and batik artists worked together consciously to co-create contemporary work-- full circle on their ancient collaborative traditions. And for the first time, KRV took our annual fashion show out of Kutch. Twenty-one KRV graduates presented thirteen new collections at a fashion show held at Good Earth, Lower Parel, followed by an exhibition at Artisans’ gallery, Kala Ghoda.” (Judy Frater, 2013) Photo Credits: Judy Frater

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History and Interpretation of Innovation - DMGT 702 OL

Prof. Giselle Rahn

SCAD, Fall 2014

references 1. H. G. Barnett, Innovation: The Basis of Cultural Change (New York: McGraw-Hill, 1953) 2. C. Merle Crawford, New Products Management (Homewood, Ill.: R.D. Irwin, 1983) 3. Sharp, Lauriston. “Steel Axes for Stone-Age Australians.” Human Organization 11, no. 2 (1952): 17 – 22 (PDF, 2.2 MB).

4. Rogers, Everett M. (2003) Diffusion of Innovation, ISBN: 978-0743222099 5. John Law, “Technology and Heterogeneous Engineering: The Case of Portuguese Expansion,” pages 111 – 134, The Social Construction of Technical Systems (PDF, 208 KB) 6. Kala Raksha (2010, March 31), Kala Raksha Vidhyalaya: An Institute of Design for Traditionally Artisans, (Progress Report). Retrieved November 4, 2014, from http://www.globalgiving.org/ pfil/5356/DCH_progress_31310.pdf 7. SACHI (Society for Art & Cultural Heritage of India) (2014), The Warp and Weft of Kutch – Learn with the Masters: Dayalal Atmaram Kudecha & Judy Frater, (Events). Retrieved November 4, 2014, from http://www.sachi.org/event%20PDFs/SACHI_July3_061814.pdf 8. Kala Raksha (n.d.), Kala Raksha: Preservation of Traditional Arts. Retrieved November 4, 2014, from http://www.kala-raksha.org 9. Kala Raksha (n.d.). Kala Raksha Vidhyalaya: An Institution of Design for Traditional Artisans.

Retrieved November 4, 2014 from http://www.kala-raksha-vidhyalaya.org/index.php Embroidery Motif from Kutch Photo Credit: indianfolkdesigns.blogspot. com

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10. Ashoka (n.d.). Ashoka Innovators for the Public – Judy Frater (Fellows - Judy Frater). Retrieved November 4, 2014, from http://www.ashoka.org/node/2837

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11. Bhanani, Prakash R. & Frater, Judy (Executive Producers), & Kala Raksha (Direction) (n.d.).

Artisan Design! The Launch of Kala Raksha Vidhyalaya (Documetary). India. Retrieved November 4, 2014, from http://www.cultureunplugged.com/storyteller/Kala_Raksha/#/myFilms 12. Marati, Jessica (2013, December 19), Teaching Design: Learning Design Fundamentals and Gaining Ownership of Craft. Retrieved November 4, 2014, from http://www.handeyemagazine. com/content/teaching-design#9 13. Kala Raksha (2009, November 22), Final Report- Kala Raksha Vidhyalaya- Year 4. Retrieved November 4, 2014, from http:/www.globalgiving.org/pfil/3860/projdoc.pdf 14. Frater, Judy (2014, January 14), Design Education for Traditional Artisans in Kutch (KRV Completes Another Wonderful Year), Retrieved November 4, 2014 from htttp://www.globalgiving. org/projects/kala-raksha-design-education-for-traditional-artisans/updates/ 15. Kala Raksha (2012, December), Final Report - Kala Raksha Vidhyalaya, Year 7, (Progress Report). Retrieved November 4, 2014, from http://www.globalgiving.org/pfil/3860/KRV_FINAL_ Report_2012_96_ppi.pdf 16. Somaiya Kala Vidya (2014), Somaiya Kala Vidya: Education for Traditional Artisans. Retrieved Novemeber 4, 2014, from http://www.cultures-connect.net/wp-content/uploads/2014/07/ZuJudy-Fraters-Organization-engl.pdf

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SCAD, Fall 2014