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Artistic Textiles of Sikkim Diagnostic study and Business
Development Plan
Table of Contents
I. Methodology for Diagnostic Study ........................................................................................................3
II. Location of Artistic Textile clusters in Sikkim ........................................................................................5
III. Introduction Artistic Textiles of Sikkim ...............................................................................................6
Lepcha handloom ...................................................................................................................................... 6
Carpets weaving ........................................................................................................................................ 7
Thangka paintings ...................................................................................................................................... 7
IV. Artistic Textiles of Sikkim: Craft Production Process .............................................................................8
Lepcha handloom ...................................................................................................................................... 8
Carpet weaving ........................................................................................................................................ 10
Thangka paintings .................................................................................................................................... 12
Current Scenario ...................................................................................................................................... 13
Steps Ahead ............................................................................................................................................. 16
Bibliography ............................................................................................................................................. 16
V. Product Review ................................................................................................................................... 18
VI. Value Chain Analysis of the Artistic Textile Weaving of Sikkim .......................................................... 20
a. Value Chain of Carpet Weaving ....................................................................................................... 20
b. Value Chain of Lepcha Weaving ...................................................................................................... 24
c. Value Chain of Thangka paintings ................................................................................................... 26
VII. Artistic Textiles of Sikkim: Business Development Plan ..................................................................... 27
1. Objectives of Intervention ............................................................................................................... 27
2. Intervention Strategies .................................................................................................................... 28
3. Interventions under AHVY scheme ................................................................................................. 28
4. Project Output Targets .................................................................................................................... 30
5. Project Budget ................................................................................................................................. 30

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I. Methodology for Diagnostic Study

A detailed methodology was followed to gather information on the cluster, identify the
main actors and collect trade and business data from them. A range of tools including
one-on-one interviews, focus groups and surveys were used to collect the required
information. The following is a break-up of the methodology used:

I. Desk research and Set-up of fi rst field visit

o Gathered information on cluster actors and contacts through interactions with
a range of institutions including Crafts Council India, Dastkar, Crafts Revival
Trust, Dastkari Haat Samiti, Fabindia, NID, NIFT and Asian Heritage
Foundation.

o Identified and contacted NGOs, individual artisans, master crafts persons and
entrepreneurs working in the area to explore as potential local project partners
and resources. Also scanned for existing government schemes in the area.

o Identified design and other professionals with previous work experience
[through steps A & B above] relevant to the cluster and initiated discussions
to explore their use as project consultants and resources.

o Scanned books, documents and other reading material for initial archival
material on crafts process, design repertoire, local dynamics and existing
linkages to markets.

I I. I nitial field scan, field visit and local hi res

o Initial field visit for 7-10 days to meet the artisans, groups and the
organizations working in the area.

o Identified and interview local staff to carry out the survey of the artisans in the
area.

o Second field visit to oversee survey.

I I I. Existing Product Profile Review

o Collected samples to from cluster to review for design, quality of product and
marketability. The samples were review by a panel of experts assembled by
AIACA.

o Reviewed the costing process and the marketability of the product in that cost.

o Reviewed appropriateness of production methods, raw materials and tools
used.


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I V. Craft Production Process Documentation

o A detailed documentation of the craft production process was carried out.
Ascertained original higher-skill techniques that were being used and how the
process has changed over time.

V. Survey of Artisans

o Demographic profiles of artisans and ancillary workers, including geographic
locations; selection and survey of 1000 artisans carried out. The data was then
entered into a computerized format to get aggregate statistics from survey
forms.

VI. Value Chain Mapping

o A detailed mapping of the Artistic Textiles of Sikkim value chain was carried
out. The mapping identified actors in the cluster involved in the business of
crafts production and sales including raw material suppliers, master craftsmen,
traders and other marketing intermediaries.

o Conducted detailed analysis of existing commerce in the cluster including
current sources of credit accessed by artisans and traders.

VI I. Business Development Plan

o Based on the information collected through the steps above, analysis by
professional staff of Access and AIACA, and interactions with a range of
stakeholders in the crafts sector, a detailed Business Development Plan (BDP)
that clearly lists objective, strategies and targets for needed interventions were
developed.




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I I. Location of Artistic Textile clusters in Si kki m
Sikkim is a landlocked Indian state nestled in the Himalayas. The thumb-shaped state
borders Nepal to the west, the Tibet Autonomous Region of China to the north and the
east, and Bhutan to the southeast. The native Sikkimese consist of the Lepcha, Limbu,
migrating from Tibet; Bhutias, descendants of Buddhists who arrived from Nepal in the
15th century, and Nepali Sherpas, descendants of Hindus who arrived from Nepal in the
19th century. The current population is approximately 13% Lepcha, 16% Bhutias and
67% Sherpa.
1


Sikkim is divided into four districts- North, East, South and West. The North District has
the largest concentration of tribals, Lepchas and Sherpas.

Sikkim does not have any airports or railheads because of its rough terrain; however the
nearest air link is Bagdogra Airport, which can be reached from Delhi in two and half
hours by air. Bagdogra airport is about 124 km or a 4 hour drive via NH-31 from
Gangtok. A regular helicopter service run by the Sikkim Helicopter Service connects
Gangtok to Bagdogra. The closest railway stations are Siliguri and New Jalpaiguri. The
Sikkim National Transport runs bus and truck services, and taxi and jeep services also ply
throughout Sikkim.




1
Ref: Sikkim: Sikkim People, [Online], Available:
http://www.bharatonline.com/sikkim/culture/people.html
Map of Si kkim

6
I I I. I ntroduction - Artistic Textiles of Si kki m

In Sikkim, ancient customs and traditions keep alive decades-old styles and forms of
craftsmanship. There are over sixty monasteries in the state that preserve the ancient
religious rituals, and are repositories of the traditional art and crafts. Among the best
known works of craft from this region are handlooms, woolen carpet weaving, mask
making, metal craft, wood carving and Thangka paintings. The three most prominent
ethnic tribal communities, Lepchas, Sherpas and Bhutias, are the chief practitioners of
these crafts.
2


The Artistic Textiles would cover three important crafts in Sikkim Lepcha weaves,
Woolen carpets and Thangka paintings.

Lepcha handloom
Handloom weaving in Sikkim is synonymous with the Lepcha weave. It is woven
primarily in the loin` loom, which enhances the quality of the fabric. The weave frame is
made from bamboo or various types of wood which is available. The Lepcha population
is concentrated in the northern part of the Sikkim. This is the area that encompasses the
confluence of Lachen and Lachung rivers in the Dzongu region of North Sikkim.




















Sikkim stays cold for most part of the year and people generally wear woolen clothes
made out of the fabric woven by Lepchas women. The Lepchas reuse and convert the old
and used woolen blankets into bags, shawls, jackets and dolls. Traditionally sheep wool is
used, but with the intervention of the Directorate of Handlooms and Handicrafts now
cotton and acrylic is also being used.


2
Ref: Sikkim Art and Crafts, [Online], Available: http://www.whereincity.com/india/sikkim/arts.php,

Lepcha weaving

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Carpets weaving
The tribal women of Sikkim practice one of the oldest forms of hand-knotted carpet
weaving in the world. A frame (upright) loom is used for carpet weaving. The women of
the Bhutia community are the best of carpet weavers. The warp is prepared from cotton
and weft piles are made in wool or acrylic. The color scheme and motifs are essentially
Buddhism inspired. The patterns commonly woven onto the carpets are a dragon holding
a ball in his mouth, the eight auspicious Buddhist symbols or stylized floral motifs.
Geometrical patterns are popular too. Most patterns depict the surrounding beauty of the
landscape and remind one of snow clad mountains surrounded by the sky and the brown
and red earth and flowing waters.



















Thangka paintings
The Thangka paintings of Sikkim originally are a medium of reverence, through which
the highest ideals of Buddhism are evoked. Thangka painting became popular among
traveling monks because the scroll paintings can be easily rolled and transported from
monastery to monastery. These Thangkas served as important teaching tools depicting the
life of the Buddha, various influential lamas and other deities and bodhisattvas. One
popular subject is The Wheel of Life, which is a visual representation of the Abhidharma
teachings (Art of Enlightenment). White stands for serenity, golden for the birth or life
and enlightenment; red for the intensity of passion both love and hatred; black for anger;
yellow for compassion and green for consciousness. There are three types of Thangkas.
One depicts the life of Buddha, his birth, his disillusionment with life, his search for
enlightenment and his understanding of life. The second type of Thangka is more
abstract. These paintings represent the Buddhist beliefs of life and death. The third type
of the Thangka consists of paintings that are often used as a tool for meditation or as
Carpet weaving

8
offerings to the deities. These paintings are usually done against a white
background. Thangkas are created on cotton canvas and often framed with silk.
3



















Traditionally, Thangkas were made by Buddhist priests and monks and specific ethnic
groups. The skills were passed from generation to generation. Today commercialization
has helped spread this art form among a larger group of people. The revenue earnings
from this art have also helped the monasteries and its practitioners keep it alive.
Traditionally the colors used were all vegetable dyes or mineral dyes extracted from the
nature, and each color has a special significance. A fine quality Thangka can take as long
as four or five months to complete.

I V. Artistic Textiles of Si kki m: Craft Production Process

The production processes of the artistic textiles of Sikkim, namely Lepcha handloom,
woollen carpets and Thangka paintings are quite different from each other in terms of raw
materials as well as the tools and implements used. The processes for these three distinct
crafts can be summed up as follows:

Lepcha handloom
The Lepchas are the indigenous inhabitants of Sikkim, and are concentrated in the district
of North Sikkim. The Lepcha women traditionally weave the fabric for their attires.
Along with this, they also weave woollen blankets, which are made out of sheep wool.

1. Raw Material
The raw material used by the Lepchas for their garments is cotton, and for blankets they
use sheep wool. Acrylic is now used as an alternative. Lepchas rear their own sheep for
the wool and some wool is also bought from local traders. Most of the cotton and acrylic
is distributed throughout the state from Gangtok, where traders source it from Kolkata.

3
Ref: Sikkim Art and Crafts, [Online], Available: http://www.whereincity.com/india/sikkim/arts.php,

Thangka artist at work

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The cotton (2/20s) is available at Rs.132 per kg and acrylic at Rs.253 per kg.

2. Tools
The tools necessary for weaving consist of yarns (acrylic, cotton or wool), spindle,
spinning machine, warp drum or pegs, and a loom.

The various loin loom implements are:
x Front bar
x Bamboo bar
x Heald bar
x Sword
x Shuttle
x Breast bar
x Back strap
Most of these tools are either made of bamboo or sometimes wood.















3. Process:
Lepchas use a loin loom for their weaving, which is made out of bamboo or wood. It is
also called the back strap loom. A common loin loom consists of:
x Front bar- The front bar is a circular wooden bar put in between two loops affixed
to the wall of a house.
x Breast Bar- The warp is fixed between the front and the breast bar. The breast bar is
also a circular wooden bar.
x Sword- The sword is a flat wood piece and rests in the front warp, one end of this
sword is blunt and the other end is pointed.
x Heald bar- The heald bar is made of bamboo and is circular in shape
x Circular bamboo bar- This is another circular bamboo bar but is a little longer than
the former and is placed after the heald-bar.
x Lease rod- It is a rod or a bar positioned between front bar and circular bar,
separating the warp in two sets.
x Back strap- This is made either of leather or cloth. There are two loops at the ends
of the back strap, which are attached to the notches of the front warp bar.

Nearly all types of weaves can be woven in the loin loom. On a loin loom, the
possibilities of weaving pattern are unlimited. The weaver sits with a loom fixing the
Setting up the warp

10
back strap, keeping her legs against the footrest, which is adjustable for maintaining the
tension in the loom. The weaving process in the loin loom is governed by the shedding
motion, the picking motion and the beating motion. The heald bar is lifted up with the left
hand and the circular bamboo bar is presses down by the right hand simultaneously. The
sword is then placed in the shed and kept vertical and the weft is passed from the right
side by the right hand by means of the shuttle and picked up by the left hand. The weft is
then beaten up by the sword. The sword is then taken out and the center shed is made
through which the shuttle is passed by the left hand and is picked up by the right hand.
The sword is then again placed to beat the weft. The process is repeated. When the
weaving has just begun, the two-bamboo splits work as the first weft. This is the
technique of plain weave of one up and one down and the process is continued until a
pattern is woven.
4


Carpet weaving
The woollen carpets, woven in sheep wool, are made by almost all the tribals across the
state. But the Bhutia women are the best of carpet weavers, carrying on to this day one of
the oldest carpet weaving traditions.

1. Raw Material
The yarns used to weave the carpets are wool, 50% wool or acrylic for the weft piles and
cotton for the warp and back layer. Most of the yarn is procured from Kolkata.

The cotton (2/20s) is available at Rs.132 per kg and acrylic at Rs.253 per kg.

2. Tools
The tools necessary for weaving consists of yarns (acrylic, cotton or wool), spindle,
spinning machine, warp drum or pegs, and an upright frame loom.













The various loom implements are:
x Frame with two horizontal beams set apart by approx. 1 mtr.
x Metal gauge rods One or more of these roods depending on how many weavers
are working on the carpet as the pile length (average = 1.25 cm) is determined by
the diameter of the rod.
x Cutting tool or knife- This is to cut the loops and form the piles on the gauge rod
x Comb beater (panja or chak-tak)- To beat down the weft

4
Ref: Crafts of North-East: Types of Looms, [Online], Available: http://ignca.nic.in/craft258.htm
Raw material and implements for carpet weaving

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x Mallet (fong) - To beat down the rod with the weft
x Shuttle
x A pair of scissors for trimming

3. Process
The carpets are woven on upright frame looms in a vertical or slightly sloping position.
The design of the carpet is usually drawn on graph paper and hangs down from the top of
the loom or is unrolled, row by row, as a guide to the weaver. The weaver begins to
weave, usually with a row of end blinding followed by four lines of plain weave using
double or treble thickness of the warp cotton thread for the weft.

















For warping the loom is placed horizontally on the ground. The weaver squats inside the
frame and leads the ball of warp yarn, usually four-ply cotton, around the beams, over
and under the cross sticks and in u-turns round the warp lock-stick (axis rod). When the
warping is completed, the loom is put upright against a wall. The loom is constructed
according to the size of the carpet to be prepared. A wooden bar is fixed at the bottom of
the frame. The knots are made on an iron bar held above the first bar in a parallel
position. When a design is to be introduced the woollen yarn is snapped leaving an open-
ended knot that are made all over the iron bar, it is pushed down by fong ( from one end)
and the woven row is further compressed by the tool known as panja . The fork-like
panja is used to adjust the knots so that these occupy appropriate positions with respect to
the cotton yarn. A cutting tool is then used to cut the excess open ended yarn left
previously. It is further leveled off using scissors. To weave another row, cotton weft is
inserted through the space between the front and the rear cotton yarns, and the above
process is repeated. Actual weaving is carried out as required by the designs to be
produced. Finally, the edge of the carpet is woven and the process is completed.
5


It takes about 7 to 8 days for one weaver to prepare a 2X 2 carpet, and 10 days for a
3X 6 carpet.



5
Ref: Nepal Crafts: Galincha-Woollen Knotted Pile Carpets, [Online], Available:
http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=NEPAL&CraftCode=003582
Carpet weaver cutting piles

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Thangka paintings
Thangka paintings depict the spiritual life of the Buddha and his teachings, and are hung
in the monasteries or used on ceremonial occasions. These were traditionally painted by
the monks in the monasteries, but gradually other artists have also started to paint these.

1. Raw Material
A Thangka artist requires canvas, brocades and paints to start working. Traditionally, for
paints, mineral pigments or vegetable dyes were used, but now fabric or acrylic paints are
being used. All these materials can be procured from the local market or Gangtok, the
capital. The brocades are sourced from Kalingpong, the price ranging from Rs.350 per
metre for a simpler one, to Rs.1200 per metre for exclusive pieces.

2. Tools
The tools or implements required by a Thangka artist are a wooden frame to mount the
canvas, animal hair brushes, a palate, and stitching equipment to mount the painting on
the brocade.

3. Process
x Preparation of Canvas
Thangkas are normally painted on a cloth canvas. The canvas is put in lukewarm
water with glue and lime and stretched on a wooden frame with a string. White colour
with water is applied using a brush, cloth or a knife. The surface is then rubbed to
make it smooth and polishing continues until the canvas has acquired the desired
surface quality.

x Sketching on canvas
The sketching of the main figure begins with the construction of the linear grid to
conform to the physical dimension of the central deity. The marking of the four
borders follows with the artist leaving enough space of the edge for the brocade
frame, which is stitched on when the Thangka painting is completed. If the sketch is
simple it is first drawn on paper to be used as a stencil. The sketch drawn on the
stencil is punched with needles thus creating small holes on the paper. The stencil is
placed on the canvas and red powder is then dusted on to it thus creating an outline
on the canvas. When the initial sketch has been completed the master checks the
proportions of each figure by comparing certain key measures of height and breadth
of each figure. The canvas is now ready for introducing the colours.
6


x Filling in the paints
Painting involves filling in the areas with different base colours and subsequent
shading and outlining of these areas. Mud or mineral colours, and also acrylic based-
fabric paints are used. These paints are mainly prepared by the artists themselves. On
completion of the painting the canvas undergoes dry polishing on its back to make it
soft or pliant and resistant to cracking. A fine quality Thangka can take as long as
four or five months to complete.

6
Ref: Bhutan Crafts: Painting-Lhazo , [Online], Available:
http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=Bhutan&CraftCode=003519

13






















x Mounting the brocade
Once complete, Thangka paintings are mounted on brocade. The colour of the
brocade will depend on the colour of the Thangka. Every Thangka will have yellow
and red borders around it. A Thangka will also have a piece of cloth to cover it. The
cover is traditionally in two colours - yellow and red.

Product Range

The Lepcha handloom fabrics are being converted into jackets, waist-coats, ties, bags,
cushion covers, table mats, napkins, purses and pouches, along with the woollen blankets.

The carpets are available in different sizes 2`X 2`, 3`X 6`, 3`X 9` - are a few of the
available sizes. Car seat cover and sofa cover sets are also being produced.

Thangka paintings are now being commercialized, to be used as souvenirs or as
decorative pieces removed from their original spiritual context.

Cur rent Scenario
Textiles are an integral part of culture and tradition for the people of Sikkim. The
indigenous peoples of the state, Lepchas, Bhutias and Sherpas, all have their inherited
customs and rituals which have kept alive the decades-old styles and forms of
craftsmanship.

The Bhutia women are the best of hand knotted woollen carpet weavers, whereas the
Lepcha women are adept at handloom weaving. These weavers essentially weave for
their own consumption and some for sale in the local market. But with increasing demand
for their high quality products, weaving has been taken up as a commercial activity and is
Filling in the paints

14
being done by women in all the communities. Traditionally the woollen yarn made of
sheep hair for the carpets and the blankets was spun by these weavers themselves. Almost
all the households were engaged in sheep rearing. But with the introduction of
commercialization and other yarn alternatives like acrylic, the yarn is now being procured
from Gangtok.


























The Thangka paintings were traditionally painted by monks in the monasteries. But with
increasing demand for these high quality Thangkas in both domestic and international
markets, other artists too have been trained in this art and are practising it. The Thangkas
were done only when commissioned, but now these are painted specifically for sale in the
market. The Thangka artists are now using synthetic-based fabric paints instead of the
traditional mineral pigments or vegetable dyes.

With the influx of tourism in the state, the souvenir market has increased manifold. This
is the main market for these artisans. This has rendered most of these activities seasonal
vocations. During the lean season most of these artisans shift to other daily wage jobs,
working as drivers, waiters, or construction workers. The tourist season is from October
till December and March till June, during which periods most of these artisans sell their
products. The artisans sell most of their products to souvenir and antique shops where the
traders have monopolized the market and the rates fixed by the traders are not negotiable.
The emporia of Directorate of Handicrafts & Handlooms (DHH) is another alternate
marketing channel for these artisans/weavers, but DHH makes the payment for the
products after the sales, due to which the artisans/weavers are reluctant to sell their
products through DHH.

Training the young weavers

15
Most of the artisans/weavers work independently or with entrepreneurs. Only a handful
of these are organized under cooperatives or groups. These entrepreneurs and groups
have their own sales outlet besides supplying to DHH.

The problems faced by these weavers and artisans can be summed up as follows:
x Non-availability of raw materials: The yarns, both acrylic and cotton, are either
being procured from Kolkata or from local traders, the only sources for yarns as
there is no yarn depot or raw material bank. The availability of good quality raw
material is a major challenge faced by these artisans.
x Lack of organization: Most of the artisans are working independently. There is
lack of awareness of the advantages of being organized under SHGs or societies.
x Lack of working capital: Most of the artisans, after being trained at DHH, need
financial support to start up on their own. This kind of support has not been
actively given to these artisans.
x Loom upgradation: The existing loin looms have low productivity as compared to
the fly-shuttle frame looms, on which the productivity is almost double.
x Lack of product diversification and market linkages: The existing sales are
currently restricted to the local souvenir/tourist market. There is not much of
product development and diversification of the existing traditional textiles of
Sikkim.

The Directorate of Handicrafts & Handlooms (DHH), Government of Sikkim is the
single largest organization which is providing integrated solution and assistance to the
artisans in Sikkim. This institute was established in 1957. The aim of the institute is to
preserve traditional art and crafts of the state. It provides training, research and design
development, marketing and financial assistance to the artisans. The institute offers
training in various crafts, namely cane and bamboo (1 year), carpet weaving (2 years),
handloom (2 years), blanket weaving (2 years), mask making (2 years), multicrafts (2
years), wood carving (3 years) and Thangka painting (4 years). There are two wings of
DHH; Training and Production. Most of the pass-out trainees are engaged on wages in
Production Centers and the rest start-up on their own with some financial assistance for
tools/implements and raw materials, and subsequently marketing support from the DHH.
But most of these ex-trainees could not utilize their knowledge and skill to continue to
practice the craft they have been trained in and have shifted to other occupational
activities.

There are NGOs working in the region like Nayuma Women`s Cooperative Society. It
was set up in 2001 to provide opportunity for self-employment and self-empowerment for
rural and urban women in the state. The society is promoting handicraft and handloom
products whose designs are drawn from the rich cultural and traditional heritage of the
main ethnic communities of Sikkim viz. Lepchas, Bhutias and Sherpas. The women of
the society are practicing various arts and crafts such as carpet weaving, Lepcha weaving,
wood craving, Thangka painting as well as the making of soft toys and cane and bamboo
products. The product range includes embroidery items, traditional dresses, aprons, pot-
holders, bed sheets, pillow cases, cushion covers, hand bags, Thangka paintings and food
& grocery products amongst others. Currently, the society is implementing the AHVY
scheme of DC Handicrafts, under which, 317 artisans/weavers have been organized into
17 SHGs.



16
Product Pricing

The price range of the Lepcha handloom products is Rs.70 to Rs.250. Purses cost Rs.70,
sling bags Rs.150 and cushions Rs.250. The mark up for these products is between 10 %
and 20%.

The carpets start Irom Rs.625 Ior a 18X 18 and go up to Rs.10,000 for bigger pieces.

The price range for high quality Thangka paintings starts from Rs.10,000 and higher. But
the commercialized versions are also available for Rs.900 to Rs.2000.

Steps Ahead
The current situation of the crafts requires certain measures to be taken to address some
of the existing problems. These measures are as follows:
1. Organization of the existing artisans/weavers: Most of the artisans spread across
several villages are not organized. These artisans have to be made aware of the
need for forming collective and the focus should be on organizing them in groups.
Forming SHGs is essential for the economic stability of the weavers.

2. Re-induction of the ex-trainees: The ex-trainees from the DHH institute who have
shifted to other vocations should be identified, given work opportunities, and re-
inducted in the production process.

3. Technical and tool upgradation: Most of the looms are loin looms and to
increase the productivity so as to start up the commercialization of the activity on
a larger scale, the looms need to be upgraded to fly-shuttle looms. For this, the
looms, as well as the necessary training for their use, has to be provided to these
weavers, which can be done with the assistance of the DHH institute.
Simultaneously, technical support needs to be given on the more efficient use of
loin looms to increase their efficiency.

4. Marketing linkages: The existing marketing channels need to be strengthened, as
well as new channels provided for the artisans. The artisans need to be exposed to
the various marketing platforms so as to have a first hand review of their products
from the customers. The brand 'Textiles oI Sikkim needs to be promoted.

5. Raw material banks: Yarn depots or distribution centers need to be set in place, so
as to streamline the raw material procurement process and to ensure and regulate
availability, quality control, and the price of yarns.




Bibliography
x Directorate oI HandicraIts and Handlooms (DHH), (2007), Golden Jubilee
Souvenir`, Gangtok: DHH
x Sikkim Art and Crafts, [Online],
Available: http://www.whereincity.com/india/sikkim/arts.php, [11
th
Sept, 2009]

17
x Carpets of Sikkim Crafts and Artisans of India, [Online],
Available: http://www.craftandartisans.com/carpets-of-sikkim.html, [11
th
Sept,
2009]

x Bhutan Crafts: Painting-Lhazo , [Online],
Available: http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=Bhutan
&CraftCode=003519, [11
th
Sept, 2009]
x Nepal Crafts: Galincha-Woollen Knotted Pile Carpets, [Online],
Available: http://www.craftrevival.org/CraftArtDetails.asp?CountryCode
=NEPAL &CraftCode=003582, [11th Sept, 2009]
x Sikkim: Arts and Crafts Tourism, [Online],
Available: http://www.indialine.com/travel/sikkim/arts-crafts.html, [11
th
Sept,
2009]
x Sikkim: Sikkim People, [Online],
Available: http://www.bharatonline.com/sikkim/culture/people.html, [11
th
Sept,
2009]
x Crafts of North-East: Types of Looms, [Online],
Available: http://ignca.nic.in/craft258.htm, [5
th
Sept, 2009]
x Field visit Sikkim, and interaction with the local artisans/weavers, govt. agencies
and craft groups.





























18
V. Product Review

AIACA team purchased a few samples of tribal textiles of Sikkim to be reviewed by
AIACA`s panel oI experts. The products were sent to all the panelists Ior review and they
were asked to give their feedback on the following attributes: quality, colour and design,
price, product potential in the domestic and the international market, and suggestions on
product range and designs.

The products varied in price range (Rs.150 Rs.625), the skill exhibited, the quality of
raw materials used and the products` over all look.




















The panelists included:
x Kusum Tiwari, Director, Mura Collective: Kusum has over ten years of
experience as a business woman and as a retailer of craft products. She started
with Mura Collective in 1998 specializing in Shibori (Japanese style of tie and
dye) and hand woven textile garments.

x Niharika and Thomas Abraham, designers and owner of Pebbles: Niharika and
Thomas are NIFT graduates and have been working as design consultants in the
field of home accessories and textiles in the export sector for the past 13 years.
Pebbles` is an export-based design house catering to the European and Far-East
markets. They showcase at international fairs such as Maison-Object, Paris and
Ambiente, Frankfurt.
x AIACA in-house Design and Marketing team: AIACA has an in-house design and
marketing team comprising designers from IICD, NIFT and University of
Sydney. They have extensive experience working with the artisans on design,
product development and marketing.

Product 1, Rs.625
Product 2, Rs.150

19
Below is the feedback on sample products from Sikkim and suggestions for future
product design and development.

1. Quality: The quality of the products is very good. Though one needs to look at the
quality of raw material and the finish of the products for the urban markets. With
some more attention to the detailing, quality products can fetch a good price.

2. Colour and Design: The products have good color combinations and motif
placement. The designs, however, are very traditional, and more contemporization
is needed in terms of layout and placement. More experimentation needs to be
done with the design layouts such as those with the geometric patterns as well as
scaling up the floral designs.

3. Price: The products are reasonably priced. They could fetch better prices with
better finish, value addition, and accessorization of the products. An example
would be in bags fancy but natural-look buttons, buckles and flaps could be
used.

4. Product potential in the domestic and the international markets: The product has
good potential in both domestic and international markets but needs more design
inputs and product range augmentation to penetrate the market effectively.

5. Suggestions on product range: Innovative ranges such as travel accessories/bags,
runners, yoga mats, patio rugs can be introduced. The Eight Lucky Sign symbols
can really be developed as a brand and product collection developed around this
theme.























20
VI. Value Chain Analysis of the Artistic Textile Weaving of Si kkim

There are primarily three key types of institutions that have been engaged in these tribal
crafts namely:
- Directorate of Handloom and Handicrafts (DHH), Govt. of Sikkim
- Cooperative Societies
- Entrepreneurs/Awardees/units

The DHH has been instrumental in reviving and revitalizing the traditional tribal crafts in
Sikkim. Since the 1990s, DHH has been providing skills training to the tribal artisans on
various tribal crafts through its network of regional training centers spread across the
state. As per estimates, more than 10000 artisans have been imparted skills training.
Besides, providing skills training, DHH also has centralized production units wherein the
trained artisans are engaged full time on a job rate basis. The following section attempts
to elucidate the value chain of different products namely wood carvings, carpet weaving
(specific motifs and designs), Lepcha / Bhutia weaving, masks (of wood or paper mache),
and Thangka paintings.

In this section, the specific value chains are analyzed for the specific issues as well as
cross cutting issues, alongside the opportunities.

a. Value Chain of Carpet Weaving
1) Value Chain Description

Carpet weaving by tribals in Sikkim is unique for the designs and motifs used
(primarily depicting the Buddhist figures, local tales and motifs). Traditionally, local
sheep wool was used but with gradual improvements, currently, mixed wool is used.
Most of the carpet weaving has been revitalized through the efforts of DHH wherein
regional skills training is initially conducted and thereafter, trained artisans are
engaged in their production centers. Currently, there are around 60-70 carpet
weavers working in the centralized production center in DHH, Gangtok and around
100 trainees are being provided skills development training. DHH has a two years
skills development program in carpets. During the first year, the trainees are paid a
stipend of Rs. 700/- per month, which in the second year, is increased to Rs. 900/-
per month. The trainees are selected or nominated through the local panchayats
/village councils.

The carpet weaving has been diversified to various products like car seat covers,
mats, sofa seats etc. The raw materials and other infrastructural expenses are borne
by the DHH. The finished product is checked for quality and sold through the DHH
outlet in Gangtok. Most of the sales made through this outlet in local markets, out-
station exhibitions and occasional bulk purchases. Very limited exports have been
done so far.






21
2) Value Chain Mapping for Carpet Weaving (for 2` X 2` carpet)























3) Positives in the carpet value chain

1. The skilled artisans with high potential of design inputs: Carpet weaving has
been a traditional skill practiced and perfected by the tribals in Sikkim.
However, the raw material used has changed from being pure sheep wool to
mixed wool (owing to competing markets for the finished goods). The tribals
are skilled and can adapt to new designs and product diversification. This
flexibility of both the product as well as the artisans provides a great potential
for creating better products and tapping larger markets.

2. Unique designs and product diversification: Carpet market is overwhelmed
by the presence of various carpet clusters like in Uttar Pradesh and other
locations which boast of quality products and craftsmanship. However, the
uniqueness of carpets in Sikkim, are the traditional motifs (Buddhist figures
and stories). These traditional designs however, have not been exposed or
recognized in the mainstream markets. The other advantage with the carpets
in Sikkim is they are early diversifiers of carpets, primarily to suit the local
demands (carpets have been diversified to sofa covers, square mats and
others).

3. Quality products: The intense two-year training program for the artisans in
carpets results in highly skilled artisans and hence leading to good quality
finished products. Also the artisans are skilled to carry out a thorough quality
check and finishing.


Raw material:
Wool: Rs. 126/- (500 gms @ 253/kg)
Cotton: 66/- (500 gms @ 132/kg

Job work: Rs. 350/-
Finishing (removal of
threads, cleaning etc.)
Collection and sales
of the produce
Selling price at the
outlet: Rs. 725/-
The raw material is procured by DHH from the
markets in Delhi or Ludhiana. The raw material
requirement is more by the trainees (1
st
yr of training)
compared to skilled artisans (trainees use almost 7
kg of wool in a month whereas skilled use 6.5 kgs).
Trainees take 10-15 days to make the 2'*2'
carpet (get a stipend of Rs. 700 p.m.) whereas
skilled take 7 days. Highly skilled artisans take
3-4 days (get Rs. 700 per piece).
The job work for finishing is included in the overall job
work provided to the artisan for making the products.
Net cost of production (excluding the administrative
and other expenses of the DHH) is Rs. 452/- (for a
2'*2'carpet) and selling price s around Rs. 725/- (net
profit margin of Rs. 273/- this includes the handling
charges and other administrative expenses)
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4) Challenges in the carpet value chain

1. Carpet markets: The mainstream market for carpets is flooded with various
quality carpets and products that suit the contemporary tastes of the
customers. The traditional designs though have their own market USP but
needs a well laid out strategy to create market awareness. So far the markets
have been limited to local, and hence have been doing well. But further
expansion needs would involve broadening the market base, and that would
mean adapting the traditional designs (while keeping alive its essence) to
mainstream market needs.

2. Carpet as a business model : The carpet business in Sikkim primarily revolves
around the DHH wherein DHH creates skilled artisans through regional
trainings as well as has set up production centers. This model of DHH, on a
close look needs further revamping to develop it as a sustainable business
model. Currently, the DHH is supported through state funds and the
operational costs are borne by these resources. Further, the productions
happening at the training centers are highly subsidized i.e. the trainees are
provided a stipend ranging from 700 to 900 per month plus the raw materials
supply free of cost by the DHH. This often creates a dependency of the
trainees on DHH, and limits developing entrepreneurs. Also the support from
the state funds adds to further complacencies of the model, to graduate to the
next level of being an independent sustainable venture.

3. Production systems: Till date, since the beginning of DHH inputs in carpets,
over 10000 artisans have been trained, however, only about 200 of them are
actively engaged in production (including about 100 existing trainees). There
has been no follow up on the trainees who have been trained in the past.
During the diagnostics it was highlighted that most of the trainees after
completing the trainings have either left carpet weaving or have taken to other
jobs mostly owing to lack of business opportunities. This also is largely
attributed to the high levels of dependency on DHH. As of now, the markets
are limited to local markets and through outbound exhibitions and hence low
production requirements that befits the existing market requirements.
However, to create more employment and income opportunities for the
artisans, newer and larger markets have to be explored. Once the markets are
further expanded there would be an urgent need to develop a good production
base of skilled artisans (who may work on a contract basis as and when the
orders come in), beyond the existing institutional arrangements of DHH.

4. Institutional mechanisms: One of the challenges that cuts across the entire
carpet based livelihoods in Sikkim is - lack of proper institutional
mechanisms that would empower and create self-sustaining enterprises. As of
now the only institutional system supporting carpet based livelihoods is by
the DHH i.e. network of training centers and a production center in Gangtok.
Efforts needs to be made to develop local community based institutional
strictures like the Producer Business Groups (PBGs) to create efficient
production systems as well as empower the artisans and make them self-
sufficient profit centers.

23
Also there are limited institutional arrangements and linkages for marketing
(only limited efforts of the DHH through its market outlet). To provide a
better access to larger markets institutional linkages and systems need to be
put in place.

5. Lack of service providers: In the existing arrangements the major service
providers for services like design inputs, market information, technology up-
gradations, raw material supply etc. to the artisans, has been actively provided
by the DHH. Besides, DHH there are is no competing service provider in the
region for carpets. To establish and broaden the employment potentials of
carpets in Sikkim, the services have to made accessible to the larger artisan
base (beyond those directly linked with DHH) more such services need to be
put in place like creating a group to ensure accessible and timely supply of
quality inputs, design inputs as well as other enterprise development and
business development inputs as required by the artisans. Few of these services
can be extended effectively by DHH like skill development, which can be
effectively complemented through collaboration with expert design institutes
and markets.

6. Gender perspective: North-East is general has active role of women in the
family economies. Women are actively working as entrepreneurs and job-
workers contributing to the family incomes. Most of the artisans engaged in
carpet weaving are women, who mostly work on part-time basis (after
attending to their daily chores). The involvement of men folks could be
innovatively thought of to create an effective business initiative. The men in
the families can be trained on weaving, marketing and ensuring raw material
supplies, so that they also get some employment in the value chain.
























24
b. Value Chain of Lepcha Weaving
1) Description of Value Chain

Weaving in Sikkim is mostly practiced by a tribe called Lepcha and is called lepcha
weaving. Lepcha weaving has been a traditional craft in the tribal households wherein the
production primarily caters to the household requirements. Most of the traditional tribal
dresses are hand woven with specific motifs representing the specific tribes. Most of
these household weaving practices are not commercial and mostly done on loin looms
that is more labor intensive.

The value chain analysis is done for a dress having the dimensions of 3mtr X 14 made
on a loin loom. This product is made at the production center established by DHH where
the trained artisans are engaged as job workers.

2) Value Chain Mapping of Lepcha Weaving
























3) Challenges and opportunities

1. Up-gradation of technology and tools: The loin loom has been the traditional
weaving tool used by the tribals. It is labour intensive but produces the finest
quality products (good weaving quality). Moreover, as most of the production
is for household consumption, for commercial purposes and to scale up
production, the tools need to be modified i.e. introduction of power shuttle
looms would be essential. Loin looms also have their limitations as regards
the dimensions of the products made on them. The maximum width that can
be woven from a loin loom is 14 to 18 inches, which suits the local
Spinning of yarn
Weaving (person days
2 days) i.e. job work
of Rs. 200/-
Stitching Rs. 5-10/-
per piece
The artisan is given the yarn and is responsible from start
to finish of product i.e. spinning to weaving (stitching goes
into different process line)
A skilled worker is paid around Rs. 3000 per month and
takes 2 days to spin and weave this dress. Semi-skilled
takes 7 days.
Net cost of production (excluding the administrative and
other expenses of the DHH) is Rs. 320 and selling price s
around Rs. 350/- (net profit margin of Rs. 30/- this includes
the handling charges and other administrative expenses)
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Raw material Rs.
112/- for yarn
1 kg of yarn costs Rs. 160 and about 700 gms of yarn is
used for a table runner of 3m X 14. The raw material is
procured by DHH under the subsidized scheme of the
government
Finishing and sales
Sale price at outlet
Rs. 350

25
requirements of dresses. However, any product diversification like bed covers
or other decorative products would require more flexibility in dimensions.
This necessitates introduction of efficient and more refined tools as well as
technology that would suit the larger markets i.e. better looms, tools etc.

2. Organizing and aggregation: One of the limitations in the region, and
specifically in case of the lepcha weavers, is that they are mostly individual
artisans and work as independent weavers catering to the local marker. Any
access to larger markets would require ensured production volumes and thus
aggregation of produce as well as producers. Limited effort at organizing
these weavers has been made by the DHH, who have a production center
where these weavers work under one roof. Largely, however, these weavers
are still scattered in the villages.

3. Infusion of design: Most of the designs in the products are traditional and
specific to tribes. These designs have their uniqueness, however, they have a
huge potential for diversification to suit the taste of mainstream buyers. The
blend of tribal and contemporary designs is needed to ensure both
conservation of tribal designs and access to better markets.

4. Infrastructural requirements: Besides, the common production center created
by DHH, there are no other common working /production centers where the
primary artisans can collectively sit and work or even aggregate/package their
produce, ensure quality control etc. The absence of such infrastructural
facilities often is detrimental to accessing better markets. Infrastructural
facilities like production centers, common training centers etc. would better
equip the primary artisan`s link to better markets.























Nayuma Cooperative Society:
Registered in 2001, this cooperative has a membership of 45 women members (of which about
30 are active), 80% being tribal. The cooperative was created to provide income opportunities for
women. Currently, the cooperative has diversified to new products using diverse raw materials
(besides cotton) and has been dealing with bamboo products, wood carvings, Lepcha weaves,
Thangka paintings, and carpets in addition to traditional dresses. Most of the products are
sourced from local producers who sell the finished goods to the cooperatives. The members at the
cooperative finish and stitch the products that are primarily sold through their outlet, DHH and at
exhibitions. With an estimated sales of around 20 lakhs the cooperative is working towards
enhancing livelihoods of the poor and mostly tribal women.

26

c. Value Chain of Thangka paintings
Thangka paintings are traditional and unique to Sikkim and this art form has been
practiced for generations. Mostly done by monks and tribals, these paintings depict
Buddhist stories and motifs. The Thangka paintings are also considered very religious
and hence every Buddhist family has one such painting in their homes. However, the
markets are still limited to local markets, with an additional few sales to tourists. Owing
to low remunerations for the artisans from Thangka paintings, most of the artisans have
abandoned practice of the Thangka craft. Also, the sketching of motifs on fabric is a
highly skilled job and few skilled artisans who can do it are left. DHH realized this and
have imparted skills training to youth and other artisans. However, again owing to
seasonality of the market as well as limited volume of sales and thus poor income
opportunity, most of the artisans have quit.

Historically, the Thangka painting were done on silk, but with changing market pressures
of cost, currently poplin is being used (Rs. 25 per meter). Other inputs costs for a
Thangka painting (for a half mtr Thangka painting) other than cost of poplin are brush,
silk frame and wooden frame. The overall cost for production (including 7 days of labor
costs of Rs. 1500/-) is around 2800/-. These products are sold in the local markets for Rs.
3000/- to 4000/-.



























27
VI I. Artistic Textiles of Si kki m: Business Development Plan


1. Obj ectives of I ntervention
In the artistic textiles ACCESS and AIACA would be looking at Thangka paintings,
woolen carpet weaving and Lepcha handlooms. These crafts are practiced by the tribals
and intervention strategy is based on the principles of aggregating the existing artisans,
scaling up the operations to increase the income levels of the artisans, promoting
commercially sustainable production and improving marketing structures in the cluster.
Based on these principles, the following will be the main objectives of intervening in the
cluster

Obj ective 1: Reach out and wor k with the artisans across the state
As highlighted in the value chain, there are a number of artisans trained by DHH,
working all across the state and mostly in north district of Sikkim. ACCESS and
AIACA would reach out to all the individual artisans, collectives, entrepreneurs and
particularly women artisans trained by DHH. These artisans would be provided
services to scale up their operations and other inputs provided to assist in increasing
the artisans` income levels through the practice oI these craIts.

Obj ective 2: I ncrease number of wor king days and wages of each artisan
ACCESS and AIACA would aggregate individual artisans into collectives and link
them up with the existing entrepreneurs. DHH trained artisans who have either left the
craft or do it only during certain months of the year would be provided more work
year round through design and product development support and market interventions.

Obj ective 3: Upgrade the tools and implements to increase productivity
To increase productivity and incorporate more designs, tools and implement that are
currently being used need to be up graded and some new tools need to be introduced.
High and consistent quality products and economies of scale need to be achieved
through the process.

Obj ective 4: Develop new product lines more suited to urban mar kets
ACCESS and AIACA would feed in new design inputs and colour trends through their
market research. Product lines that are more suited to urban markets would be
developed. Key objective would be to highlight the handmade craft aspect and fetch
the appropriate price for the craft in the market. For each craft Thangka painting,
carpets and Lepcha weaves specific design and product development would be done
keeping the craft uniqueness in mind.

Obj ective 5: Create mar ket linkages to multiple mar ket segments
Increasing sales and wages of artisans will depend not only on developing new
products, but also on ensuring that such products developed can be sold at higher price
points. ACCESS and AIACA will work towards linking the cluster actors to multiple
market segments within India and abroad. Each craft Thangka painting, carpets and
Lepcha weaving would be connected to appropriate markets.



28
2. I ntervention Strategies
To achieve the objectives listed above, ACCESS and AIACA will primarily use the
following strategies while intervening in the cluster:

Strategy 1: Collaborate with DHH to reach out to the trained artisans
DHH, over the years, has trained artisans in a number of crafts. These training programs
run for 2-5 years and are very intensive. ACCESS and AIACA would collaborate with
the trained artisans and build upon their existing skills.

Strategy 2: Wor k with existing NGOs, entrepreneurs and master t rainers
ACCESS and AIACA would collaborate with various stakeholders to reach out to 1000
artisans. Emphasis would be on aggregating these artisans, providing design and
technical support to them and linking up with wider market segments. Existing market
channels would also be strengthened and enterprise support services would help establish
them as business entities.

Strategy 3: Diversify the raw material used and product lines created as per the
contemporary mar ket demand
Product lines and designs would be diversified and cater to wider audience rather than
just the current tourist markets. Woolen products that are seasonal, new raw material base
would be introduced to increase their utility and marketability throughout the year. These
interventions are geared to provide artisans year round work and income.

Strategy 4: Developing ~Sikkim Crafts and ~Eight Lucky Signs as a brand and
creating new mar ket linkages.
Eight lucky sign symbols are very unique to Sikkim and other regions that have
Buddhist influence. ACCESS and AIACA would assist in developing this brand. Brand-
building initiatives will include developing new product ranges, developing a set of
marketing materials that explain these symbols and their significance. A web-site and
product catalogue, holding a series of exhibitions in key markets to publicize new product
profile along with Eight Lucky Signs of Buddhism, and representation of Sikkim
products at trade fairs in India and abroad.

3. I nterventions under AHVY scheme
Based on the above objectives and strategies, the following interventions will be needed
under the AHVY scheme:

i) Training of Artisans
Given that currently, only approximately 1000 artisans have been working regularly
as part of existing value chains, skill-building trainings will be essential to scale up
and strengthen the number of artisans capable of producing quality products. To do
this all 1000 will require training and skill-building inputs over the project period.
ACCESS and AIACA will undertake skill-building in a phased manner. 5 training
workshops will be held annually for a four year period to cover 1000 artisans, who
will be brought into the artisan collective.




29
ii) I ntegrated Design and Technical Development Proj ect
A significant design investment will be needed to diversify the product profile of the
cluster. An integrated design and technical development project will be initiated in
year 1 of the project. ACCESS and AIACA will identify appropriate designers and
hold a series of workshops in the cluster to develop a number of new product ranges
covering different product and market segments. Efforts will be made to diversify the
base skill and develop a new product range of garments, floor coverings and home
furnishings.

iii) Design and Technical Development Wor kshops
The Integrated Design and Technical Development Workshops will be augmented by
an annual Design and Technical Development workshops over a five year period to
continue the process of skill up gradation, design development and to oversee and
fine-tune the production of new designs developed.

iv) Organizing Exhibitions
ACCESS and AIACA will organize a series of exhibitions in major Indian metros,
market-test new product ranges and increase sales of artisans in the cluster. In
addition, AIACA will also work on representation of products from the cluster in
existing exhibitions across the country such the Dastkar Nature Bazaar. Selected
artisans will be taken to the exhibitions so that they can directly interact with
customers, get product feedback and also gain exposure to retail outlets in the major
metros.

v) Publicity Materials - Catalogues and Website
ACCESS and AIACA will develop marketing and publicity materials to help build
the Textiles of Sikkim brand and to enhance awareness of both commercial buyers
and end consumers of the product profile, characteristics and craft production
process. A web-site for the cluster will be created, which will be handed over for
operation to the artisans` collective. New products developed will also be Ieatured in
commercial product catalogues which will be distributed to AIACA`s network oI
domestic buyers as well as importers across the world. Product catalogue for the
textile from Sikkim will be developed.

vi) Entrepreneurship Development Program
Selected Artisans will be taken for the India Market Readiness Program (IMRP)
organized by Aid to Artisans and AIACA in Delhi in conjunction with the India
HandicraIts and GiIt Fair (IHGF). 2 artisans per year Irom the artisans` collective will
be put through the training program every year for three years to create a cadre of
trained professionals to run the collective.

vii) Trade Fai r Participation
The new products developed in the cluster will be represented at three trade fairs -
IHGF, the New York Gift Fair (NYGF) and Ambiente, Frankfurt so as to create
linkages with commercial buyers and generate bulk orders from year 3. Two artisan
representatives from the collective will also be taken to the IHGF to train them in
participating in trade fairs.




30
viii) Computer, Printer and I nternet Connection for Artisan Society
A computer, printer and internet connection will be provided to the Artisan`s
collective through the project so as to enable them to interact with commercial buyers
and generate required paperwork for managing customer orders and sales.

ix) Common dyeing facility and warehousing for Artisan Society
Storage and office space, as well as a common dyeing facility will be provided to the
artisans collective through AHVY scheme to enable the Artisan Society to start
functioning and to scale up to cover a greater number of artisans.

x) Salary for Cluster Manager
A cluster manager will be hired to manage all initiatives at the cluster level, provide
logistical support to Access and AIACA, and provide handholding support for the
artisan collective.

4. Proj ect Output Targets
The following will be the primary project targets over a five-year period:

x Increase number of functioning artisans in the cluster to 1000 artisans
x Increase total sales revenue from cluster to 4 crores a year by the end of
project period.
x Twenty five new product ranges developed more suited to the urban markets
in India and abroad.
x Thirty new commercial bulk buyers linked to project cluster by end of project
period.
x 30% increase in number of working days and incomes of functioning artisans
in the cluster.

5. Proj ect Budget
The total budget for proposed interventions over a five-year period is Rs. 1,52,25,360.
Appendix 1 with detailed budget break-up attached. In addition, Rs. 12,00,000 is the
budget Ior direct support to artisans` Iederation Iormed in the cluster.