MASK MAKING CLUSTER SIVASAGAR

Interactive Design Study | Sivasagar Mask Making Cluster | 2013

MASK MAKING CLUSTERSIVASAGAR

Interactive Design StudyCluster Level Report | DCS MSME Scheme

Band Five 2013Siddhartha Kam Deuri | [email protected]


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The Design Clinic Scheme is an initiative of the Ministry of Micro, Small and Medium Scale enterprises and India’s premier Design institute namely National Institute of Design. Launched under the National Manufacturing Competitiveness Programme (NMCP) on February 17th, 2010 in New Delhi, the unique and ambitious design intervention scheme proposes to benefit 200 industry clusters to create a dynamic platform to provide expert solutions to real time Design problems, and in that add value to existing products.

The Design Clinic Scheme scheduled for implementation through the Eleventh Plan, is structured to enhance Design awareness by exposing beneficiaries to the critical nuances of process, operation, manufacturing and business aspects of Design. All targeted to equip them with skills for improving, evaluating and analysing Design related interventions. The initiatives are expected to inculcate an innovative and futuristic approach towards Product Development, In the long term, the effort is expected to accrue cost effective solutions and equip with the ability to identify opportunities for enhancing existing product value. The skill level achieved by beneficiaries of the Design Clinic Scheme is anticipated to equip them with the capability of offering competitive and breakthrough solutions for the MSME sectors and in that switching the production mode from Original Equipment

Manufacturing to Original Design Creation and hence Original Brand Manufacturing.The three Design Clinic Scheme models for facilitating Design learnings are:a) Design Sensitisation Seminars (200)b) Design Awareness Programmesi) Need Assessment Surveyii) Design Clinic Worshops (200)c) Design Projects (400, including 100 Student Design Projects)

The total Design Clinic Scheme budget of Rs.73.58 crores, enjoys a Rs.49.08 assistance from the Government of India, to be released at various stages of progress. The balance to be contributed by the benefiting MSME units.The National Institute of Design is the nodal agency for the Design Clinic Scheme with its rich experience in Design training and Consultancy, NID being the synergising catalyst between Design professionals and Design Clinic Scheme beneficiaries, with an administrative command of facilitating the Design Clinic Scheme schedule.The Design Clinic Scheme offers an enriching opportunity to the large sector of MSME (Associations and Units) as well as the Indian Design fraternity, including consulting firms, independent Designers, Design institutes as also Design students, to engage in assisting the country’s large and significant MSME sector.

About

The Design Clinic Scheme


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The design awareness programme, DAP, is focused to develop a holistic map of MSME clusters and units by exploring through industrial functions and activities. The design expert/s will generate design information about products, market scenario, technology, communication, research & development, and various industrial functions along with human factor study for ergonomics, safety, convenience, learning and skill up gradation through design research. Also the programme will provide design remedies for identified opportunities through design clinic workshop. The workshop will help participants to understand the holistic scenario of cluster and benefit them with the support of design expert/s, for design intervention in opportunity areas explored during the programme.

The activities of design awareness programme are targeted around following areas of design information collection and remedial solutions.Design Expert will visit the identified/selected MSME units located in cluster region and interact with them to develop a design understanding of cluster. During the interaction design will provide inputs to MSMEs about product improvements, best practices and creative problem solving approach based on contextual scenario. In the process s/he will identify underlying opportunities with the helpof explorative design research of clusters and participating units.

This activity is an intensive design research

for understanding the present scenario and opportunities for the design intervention. Also it will help improve MSME through Interactive learning, guidance and training during the visit.This activity will be a detailed research thorough visits and interaction with people within the MSME work environment. It will also help designer to generate information about the cluster units, their products, manufacturing processes, market scenario followed by identifying opportunity areas for design interventions. The research would be taken up by design expert/s for generation of design insights through various processes of exploration, interaction and data collection. Design expert/s will take part in developing macro perspective by studying cluster scenario and micro point of view by exploring through MSME units operations. As an outcome of interactive design research, expert/s will identify opportunity areas at cluster as well as units level for design interventions and design project/s in the future course of design clinic scheme The research methodology for design study survey will include activities through observation, interaction, photography, interviews and qualitative/quantitative design

data collection. The survey will help in developing detailed map of cluster and units for identification of patterns and exploring opportunity areas for design intervention at various levels of product and human interactions.

Introduction

Design Awareness Program


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The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. The institute functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. NID is recognised by the Dept. of Scientific & Industrial Research (DSIR) under Ministry of Science & Technology, Government of India, as a scientific and industrial design research organisation.

NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make Designed in India, Made for the World a reality. NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership.

About

National Institute of Design


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The objective of the Society “SHANTI CREATION” is to promote Design, Development and Marketing of Rural Product which reflects Rural Weavers and Artisans and JLG’S to develop their economic and social benefit. In continuance of its objectives either by itself or in collaboration with other cooperative, financial, government, development and banking organisations or corporate bodies, the “SHANTI CREATION” is involved in following activities:

* To promote activities for the educational & socio-economic development of the unemployed youth specially rural & urban youths.* To facilitate marginalized community in accessing formal, non formal, vocational education etc, especially targeting the most deprived vulnerable children and woman.* To work for Skill up gradation to small scale industries and to Rural People* To check and ensure that maximum level of profit margin should reach to the weavers and the Artisans of the cluster through marketing of Handloom and Handicraft products.* To inculcate legal awareness among the poor and vulnerable section of the society in regard to their right.* To work for socio economic empowerment of the woman and Create Awareness and to prevent of Domestic Violence and Child, Women trafficking.* To organize legal Awareness Camp, Free Medical Camp, Blood Donation Camp, Health Awareness Camp about HIV/AIDS, Cancer etc.* To work for the poor and marginalized by enabling

to access safe drinking water and hygiene and sanitation. * Encouraging all marketing efforts to boost sales generation in the different cluster such as participating in Exhibition, sales event held at local level and outside the state, order generation of buyers and direct marketing by forming a marketing team with selected members of the cluster.* To fight for environment protection by facilitating awareness generation on environment degradation and work for preservation of eco-system by implementing forestation projects and programme.* Registration and renewal at regular activity under the Joint Director of Foreign Trade Import-Export Certificate (IEC).* To take steps for Agriculture, Horticulture, Animal husbandry for the development of rural poor people and thereby encourage them to take-up livelihood independently.* To generate the self employment opportunities. * To ensure technological assistance to the people of the NE region in different sector. * To support the physically, mentally and emotionally challenged people for their better livelihood. * Undertake any activity and provide necessary services for the welfare of the employees of the consortium.* To take steps for cultural enrichment of the region and to give a global view.

About

Shanti Creation


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Popularly called as the land of the red river and blue hills, Assam is the gateway to the northeastern part of India.

Assam is a northeastern state of India. Its capital is Dispur, a city located on the outskirts of its largest city, Guwahati. Located south of the eastern Himalayas, Assam comprises the Brahmaputra and the Barak river valleys along with the Karbi Anglong and the North Cachar Hills with an area of 30,285 square miles (78,438 km²). Assam is surrounded by six of the other Seven Sister States: Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura and Meghalaya. These states are connected to the rest of India via a narrow strip in West Bengal called the Siliguri Corridor or “Chicken’s Neck”.Assam also shares international borders with Bhutan and Bangladesh; and cultures, peoples and climate with South-East Asia.

Assam is known for Assam tea, large and old petroleum resources, Assam silk and for its rich biodiversity. Assam has successfully conserved the one-horned Indian rhinoceros from near extinction, along with the tiger and numerous species of birds, and it provides one of the last wild habitats for the Asian elephant. Assam was also known for its Sal tree forests and forest products, much depleted now. A land of high rainfall, Assam is endowed with lush greenery and the mighty river Brahmaputra, whose tributaries

and oxbow lakes provide the region with a unique hydro-geomorphic and aesthetic environment.

FESTIVALS:There are several important traditional festivals in Assam. Bihu is the most important and common and celebrated all over Assam. Durga Puja is another festival celebrated with great enthusiasm. Muslims celebrate two Eids with much eagerness all over Assam.

DEMOGRAPHICS:Total population of Assam was 26.66 million with 4.91 million households in 2001. Higher population concentration was recorded in the districts of Kamrup, Nagaon, Sonitpur, Barpeta, Dhubri, Darang and Cachar. In 2001, the census recorded literacy in Assam at 63.3% with male literacy at 71.3% and female at 54.6%. The major religions are Hinduism, Islam, Christianity, Sikhism, Buddhism, and Jains.

CLIMATE:With the “Tropical Monsoon Rainforest Climate”, Assam is temperate (summer max. at 35–38 °C and winter min. at 6–8 °C) and experiences heavy rainfall and high humidity. The climate is characterized by heavy monsoon downpours reducing summer temperatures and affecting foggy nights and mornings in winters. Thunderstorms known as Bordoicila are frequent during the afternoons. Spring (Mar-Apr) and

About

Assam and Sivasagar


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Autumn (Sept-Oct) are usually pleasant with moderate rainfall and temperature.

LANGUAGE:Assamese and Bodo are the major indigenous and official languages while Bengali holds official status in the three districts in the Barak Valley and is the second most widely spoken language of the state at around 27%.

BIO DIVERSITY:Assam is one of the richest biodiversity zones in the world and consists of tropical rainforests, deciduous forests, riverine grasslands, bamboo orchards and numerous wetland ecosystems; Many are now protected as national parks and reserved forests. The Kaziranga, home of the rare Indian Rhinoceros, and Manas are two UNESCO World Heritage Sites in Assam. The state is the last refuge for numerous other endangered species such as the Golden Langur (Presbetis geei), White-winged Wood Duck, Bengal Florican, Black-breasted Parrotbill, Pygmy Hog, Greater Adjutant and so on. Some other endangered species with significant population in Assam are the tiger, elephant, Hoolock gibbon, Jerdon’s Babbler and so on to name a few. Assam is also known for orchids.

SIVASAGAR:Sivasagar previously spelled Sibsagar (“the ocean

of Lord Shiva”), is a town in Upper Assam, about 360 kilometres (224 mi) north east of Guwahati. It is the district headquarters of the Sivasagar district.

It is well-known for its Ahom palaces and monuments. Sivasagar today is also an important centre for the tea and oil industries.

Sivasagar, formerly known as Rangpur, was the capital of the Ahom Kingdom from 1699 to 1788. The Ahoms ruled Assam, virtually without interruption, for six centuries, until their kingdom fell to the Burmese in 1819 and their ruling class was all but wiped out.The province was liberated by the British in 1825 but, owing to the state of anarchy which prevailed, it was completely annexed in 1826. For administrative purposes it was divided into three sub-divisions. It is said that the original name of Sivasagar was - ‘Kalansupar’ after the name of ‘Kalansu Gohain’ who resided in a village originally existed in the place where currently the Sivasagar tank is located.

This town’s main feature is the water body from which it takes its name. This is a 257-acre (1.04 km2) tank, also known as the Borpukhuri, which is at a higher elevation than the rest of the town, with three temples (“Dol”s in Assamese) on its banks. Of these temples, the most prominent is the Sivadol, standing tall at 104 feet (32 m), drawing large crowds on Shiv Ratri. The other

The Kamakhya Temple


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temples are the Vishnudol and Devidol. The temples were built by Kuwori Ambika, wife of Swargadeo Siba Singha, in 1734.

DEMOGRAPHICS:As of the 2001 India census, Sivasagar had a population of 53,854. Sivasagar has an average literacy rate of 81%, higher than the national average of 59.5%: male literacy stands at 83%, and female literacy at 79%.

Most of the inhabitants of the town are Assamese, comprising Ahom, Assamese Hindus, Assamese Muslims, and other ethnic groups.

TRANSPORT:RoadSivasagar is well connected by road with the rest of the state. State-run buses connect it to Guwahati, Dibrugarh, and Jorhat from the Assam State Transport Corporation’s (ASTC) bus station in Sivasagar. Private buses are also available. Taxis are also available for hire.Auto-rickshaws and other modes of transport are available in and around the town. Cheaper modes of transport, like Tata Magic and Tempos, are available through Nazira, Mechagarh, and Joysagar to Sivasagar.AirportThe closest airport is located at Jorhat, 75 km away from Sivasagar. The airport is connected, via regular flights, to cities like Guwahati, Kolkata,

Bangalore, and Delhi. Sivasagar is also connected to Dibrugarh and Shillong. Another option for getting here is via Dibrugarh Airport, located at a distance of 80 km from the city. There are frequent flight services to both Jorhat and Dibrugarh. Taxis to Sivasagar are available from either airport.

RailwayThe Dibrugarh –Yesvantpur Express connects through Sivasagar Railway Station. The nearest railway station on the Tinsukia-Guwahati sector of the North East Frontier Railways is located at Simaluguri, 16 kilometres (9.9 mi) from Sivasagar. Buses ply regularly from Simaluguri towards Sivasagar. It is approximately a half-hour bus ride from Simaluguri town.

CLIMATE:The weather in Sivasagar is pleasant throughout the year. Temperatures range from 10°C in winter to 40°C during summer (due to high rainfall during the summers, the weather normally remains pleasant). Due to the Brahmaputra following quite close to the region, Sivasagar is characterised by high humidity, and the average rainfall is about 90 to 94 inches (230 to 240 cm) a year.TOURIST ATTRACTIONS:TanksJoysagar PukhuriJoysagar, said to be the biggest man-made lake in the country, is spread over 318 acres

Devi Dol | SivasagarRanghar | Sivasagar


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considered auspicious and sees a greater number of visitors to the Dol, although it remains open throughout the year.

DevidolThis is dedicated to the Hindu Goddess of Power, Durga. Durga Puja, the most important festival marked at the temple, is celebrated twice a year: in the months of Chaitra (April–May) and Ashwin (September–October).

AmphitheaterRang GharOf Sivasagar’s famous Ahom ruins, the Rang Ghar is a double-storied, oval shaped, amphitheater with a roof shaped like an inverted boat. It was constructed by Swargadeo Pramatta Singha. The Rang Ghar is said to be amongst the largest of amphitheaters.

PalacesTalatal GharThe Talatal Ghar is a palace which was initially built as an army base. It houses two secret tunnels, and three floors below ground level which were used as exit routes during the Ahom wars (and which give the structure its name).

The Talatal Ghar constitutes the below-ground structure of the Rangpur Palace, whose four floors above-ground make up the Kareng Ghar.

(1.29 km2) of water on the edge of the town in an area called Rangpur, 5 kilometres (3.1 mi) away from the present town of Sivasagar. This lake was built by Swargadeo Rudra Singha in honour of his mother, Joymoti.

GaurisagarThe Ahom queen Bor Kuwori Phuleshwari Devi built this tank, which is spread over 150 acres (0.61 km2).

RudrasagarSwargadeo Lakshmi Singha built this tank, and dedicated it to his father Swargadeo Rudra Singha, in 1773. A Shiva Temple was also build on the bank of this beautifully constructed tank. It is 8 kilometres (5.0 mi) away from the town of Sivasagar.

TemplesSivadol TempleIt was built in 1734 by Kuwori Ambika, wife of the Swargadeo Siba Singha. Dedicated to the Hindu god Shiva, this is the most sacred of the three temples. Rising to a height of 104 feet (32 m), it encircles an area of 195 feet (59 m). It is thronged by devotees during the festival of Shivratri.

VishnudolThis was also built by Kuwori Ambika. It is dedicated to the Hindu god Vishnu. According to the Hindu calendar, the month of “Bhada” is

Bor Pukhuri | SivasagarKareng Ghar | Sivasagar


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The ancient capital of the Ahoms is Gargaon, about 13 km east from Sivasagar, home to the Kareng Ghar, a seven-storied palace built by 18th-century architects. Charideo, situated nearby, is another old capital which was built by Sukaphaa, the founder of the Ahom dynasty. There are Maidams, or vaults for kings and other members of the royal families here. Travellers cross the Namdang stone bridge, carved out of a single boulder hundreds of years ago, over which the busy national highway (NH 37) still runs today.

In all, the Rangpur Palace is a seven-storied building. Bakhar Bengena: it is a rare breed of tree is situated at Bokota Mouza, and the place name is known as a Bakhar Bengena.

MuseumSivasagar Tai MuseumA new addition is the Tai Ahom Museum on the banks of the Sivasagar. It stores artefacts from the Ahom kingdoms and their rulers, including vestments, swords, manuscripts, goblets, and household utensils.

Panidihing Bird SanctuaryA rich wetland eco-system of 33.93 square kilometres (13.10 sq mi) on the southern bank of the river Brahmaputra, in Sivasagar district. Birds: A paradise of migratory and resident birds, over 165 species of birds have been identified and recorded here. Among these is a high concentration of geese and other migratory birds. Common species include bar-headed goose, grey leg goose, spot billed duck, mallard, gadwall, wigeon, gargany, shoveller, red-crested pochard, common pochard, ferruginous duck, adjutant stork, lesser adjutant stork, open-bill stork, and the white-necked stork. Aquatic fauna: Several varieties of fish have been identified here, along with various species of frogs, snakes, and other amphibians and reptiles.

Other Attractions

Shiva Dol | Sivasagar DC Office | SivasagarPanidihing Bird Sanctuary | Sivasagar


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Assam Mask Making


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Mask making in Assam was introduced by Srimanta Sankerdev. Srimanta Sankardev(1449–1568), was a 15th-16th century Assamese polymath: a saint-scholar, poet,playwright, social-religious reformer and a figure of importance in the cultural and religious history of Assam, India.

He is widely credited with building on past cultural relics and devising new forms of music (Borgeet), theatrical performances (Ankia Naat, Bhaona), dance (Sattriya), literary language(Brajavali). Besides, he has left an extensive literary oeuvre of trans-created scriptures (Bhagavat of Sankardev), poetry and theological works written in Sanskrit, Assamese and Brajavali. The Bhagavatic religious movement he started, Ekasarana Dharma and also called Neo-Vaishnavite movement, influenced two medieval kingdoms---Koch and the Ahom kingdoms---and the assembly of devotees he initiated evolved into Sattras over time, which continue to be important socio-religious institutions in Assam and to a lesser extend in North Bengal. Sankardev inspired the Bhakti movement in Assam just as Guru Nanak, Ramananda, Kabir, Basava and Chaitanya Mahaprabhu inspired it elsewhere in the Indian subcontinent. His influence spread even to some kingdoms as the Matak Kingdom founded by Bharat Singha, and consolidated by Sarbanda Singha in the latter 18th century endorsed his teachings.

His literary and artistic contributions are living traditions in Assam even today. The religion he preached is practiced by a large population, and Sattras (monasteries) that he and his followers established continue to flourish and sustain his legacy.

On his return from the first religious pilgrimage and after his exposure to the detailed Bhagavata Purana and Sridhara Swami’s commentary Bhavartha-dipika, Sankardev produced a dance-drama called Cihna yatra, for which he painted the Sapta vaikuntha (seven heavens), guided the making of musical instruments and played the instruments himself. He also created four

About

Assam Mask Making

bamboo masks namely Garuda, Rajahansa, Brishabha and Ananthshaiya to further enhance and glorify Cinha yatra, which are known to be the first bamboo masks created in the history of Assam. Sankardev is the one who started this mask making tradition in Assam and popularized their use in religious plays and dance dramas. Sankardev used raw materials which are easily available in nature and free of any cost. Materials such as bamboo, cow dung, potters mud( black clay ),cane, wood, cotton cloth, natural dyes and natural gum from trees are used to create these masks. Based on the usability ,the masks are classified into three categories Mukh Mukha (face or head mask), Bor Mukha (covering the entire body or upper body without any moving parts), Lutukoni Mukha ( mask covering the entire body with moving parts like hands, beaks, eyes, jaw etc).The British during their rule tried to uproot the Neo Vaishnavite movement and also the philosophical, traditional and cultural practices associated with it. Most of the families engaged in mask making were relocated to the different Tea estates of Assam and forced to leave this traditional art. Only few Satras in majuli and Sivasagar of Assam survived the atrocities and kept the dying art alive.


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Toran (main gain of Khatpar Satra)


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The traditional art of bamboo mask making is practiced at various places in Assam including Sivasagar. Currently there are two neo vaishnavite Satras in Sivasagar district where this art is still practiced whole heartedly despite the loss of interest regarding these ancient art forms in today’s society.

The two Satras are namely Khatpar Satra and Katonipar Satra. The artisans at Khatpar satra are involved only in bamboo masks making whereas the artisans under Katonipar Satra are involved in several other religious art and utility products along with mask making like Xingakhon(traditional wooden thrones for the Deity),wooden /cement sculptures, welcome gates of Satras,thoga(religious book stand),gosa(religious lamp stand),Doba/Khul( musical drums),Eikia( tripod for bronze alloy cymbals).

The artisans in Khatpar Satra have been practicing the art of mask making since last four generations. Shri Gopikanth Mahanta could be called one of the starting pillars of mask making in Satpar Satra and Shri Rebokanta Mahanta went a step ahead and displayed the beauty and aesthetics of this traditional Assamese art to the world. Whereas the artisans of Katonipar Satra have been doing it for last two generations ever since the path was shown to them by Shri Jatin Mahanta.

Presently only two families in the two Satras are keeping this tradition of mask making alive but not as a full time profession. They have a strong inclination towards their age old tradition which is still keeping the fire burning, but because of less wages and alternative careers the current generation in these households are losing interest. One reason why the art is not flourishing is its strong religious association which forbids instant experimentation although it has got a huge potential to make it to the modern homes in forms of utility and art.

Therefore introduction of new design interventions and broadening the scope of the industry beyond only the religious boundaries to which it is currently limited ,would definitely help in creating a potential industry in the district.

About

Sivasagar Mask Making Cluster


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Sivasagar Mask Making Cluster

Products

The product range generally consists of Traditional Masks, Wooden Religious Accessories, Wooden and Cement Statues, Wall Murals and mostly they do commissioned work across the state of Assam.

Banar (monkey man)

Garuda

Brahma

Asura( demon)

Demon

Royalty

Nagaria(Citizen)

Nagaria(Citizen)

Demon


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Monkeyman

Ravana

Monkeyman

Demon

Royalty

Ganesh

Citizen

Deer

Gada(mace)

Horse

Royalty

Bear


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Royalty

Royalty

Demon

Varaha(boar)

Kurma( tortoise )

Garuda

Citizen

Demon

Lion

Monkeyman

Demon

Shiva


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Ravana(demon)

taal( cymbal)

Xingakhon Xingho (Lions of the devine throne

Dhenukasur(demon)

Thoga and Bhagabat

Demon


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Garuda

Calligraphy

Wall mural

Garuda Lion

Calligraphy


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Xingakhon Makara wall mural

Wooden Rhinoserous

XoraiJay-Vijay


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Mask Making


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Raw materials, tools & equipments

Cane Sticky Mud (Kumar Maati)

Cotton FabricCow Dung

Wood Pieces Paints


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Paint Brushes

BandageAdhesive Bamboo

Sand paper


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ProcessThe basic ingredients required to create a traditional Assamese mask are Bamboo, cane, Potters clay (sticky soil), wood, cotton cloth, natural dyes or synthetic enamel paints, gum (adhesive) .

STEP ONE:Out of all the different species of Bamboos found locally in Assam only two kinds of bamboos Jati bah and Bijuli bah are used in the traditional masks of Assam. A bamboo shoot between the age of two to three years is used to cut out thin strips of two centimeters width. These strips are called Kathis. There are two kinds of Kathis based on the way they are cut from the main shoot of bamboo. Naliya Kathi is a strip that is cut from the surface of the bamboo shoot vertically without cutting the main shoot into two equal halves. Katiya Kathi is a strip obtained by cutting the main shoot cylinder vertically and then further cutting each half vertically down into thin long flexible strips. Only Katiya Kathis are used in mask making because of their strength and flexibility.

The approximation of number of strips needed to create a face or body part is based on a unit called pabh. One pabh is the distance between two adjacent nodes of a bamboo shoot. A face mask of approximately one square foot could be made from one pabh. To make a bigger one might require two or three pabh of bamboo. Once the required strips are obtained they are meticulously woven into a hexagonal pattern us-ing six individual Kathis. The pattern is known as Tumor mur. This pattern is continued, and after a rigorous process of bending and twisting a desired three dimensional skeleton or hoja is acquired.

STEP TWO:Once the basic skeleton is made small pieces of cotton cloth dipped in a solution of mud(potters clay)and water is applied on the skeleton to form a base layer. This helps in creating a skin on the bamboo skeleton.


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STEP FOUR: A second layer of cotton cloth dipped in mud slip is applied to prevent the falling off of the facial features and before they are completely dry a Kaam Kathi (bamboo knife) is used to create the accurate expression of the character. These masks are then sun dried before they are painted.

STEP THREE: Gobar or cow dung mixed with lime stone powder or kerosene is beaten properly to form a fine paste which is then placed on the bamboo skeleton to form a base layer. Various facial features are then etched out using hands once the base layer is semi dried in the sun. After it’s completely dried up holes are made in the nose to breath and in the eye to see. The essential thing in this step is the quality of cow dung used. The dung used should be from a baby cow of four to five years of age and that eats only grass .Thus making the dung free from impurities.

STEP FIVE: Natural colours or synthetic enamel paints are used preceded by a coat of primer. The organic colours used are Khorimati( white) , Hengul (red), Haital( yellow),charcoal obtained from Jamun tree(black). Once the colours are obtained they are then mixed with the gum of a Bael tree (Aegle marmelos) to form colours. In modern times synthetic enamel paints are used instead of the organic colours as they are easy to obtain.


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1. Artisan: Shri Rebokanta Mahanta Age: 78 years Working since early childhood

2. Artisan: Shri Bibhuti Mahanta Age: 38 years Working since early childhood

Mask Making

Units Visited:


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3. Artisan: Shri Bipin chandra Mahanta Age: 63 years Working since childhood

4. Artisan: Shri Jyotisman Mahanta Age: 19 years Working since childhood

5. Artisan: Shri Bitupan Mahanta Age: 24 years Working since last 6 years

6. Artisan: Shri Pranjal Mahanta Age: 26 years Working since last 13 years


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7. Artisan: Shri Montu Munda Age: 21 years Working since last 4 years

8. Artisan: Shri Utpal jyoti Mahanta Age: 15 years Working since last 4 years( not fulltime)

9. Artisan: Shri Anupam Mahanta Age: 22 years Working since last 4 years

10. Artisan: Shri Jatin Mahanta Age: 65 years Working since last 40 years


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13. Artisan: Shri Indrakamal Phukan Age: 42 years Have been working for last 10 years

14. Artisan: Shri Lakhi Bharalua Age: 27 years Have been working for last 5 years

11. Artisan: Shri Abhijit Nath Age: 20 years Have been working for last 4 years

12. Artisan: Basanta Nath Age: 23 years Have been working for last 5 years


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17. Artisan: Shri Rubul Nath Age: 19 years Have been working for last 3 years

18. Artisan: Shri Arbinda Nath Age: 23 years Have been working for last 3 years

15. Artisan: Shri Pranjal Gharphalia Age: 19 years Have been working for last 3 years

16. Artisan: Shri Prasanta Nath Age: 23 years Have been working for last 4 years


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19. Artisan: Shri Arup Duarah Age: 23 years Have been working for last 5 years

20. Artisan: Shri Prabin Phukan Age: 39 years Have been working for last 10 years


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DESIGN AUDIT REPORT


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ISSUES and CONCERNS:

Unit one : Khatpar Satra * The existing products consist of only traditional bamboo masks used mainly to depict different characters from Hindu mythological dramas.There is no contemporary use of these masks or any new design ideas relevant today.* Some of these traditional masks are bulky and difficult to transport.* Size variation is never experimented with and only the existing sizes ,be it small or large are made.* The finishing of the masks is not up to the mark.The surface smoothness,brush strokes, colour fill,use of embellishment are not properly done or explored.* Organic colouring technique is known but not used because of rigourous time involved in making them.

Unit two : Katonipar Satra* The existing products consist of traditional masks,wooden statues,religious concrete statues and structures,religious wooden utility products,wooden Xingakhon( throne of a deity).* The existing products are forbidden from being used in a contemporary context other than its current usage because of their religious significance.* The products are made mostly on requirement basis , during festivals and commission work.* The same ideas for the products are replicated and product diversification is never experimented with.* Colouring and use of embellishment is still lacking in the products.Some of the finished products such as Xingakhon( throne of a deity) is good but compared to products by other artisans from Assam like those from Barpeta and Majuli ,a lot of improvement is needed.* The finishing of the products is not up to the mark, and can be improved a lot to cater to national and international audience.* Organic colouring technique is known but not used because of rigourous time involved in making them.

1. Study of existing Product design, redesign, new product development and product diversification

Performers wearing masks during Bhaona Over sized masks in Namghar - A place of Prayer


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OPPORTUNITIES:

Unit one : Khatpar Satra * There is a good scope for redesigning the existing traditional masks, other than some specific characters the alteration of which are forbidden.* The existing traditional masks can be made in varied sizes and can be made more contemporary and relevant.* Some of the elements from the existing traditional masks can be used for new product development and diversification. The basic three dimensional bamboo structure of these masks could be used to develop new products.* With proper colouring and finished surface and a bit of embellishments the masks could be used as home decor items and also could be kept in public galleries and display areas.

Unit two : Katonipar Satra* The existing traditional masks can be made in varied sizes and can be made more contemporary and relevant.* New motifs inspired by local heritage, culture can be developed as the artisans have required skill sets in creating wooden and concrete sculptures and structures.* The elements from existing traditional products can be used to introduce lifestyle products such as napkin holders, magazine holders, lighting, puja utility accessories for contemporary homes, art decor pieces and other knick knacks for contemporary homes, offices, exhibit areas etc leading to scope for wider customers.

Improper detailing and finishing

Wooden products restricted to religious places Wooden products restricted to religious places


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Unit one : Khatpar Satra* They do not have enough funds, time and expertise to carry out research and development on a regular basis. * They do not use any modern technology and do not have any insight on use of modern technology related to their craft.* The production time mostly depends on the weather as for drying of the masks they need sunlight throughout.Introduction of drying machines could definitely increase productivity.

Unit two : Katonipar Satra* They work mostly on wooden and concrete structures which help in getting a regular monthly income. Masks are made on requirement basis in the Satra for religious performances.Therefore no research and development is carried out.* These artisans make the same existing design which has been passed down from generations. They have never experimented in terms of form,pattern or carried out any research activities to develop their craft.* They use certain modern machines to cut bamboo shoots or wooden pieces but most of the work is still done using traditional tools. Use of modern technology for development of their craft is limited to few tools only.

OPPORTUNITIES:

Unit one : Khatpar Satra* Improvisation in machinery, tooling, and development process through R&D activities. * A Common Facility Centre (CFC) can be set up with modern technology.* Marketing Research in terms of consumer trends, market trends and competition in the local and international market.* Exchange of technology ideas can be initiated through CFC.* A constant interaction between the artists and designers to open avenue for Research and Developement.* Improvisation in colouring techniques and use of various colours apart from acrylic emulsion paints.

Unit two : Katonipar Satra* Improvisation in machinery, tooling, and development process through R&D activities. * A Common Facility Centre (CFC) can be set up with modern technology.* Marketing Research in terms of consumer trends, market trends and competition in the local and international market.* Exchange of technology ideas can be initiated through CFC.* A constant interaction between the artists and designers to open avenue for Research and Developement.* Easy ways to develope Organic colours or natural dyes.

2. Scope for research and development direction for future initiatives


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Unit one : Khatpar Satra* There is absolutely no visual identity for the unit as they either cater to local customers or they are known through word of mouth.* No proper documentation or cataloguing of traditional products.They only have images of the products and cutouts of published works in news papers or local magazines.* They have a huge studio where several masks are stored and displayed but there is no proper tagging or identification of each mask.* They dont have any kind of web presence(website or blog) describing their art and tradition and also showcasing their products.* The senior Artisans are called for workshops at times but they do not have any documentation of these workshops and lecture demonstrations.

Unit two : Katonipar Satra* They do not have any visual identity. Their work is known through word of mouth and networking basis.* They do not have any proper studio to display their range of products nor any documentation/catalogue for their products. * They dont have any kind of web presence(website or blog) describing their art and tradition and also showcasing their products.Few artists do have a Facebook account with one or two product pictures but terribly maintained.

OPPORTUNITIES:

Unit one : Khatpar Satra* The visual identity and branding could help them reach a wide range of national and international audience and also design stores.* A display of the range of products within the unit would also give a complete look out for a visitor.* A product catalogue is a must and also presence of products online will be of great help and will reach a larger audience.* A comprehensive documentation of Assamese Traditional Mask will be a great source of information for the people and to understand and develop interest in the craft.

Unit two : Katonipar Satra* The visual identity and branding could help them reach a wide range of national and international audience and also design stores.* A display of the range of products within the unit would also give a complete look out for a visitor.* A product catalogue is a must and also presence of products online will be of great help and will reach a larger audience.* A comprehensive documentation of Assamese Traditional Mask and Wood Sculpting will be a great source of information for the people and to understand and develop interest in the craft.

3. Existing status and opportunity for visual identity, branding and communication design


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Unit one : Khatpar Satra* No real modern technology or tool available to them.* Due to lack of technology, production has to be dependent mostly on the weather conditions.Rains and humidity slow down the process of drying the masks at different stages.* The masks are still made in the age old traditional ways and no change has been made in the product range ever.Therefore modernization is completely absent in this unit.* Masks have been sent to various museums and educational centers both nationally and internationally but most of these design collaboration have been a one time act.

Unit two : Katonipar Satra* Very limited modern technology. Only an electric cutting machine and a sanding machine is available with the artisans.* Due to lack of technology, production has to be dependent mostly on the weather conditions.Rains and humidity slow down the process of drying masks and wooden products at different stages.* No modernization of any products.All the products are made in the age old traditional ways. Few wooden sculptures of animals are made but not as proper products or decor pieces.

OPPORTUNITIES:

Unit one : Khatpar Satra* Fast drying technology for cow dung, and mud at various steps of mask making. This will facilitate work through out the year and thus increase production.* Varieties of colors such as easily available organic, natural dyes, acrylic paints etc can be introduced to add a variety and enhance the look and feel of the products.* machinery for fast cutting bamboo strips will definitely speed up the initial process of making the basic three dimensional structure for the masks.* Design collaboration with national and interntional retail design units will definitely help to boost up popularity of the craft.

Unit two : Katonipar Satra* Fast drying technology for cow dung, and mud at various steps of mask making. This will facilitate work through out the year and thus increase production.* Varieties of colors such as easily available organic, natural dyes, acrylic paints etc can be introduced to add a variety and enhance the look and feel of the products.* machinery for fast cutting bamboo strips will definitely speed up the initial process of making the basic three dimensional structure for the masks.* Tools such as small sanding machines which could easily reach to small detailed units of a wooden sculpture would definitely speed up sanding process.* Design collaboration with national and interntional retail design units will definitely help to boost the popularity of the craft.

4. Scope of technology, modernization and design collaborations


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5. Scope for operations and process innovation from design perspective


Unit one : Khatpar Satra* Coloring gets worn out very quickly.* Only one technique of making the masks.* Embellishments are not up to the mark.

Unit two : Katonipar Satra* Coloring gets worn out very quickly.* Embellishments are not up to the mark.* Only one technique of making the masks.* wooden sculptures are at times not very proportionate.

OPPORTUNITIES:

Unit one : Khatpar Satra* Color fixation techniques to increase the longevity of the masks and wooden products.* Cow dung or paper pulp can be used depending on the availability.* New patterns of bamboo weaving for the basic skeleton of the mask can be explored.* Better quality and variety of embellishments such as eye lashes, good quality hair fixtures, ornaments etc. for the masks can be used. * Artisans can be given training to make embellishments with locally available materials such as bamboo, wood, pith, horse and cow tail.


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Unit two : Katonipar Satra

* Color fixation techniques to increase the longevity of the masks and wooden products.* Cow dung or paper pulp can be used depending on the availability.* New patterns of bamboo weaving for the basic skeleton of the mask can be explored.* Better quality and variety of embellishments such as eye lashes, good quality hair fixtures, ornaments etc. for the masks can be used. * Artisans can be given training to make embellishments with locally available materials such as bamboo, wood, pith, horse and cow tail.*Artisans could be exposed to more wood carving techniques and proportions.

Colour of the masks getting worn out Better embellishment will enhance the beauty

Better embellishment will enhance the beautyBetter embellishment will enhance the beauty


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Wood carving technique could be improved

6. Design Opportunity in workstation and tooling design

Unit one : Khatpar Satra


* The work process is really slow due to hand made nature of the process.* The work place is not organized, low lighting for working during night hours and no sitting arrangement to work for long hours.* The tools are kept with no proper arrangement or storage, leads to damage/ loss of tools.* Workstation and display unit is same and no proper division between display area and storage area.

OPPORTUNITIES:

* Solar lights can be introduced so that they could work in the evening hours.* A CFC( Common Facility centre) can help in increasing the productivity and sharing of tools and ideas.* Different tool compartments could help in keeping the tools properly and readily available for work.

Work place : Khatpar Satra Work place : Khatpar Satra


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Work place : Katonipar Satra

Unit two : Katonipar Satra


* The work process is really slow due to hand made nature of the process.* The work place is not organized, low lighting for working during night hours and no sitting arrangement to work for long hours.* The tools are kept with no proper arrangement or storage, leads to damage/ loss of tools.* Workstation is in poor condition with no specific product display area.* Most of the time artisans work outside because of poor lighting inside the workstation.

OPPORTUNITIES:

* Solar lights can be introduced so that they could work in the evening hours.* Proper light ventilation could be introduced in the workshed with proper sitting arrangements for long working hours.* A CFC( Common Facility centre) can help in increase the productivity and sharing of tools and ideas.* Different tool compartments could help in keeping the tools properly and readily available for work.


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Unit one : Khatpar Satra* The masks are mostly used at religious institutions and religious dance dramas called “ Bhauna”.* They are also commissioned by museums and educational institutions.* They hardly cater to retail customers. * Immediate competition is the Majuli and Nagaon Mask making clusters.* As there is no interaction with the market, the artisans rarely have any direct consumer feedback.

Unit two : Katonipar Satra* The masks are mostly used at religious institutions and religious dance dramas called “ Bhauna”.* Almost all the wooden products made are used in religious institutions or ceremonies.* They also get commissioned work from other religious institutions in the neighbouring districts.* They hardly cater to retail customers.Almost every product is commissioned therefore they do not have any spare products for display. * Immediate competition in Mask making is Khatpar Satra but in wood works they dont have much competition in the district as well as the neighbouring districts.* As there is no interaction with the market, the artisans rarely have any direct consumer feedback.

OPPORTUNITIES:

Unit one : Khatpar Satra* Product diversification using traditional techniques and motifs will give them a distinct advantage.* The weaving of the three dimensional bamboo base structure is a unique technique used only by the Assam mask makers and new design ideas including this technique would definitely stand out as these designs will not be manufactured elsewhere.* An improvement in the quality of the masks in terms of colouring, use of good quality embellishment, and display explorations will certainly help in reaching out to the bigger Art decor market.* They can introduce new products which could give them a bigger market share.* They could reach out to markets like Metro cities with new product developments. * A website/ blog can help them to reach out to a diverse clientèle.

Unit two : Katonipar Satra* Product diversification using traditional techniques and motifs will give them a distinct advantage.* The weaving of the three dimensional bamboo base structure is a unique technique used only by the Assam mask makers and new design ideas including this technique would definitely stand out as these designs will not be manufactured elsewhere.* Further combination of the mask making technique as well as the wood carving technique can create a new line of design products .They could also explore new ideas in concrete sculpting as they have the required skillset.*An improvement in the quality of the masks in terms of colouring, use of good quality embellishment, and display explorations will certainly help in reaching out to the bigger Art decor market.* They can introduce new products which could give them a bigger market share.* They could reach out to markets like Metro cities with new product developments. * A website/ blog can help them to reach out to a diverse clientèle.

7. Details of market and competition study for design advantage and distinction


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Unit one : Khatpar Satra* Most of the artisans are well trained but very few new people want to take up the craft as a profession. * Not everyone is thorough with the complete process of mask making or wood craft.* Colouring skill up-gradation is required for a few artisans.

Unit two : Katonipar Satra* Most of the artisans are well trained but very few new people want to take up the craft as a profession. * Not everyone is thorough with the complete process of mask making or wood craft.* Colouring skill up-gradation is required for a few artisans.* Some of the artisans are getting inclined towards other works that pay wages on a daily basis.

OPPORTUNITIES:

Unit one : Khatpar Satra* Master artisans could be sent to participate at National level workshops.* A common training center which could provide training on skill enhancement, quality control and product development.* A skill up gradation course/ curriculum can be introduced with expert guidance.* Frequent workshops by other mask makers at the cluster level to give inputs on colouring and embellishing techniques.

Unit two : Katonipar Satra* Master artisans could be sent to participate at National level workshops.* A common training center which could provide training on skill enhancement, quality control and product development.* A skill up gradation course/ curriculum can be introduced with expert guidance.* Frequent workshops by other master craftsmen related to mask making and woodcarving will enhance the artisans skill level.

8. Study for the need of training and skill up-gradation

Products used only at religous places


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Unit one : Khatpar Satra* Only winter season and some portion of the summer season is ideal for production as there are less chances of raining. The masks depend entirely on the Sun for drying at various stages.* Lighting arrangements is not sufficient for working in night hours and also cloudy days.* No proper storage for raw materials and tools.* Most of the time the artisans have to sit on the groud to work, no elevated platforms or sitting arrangements.

Unit two : Katonipar Satra* Due to improper work shed most of the time the artisans work outside the working shed.Also improper light ventilation makes it hard to work inside for long hours.* Only winter season and some portion of the summer season is ideal for production as there are less chances of raining. The masks depend entirely on the Sun for drying at various stages.* Lighting arrangements is not sufficient for working in night hours and also cloudy days.* No proper storage for raw materials and tools.* Most of the time the artisans have to sit on the groud to work, no elevated platforms or sitting arrangements.* Not able to work in rainy season because of poor workshed.

OPPORTUNITIES:

Unit one : Khatpar Satra* Fast drying tools will enable artisans to work in rainy seasons.* Stable power supply would increase production time.* An idea of a modern systematic workstation/work shed and its benefits might help the artisans to adept a new work culture and increase productivity.

Unit two : Katonipar Satra* Better workshed with proper light and air ventilation and resistant from rains would increase the production.* Stable power supply would increase production time.* Fast drying tools will enable artisans to work even in rainy seasions.* An idea of a modern systematic workstation/work shed and its benifits might help the artisans to adapt a new work culture and increase productivity.

9. Description of ergonomic and environment factors in MSME Premise


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Unit one : Khatpar Satra* As they don’t cater to general consumers they don’t have the concept of packaging. * The only packaging done, is for customized orders for museums and religious institutions.* For international shipments the packing is done the normal way using cardboards,thermocol and hay stuffed in wooden boxes and then sent to the concerned government office for further shipment.These shipments are not done personally.

Unit two : Katonipar Satra* As they don’t cater to general consumers they don’t have the concept of packaging. * The only packaging done, is for customized orders for religious institutions and done in the local way of stuffing wooden boxes with hay, thermocol and cardboard.

OPPORTUNITIES:

Unit one : Khatpar Satra* New packaging design can be introduced for new products developed in the future.* New and cost effective form of packaging needs to be introduced. * If packaging is improved, it would create a good presentation and will boost the business and help in competing.* Create a possibility for safe packing to avoid breakage.

Unit two : Katonipar Satra* New packaging design can be introduced for new products developed in the future.* New and cost effective form of packaging needs to be introduced. * If packaging is improved, it would create a good presentation and will boost the business and help in competing.* Create a possibility for safe packing to avoid breakage.

10. Packaging and logistics related design opportunities

OPPORTUNITIES:

Unit one : Khatpar Satra* The artisans can participate in trade fairs at state, national and international level on a more regular basis.* Recently government has sanctioned an auditorium and a proper administrative building for the Khatpar Satra. Creating a unique display area with different kinds of masks ,produced in the unit would give an interesting perception for any visitor to the Satra( monastry).* At cluster/ village level/ Town level a small display area/showroom can be created.* Products can be displayed at art centers, museums etc. in various cities across the country and not only in the state of Assam.* The artisans from the unit can carry out national/ international level workshops to create awareness and induce interest in the younger generation.

11. Exhibition/ Display design opportunities


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ISSUES:

Unit one : Khatpar Satra* No proper systematic workstation .* Improper electric supply .* No display units for displaying the masks at cluster / village / town level.

Unit two : Katonipar Satra* No proper systematic workstation or workshed for the artisans.* Improper electric supply .* No inhouse display area for the products.* No display units for displaying the masks at cluster / village / town level.

OPPORTUNITIES:

Unit one : Khatpar Satra* A common work place for the artisans in the village or a CFC.* A proper display area can make it attractive for consumers.* Solar electricity or any kind of uninterrupted electric supply can definitely increase the productivity.

Unit two : Katonipar Satra* A common work place for the artisans in the village or a CFC.* A proper display area at various levels can make it attractive for consumers.* Solar electricity or any kind of uninterrupted electric supply can definitely increase the productivity.

12. Study of infrastructure set up from design perspective

Unit two : Katonipar Satra* The artisans can participate in trade fairs and exhibitions at state, national and international level on a more regular basis.* At cluster/ village level/ Town level a small display area/showroom can be created.* Products can be displayed at art centers, museums etc. in various cities across the country and not only with the state of Assam.* The artisans from the unit can carry out national/ international level workshops to create awareness and induce interest in the younger generation.


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OPPORTUNITIES:

* A Common Facilitation Centre will tremendously increase the scope of communication between various artisans and thus lead to sharing of knowledge and skills. Various issues like creating systematic workstations , tool designing ,opportunity areas could be easily discussed in a CFC.* A regular exchange of ideas and skill sets can be carried out between the units in the villages through workshops.* They could together approach bigger clients such as MNCs, Governmental Organizations for bigger work orders. * Experts of mask making from other clusters could be invited and asked to share valuable insight with the entire cluster comprising of both the units.

13. Scope of design intervention for inter cluster communication


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MASK MAKING CLUSTER

OPPORTUNITIES

MASK MAKING Cluster

Participation in trade-fairs, exhibitions

at national and international level

Direct marketlinkages

Processimprovement

Common Facility Center(CFC)

Quality control

Product development

& diversification

Packaginginnovations

Branding &

communication

Work stationdesign

Introduction of new

technology

Export

Skill upgradation by participating

in various workshops


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CONCLUSION

The visit to Sivasagar mask making cluster in Assam was a great eye opening and learning experience. The serene environment with rich flora and fauna makes the Satras an ideal place for meditation of all sorts including the art of mask making. The trip led to the discovery of many facts and figures about the Assamese Satras and its culture and traditions.

One of the key findings is that the artisans don’t pursue mask making as their full time occupation as there is no commercial aspect to it. The masks are mostly prepared for religious dance dramas called “Bhaunas” and for certain museums and educational institutions on request. Absence of commercial value makes it hard for the artisans to fix the right price against the buying of a mask. It is observed that the costing would entirely depend on the skill-set and working hours of the artists as the cost of material used is almost negligible. Most of the raw material like bamboo, cane, wood, mud, and cow dung could be easily found within the vicinity of the Satras as they are rich in natural vegetation.

The two families involved in this art form are doing it out of pure dedication and as a continuation of the family legacy. A commercial aspect to the art form would definitely boost their passion and would also create an interest in others who are scared to take it up as a profession. Day by day the younger generation of these two families are finding it difficult to keep up this family legacy for more time in the future as there hasn’t been any experimentation and design intervention. A continuous income and an increase in number of pupils will definitely improve the state of this art industry.

One reason for less commercialization of this traditional art form is the religious factor associated. Certain masks are depictions of Gods such as Brahma, Hanuman, and Garuda and are forbidden to be used in a way such that religious beliefs could be wounded. Also there are certain masks where experimentation with colour is also forbidden .However, the basic technique of bamboo weaving and forming a three dimmentional structure itself opens up a lot of options for modern design interventions and new ideas pertaining to the national as well as the international art market.

A close net of product and accessory designers along with these artisans will definitely open up new ideas .This will also help in breaking the monotony of the artisans looking at the artform from a single perspective. Constant interaction with design facilitators and working with professional designers will definitely make them more capable of coming up with new range of products using this ancient technique.

The artisans can develop new designs in the lean periods, which can be further marketed in the domestic as well as international market. A proper strategy development and implementation in a planned manner and a regular interaction with professional designers can make the Sivasagar mask making cluster self-sufficient and prosperous.

for Sivasagar Mask Making Cluster from 18th October to 22nd October 2013


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Design Clinic Workshop

Conducted by Siddhartha Kam Deuri

for Sivasagar Mask Making Cluster from 18th October to 22nd October 2013


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INTRODUCTION

The needs assessment survey conducted in the month of September was followed by a fruitful five day workshop .The workshop had representatives from three villages viz. Khatpar Satra, Katonipar Satra and Nanath Gaon of Sivasagar district.

Discussions related to various issues, concerns and opportunities identified during the needs assessment survey were addressed during the workshop.The workshop was conducted for five days with each day having a definite schedule and plan .As the duration of the workshop was only five days, a limited variety of products were developed. The artisans participating in the workshop were from three different villages and had the required skill set in mask making, bamboo and cane craft. A number of bamboo products incorporating mask making techniques , ranging from lifestyle to utility were conceptualized and manufactured.

The mask making craft in Sivasagar is on a verge of extinction. Only a few select people practise the craft for a livelihood. Production is based on custom orders and special requirements for religious performances. The artisans have gradually shifted their interest to making cane and bamboo/wooden products , as it is more profitable and less time consuming.

Therefore, during the workshop the focus was given more on reviving the dying craft of mask making and ways to incorporate masks or the mask making techniques into lifestyle and accessory ,decorative and utility products.

Following are the activities carried out during the workshop:

DAY ONE : Introduction to MSME scheme by the team of NID, Guwahati Office. A brief address was made about the workshop and the way ahead by the NGO group.The issues and concerns related to mask making and bamboo products were discussed. A lot of new product ideas were also discussed through a one on one interaction with the artisans. It was important to have the participation of the artisans in the design process and get their ideas and feedback about new design ideas and the existing product range before the conceptualization of new products.The prototyping of the new products started from day one.

DAY TWO : A few bamboo weaving techniques needed for mask making were explored. Artisans also exchanged skill sets on various bamboo weaving techniques and talked about the possibilities in terms of design and product. Product ideas such as mirror frames, mask sculpture, bust ideas, storage units, lighting options, bamboo trays and lifestyle accessories were made out of bamboo and cane. Also local symbols such as Rhino, Pepa, Duck etc were incorporated into different products and was a new design intervention.

One of the renowned artists of the cluster Mr.Rebokanta Mahanta addressed a session. He talked about the history of mask making in Assam and the various techniques which had evolved over the years. He also spoke about creating organic colour dyes from natural materials such as Hengul, Haithal, khiroi mati, charcoal and also the detailed process of creating natural ink. He demonstrated the technique of making the basic structure/skeleton for a mask and explained about the minute details to be kept in mind while making the basic human anatomy and facial features.

DAY THREE : Day three was fully spent on product exploration and prototyping.

DAY FOUR : Day four was fully spent on product exploration and prototyping.


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DAY FIVE : Day Five started with prototyping and finishing of incomplete products. A small seminar was conducted on credit linkages and tie ups with government organisations for marketing. The possibility of establishing a common facility center was explored. The seminar was presentated by two district industry officers. They also spoke about various government schemes for the artisans that could help them in the long run .

A short colour workshop was conducted in the second half of the day. It was a very important exercise as the artisans had very little or no knowledge about colours . They had no idea about the primary colours and how to obtain the secondary colours by mixing the primary colours.The proper colouring techniques were demonstrated on a finished product . As mentioned in the NAS the colour application is very mediocre .This colour session helped the artisans realize the possibilities of better colour application.

Day One


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Day One


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Day Two


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57


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Day Three


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60


61

Day Four


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Day Five


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Mirror Frame with wooden sculptures

Book Stopper

Bamboo Tray with Rhino symbol

Decorative Mask

Prototypes


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Decorative MaskLaundry basket

Bangles in cane and bamboo

Hair clip

Fruit/ vegetable basket


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Bamboo Tray with Peppa symbol

Bamboo Comb with Peppa symbol

Rhino show piece in bamboo Fruit basket


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CONCLUSION

The five day workshop gave a valuable understanding about the cluster and skill sets of the artisans. At the end of the workshop we were able to come up with few prototypes which were satisfactory. The artisans were excited about new designs and were ready to explore their production in the near future. The idea of using local inspiration and motifs such as rhino, pepa, fish, duck was greatly appreciated.

Some of the artisans who were reluctant to pursue mask making were now excited about its new possibilities. The product diversification ideas using mask making technique to develop lighting, storage units, decorative products were well accepted among the artisans.

The colour workshop was quite fruitful and the enthusiasm in the artisans to learn was encouraging. The artisans were excited to learn about different colour combinations and shading techniques.

A lot of bamboo products were developed such as trays, life style products, baskets, laundry bags, etc. The quality of these products was good but can be finished better and the joinery could be explored. The varnishing technique of the bamboo products using a brush is not a good idea. Using a brush does not allow uniform application of the varnish, thus making it look tacky. A spray gun for applying varnish was suggested.

Currently the masks made are very big in size and time consuming due to traditional processes. During the workshop we experimented with paper mache and chalk powder. The outcome of this was a lighter mask and took much lesser time to dry compared to the traditional process. Making smaller masks will attract more customers and will be easy to carry. They could be easily displayed on the walls and can be used in multiples to create installations.

Present usage of masks is restricted to traditional rituals like Bhauna and are displayed in museums. Beyond this they are not accepted in the present context. If they are modified into smaller and handy lifestyle products, we could see a new ray of hope for the cluster.


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Date post:	11-Feb-2017
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MASK MAKING CLUSTER SIVASAGAR

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