In the last half of the 20th century, there have been fundamental shifts in the world economy and in the structures of societies. The growth in size and proportion of the informal economy has been one part of the overall change in the nature of the work that has accompanied globalisation. Various studies indicate a number of reasons for the decline of crafts.
As per a study by SRUTI (Society for Rural, Urban and Tribal Initiative), one of the important causes is the decline of demand for rural artifacts due to the fact that artisanal products are unable to compete with modern substitutes. Apart from this, cultural factors have also been responsible. Some of them are shifts in “tastes and preferences”, demands and new occupations are being created, withdrawal of traditionally skilled labour as a reaction to the low social status attached to the practice of these occupations, and also the collapse of the jajmani system. But the real concern for many of us is, can the ‘local’ really meet with the ‘global’ by truly sustaining its localness?
The real concern
The biggest problem in the Indian handicraft industry is that the village craftsmen remain concerned that with free trade and mass production, hand-made products from other parts of the world will out-price the products of their hard labour. So the basic question arises, is globalisation a solution? This article looks at globalisation’s increasing impact on Indian handicrafts and craftspersons, especially in the sector of jewellery and block printing. It tries to assess how far globalisation serves as an opportunity and threat to artisans.
Although, craft production was widespread and not confined to a few centres, by the 17th century certain towns in Rajasthan had become well known for a particular style of craft. For instance, Sanganer, a small town near Jaipur, was known for its bandhej and block printing. There are references to its product being sent to the wider markets. It suggests that although the craft was embedded in the local community demand, its growing links with the wider world were leading to a gradual concentration of artisans in a particular place, and specialisation in a style. The artisans living and working in such townships had better access to markets, and were more prone to changes in their product than their rural counterparts.
The dynamic jewellery sector
In the jewellery sector, a lot of changes have occurred. These changes are largely market induced, and have now become part of the manufacturing system. Initially, they were using the blowing method to melt the metal, after which they shifted to kerosene, and now to small gas cylinders. There has been a massive shift towards lightweight jewellery, the designs of which are also computerised. In order to cater to the new designs, they have now acquired tools which help in the making of lightweight jewellery, e.g., moulds, etc. Moreover, the designs are now catalogue based.
The major shift that has taken place in this industry is the fact that to a great extent, the manufacturing has shifted from houses to factories. The artisans are now employed on a regular basis in these factories. This has not only shifted the manufacturing to mass scale due to machines, but has also majorly changed the relationship between the artisan and the trader. The industry now has shifted from a household mode of production to a capitalist mode of production. One of the artisans mentioned that “at one point of time we had a trust and loyalty relationship with the traders, but now that we have to work in the factories, we have to undergo security checks at both entry and exit, this was never there earlier.” This indicates a clear breaking down of the loyalty structures of traditional society.
The other important shift has been in the tools of the craftsmen. Instead of blowing air, they are now using gas stoves, and also, the tools for making the shell (khokha) are now all machine made. Similarly, for cutting and straightening of wires, machines are used. Now chemicals like Borex and Copper Sulphate are used for melting of gold. The traditional “Phukni” has given way to blowers, which, according to the artisans is good for their health.
The printing sector
In the printing sector, a village called Bagru , a sandy, windblown village 35 km from Jaipur in Rajasthan, is famous for its unique handprints that use wood blocks and natural dyes. The very fabric of life depends on collecting tonnes of inedible pomegranate skins, turmeric, molasses, iron and alum (fitkari) are all crucial components, as is Bagru’s water.
There is no authentic record for reference on backdating Bagru’s block printing practices. It is estimated that this art form was introduced 450 years back when a community of Chhipas (literally meaning people who stamp or print) came to Bagru from Ramgarh (Jaipur), Sawai Madhopur (Alwar), and settled here. The family work has now grown into big units and no more is the labour limited to the family only.
Alongside the handwork, screen-printing units have also mushroomed in Bagru. Screen-printing works out to be less expensive and less tedious then the original hand-block printing. This has brought in competition among the printers in Bagru. The printing earlier was done on pattiyas, that is low base tables, whereas, now tables are used which are 3ft high, 4ft wide and 18-20ft long. This has displaced women from the printing work. Today the use of Bagru print is not limited to only traditional dresses, but has also expanded to furnishings like table cloth, runners, bed spreads, tray covers, napkins and table mats.
Use of computer technology has certainly gone up, as computer designing is now common. Since there is a large market of export to Europe and the United States of America, the designs and colour combinations come from the export houses abroad. The expansion of market has also changed the designs and use of colours– pinks, oranges, bright red and browns are commonly used now. This further has led to introduction of chemicals for colours like pinks, green and oranges and pastel shades.
Some units have also started screen-printing due to cost and competition. New caste groups have also entered the scene. There are two reasons for this; one is the high demand of work as the orders are needed to be fulfilled in time, and the other is the fact that the younger generation of the family has taken up the administration and marketing of the unit. Therefore, labour is needed for printing and other processes. Bagru also has migrant labour from Uttar Pradesh. But they are small in number. Women are involved in printing khari (silver and gold block) on the cloth. Nathulal, aged 70 years has been working in this field for past 57 years. He narrates that these years he has seen many changes in designs and colours. But this does not disturb him at all as he says at least they are continuing this tradition and are also able to earn enough for survival. Thus, he does not mind changes.
Another important printing sector is Barmer which is located in the western part of the state forming a part of the Thar Desert. The district is surrounded by Jaisalmer district in the north, Jalore district in the south, Pali and Jodhpur districts in the east, and Pakistan in the west. Azarakh has existed in Barmer/Kutch/Sindh since the Mohen-jo-daro civilisation, or even before that. The true origin of the word ‘Ajrak’ is unknown. In Arabic, it means blue or indigo. The authentic Azarakh is printed on both sides by a method known as resist printing. Sindh was traditionally a large producer of indigo and cotton and exported both to the Middle East. The colour blue is also used extensively in Azarakh.
It is now a well-known fact that due to globalisation and the technological revolution, ideas, images, and information are moving worldwide freely, and very rapidly. Many claim it as the process of cultural interconnectedness and as a sign of global cultural integration. Commercialisation of media and the cultural symbols, as well as artifacts and the global wave driving for the pursuit of profit using ‘culture’ as a commodity, constitute the sole force of ‘cultural imperialism’ theses. Introduced by Herbert Schiller, the term ‘cultural imperialism’ is referred to the way in which large multinational corporations, including the media, of developed countries dominated developing countries.
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Varsha Joshi
Varsha Joshi works at the Institute of Development Studies. She did her Ph.D. from School of Oriental and African History, London and has been working on social and cultural history of Rajasthan including women’s issues for last thirty years.[/column]