The Power of Innovation: Craft Revival, Empowerment and Sustainable Livelihood

Dr. Arwah Arjun Madan, Associate Professor, Department of Economics, St. Miras College for Girls,
Pune
Email- dr.arwahmadan@gmail.com
Abstract
Empowering women through craft to benefit themselves and their families and develop in a sustainable way is the
need of the hour. Agencies, both public and private, play an important role in the revival of the traditional arts and
crafts. The research study aims at drawing a linkage between SHGs and their role in the revival and preservation of
crafts. The paper highlights the linkage between SHGs and their role in the revival of crafts. The paper present a
study ofSabala, a not-for-profit initiative, located in the small town Bijapur, North Karnataka actively involved in
the revival of the ancient lambani craft; the Lambani women works towards sustainable living through craft
revival.At Sabala, products are designed that appeal to not just the local; but also the global market. The separation
of design and execution of craft often supports the factory model where the artisan is reduced to a laborer. The
Lambani women, as is observed from their living and lifestyle, do not separate themselves from the craft and hence
are found to be significantly involved in both design and craft development. The commercialization of craft is much
noticed in all craft forms and Sabala is no exception. However, it is observed that the artisans affinity to a the
rainbow of colours, mirror-and bead-work and their resistance to a certain extent to experiment with nonconventional colors/designs is evidenceenough that the originality of the craft form would be retained.
Keywords- Craft Revival, Innovations, Women Empowerment, Sustainable Livelihood.
Introduction
The handicrafts industry has shown tremendous growth potential and works towards poverty alleviation through a
twofold objective of employment generation and export promotion. Handicrafts are a source of livelihood to a large
number of poor people in India and especially the rural poor. As the second largest employer in rural India after
agriculture, the crafts sector is a source of supplementary income to the seasonal agricultural workers, who have
limited alternative employment opportunities in the villages. It helps curb migration of workers from rural to urban
areas for better employment to a certain extent. The crafts sector often provides parttime employment to rural
women, who are traditionally endowed in the craft form.
Often Illiterate and from caste groups of low social status, the artisans especially women are well versed in the
traditional knowledge and skill of the craft practiced for generations. Protecting and preserving the knowledge and
skills is a big challenge and ensuring sustainable livelihood to these artisans is a bigger challenge. But the artisans
still live in abject poverty due to the exploitation by the middlemen and dealers who pay the artisans only a small
percentage of the price earned for their products. It is impossible for these artisans to make an assessment of the
value of their products in the market. The crafts sector is more so an unorganized sector with no definite policies to
govern. Empowering women through craft to benefit themselves and their families and develop in a sustainable way
is the need of the hour.
Another good reason to promote the sector is the inherent nature of the craft activity- simple, inexpensive and
environment friendly. The sector makes use of natural resources and the inherent skills of the artisan to make
beautiful hand crafted products. The craft sector is therefore the most viable alternative to create and sustain
employment opportunities for millions of artisans mostly coming from the rural areas and not only generating a
livelihood but also liberating and educating the artisans. This can also serve the objective of reviving and preserving
some of the languishing crafts and to ensure that the craft is passed on to the future generations.
History of Indian Crafts

The history of Indian crafts dates back to almost 5000 years from present. Archaeologists have found Indian crafts
in the remnants of Indus Valley Civilization (3000 B.C.-1700 B.C.). Beginning its journey in the age old days, the
craft tradition in India has witnessed enough evolution. Pre-historically Indian handicrafts were basically made for
day-to-day use. Indian crafts are highly acclaimed throughout the world for their aesthetic appeal and magnificence
and becamean inherent commodity for world trade. The Mughal era witnessed the patronage of brilliant artisans and
craftsmen endowed with magical bliss and as a result Mughal carpets, ivory bones horns cravings, papier-mch was
regularly exported from India to other countries of the world. Skilled artisans were invited from all over the globe
and with them came in the native art forms bringing about a number of changes in the Indian craft forms. The
disintegration of the Mughal Empire even led to the rapid downfall of the craft industry.
Further on, with the coming of the East India Company and engaging in trade with India, the Indian markets were
dumped with machine made products. It was difficult to compete with quality machine made products. Slowly the
Indian crafts started losing its charm and were ousted. The Gandhian philosophy of self-sufficiency and the
Swadeshi movementonce againled to the revival of the Indian crafts. Each state of India has its own tradition and
legacy of handicrafts. One can talk of the fragile beauty of the Phulkari art of the North India or the dizzying
artistry of the silver filigree work famous in the eastern India, the colossal impact of the stone craft of South India or
the artistry of the bidriware of the western India- all demonstrates the elegance and brilliance of the Indian craft.
From pottery, metal craft, woodcraft, stone works, gems and jewelry, textiles, leatherwork to mesmerizing paintings,
sculptures and statues - India has perfected almost all the arts and handicrafts known to humanity.
Craft Revival
The crafts sector in India is highly unorganized sector coupled with the lack of effective policies on part of the
government. Despite being the second largest employer in the country after agriculture, the government has failed
to lay down well defined policies in the interest of the artisans/craft workers. This has posed threats to the livelihood
of artisans and putting the sector in a vulnerable position. To address these concerns, the All India Artisans and Craft
Workers Welfare Association (AIACA), a membership-based apex body, was formed in the year 2004 to represent
craft workers at the national level. AIACA, as the first step, brought together the non-profit organizations, the
cooperatives and the private businesses, working in the crafts sector and addressed their concerns. AIACA has been
actively engaged in policy advocacy activities. It has also been striving hard to bring more and more organizations
working in the craft sector under its umbrella. The main focus has been to improve the standard of living of the
craftsmen and to explore commercially sustainable models of livelihood promotion. Besides AIACA, the Crafts
Council of India (CCI) has been working relentlessly to revitalize the craft communities since 1964. The CCI helps
the artisans to pass on the traditional craft skills to the next generation. It works with the artisans to adapt
themselves to the demands of the contemporary markets. Efforts are being made to train them to use modern
technology wherever possible in an attempt to make innovative and quality products.
The World Crafts Council (WCC), a non-profit, non-governmental organization works to strengthen the status of
crafts as a vital part of cultural and economic life and promote fellowship among the craftsperson around the world.
Craftsmen are encouraged and motivated to take up income generating activities to foster economic development.
The mission of WCC is to bring crafts and craftspersons into the mainstream of life; it is about connecting with the
past by maintaining inherited traditions and looking into the future through the use of modern technology to
experiment, innovate and reach out to new markets. Its thrust area is to give the craftsperson dignity, respect and
self-esteem and make them realize that they carry in their hands the living treasure of our cultural heritage. WCC
strongly believes that a nation stays alive when its culture stays alive. India has been a member country of the WCC
as part of South Asia (Asia Pacific Region). WCC along with CCI conducts training programmes for artisans on a
regular basis to upgrade the skills, improve quality and introduce new designs, thereby sustaining the craft and
ensuring better returns for the artisans. A 15-day training programme on revival of Sungudi saris initiated several
measures like conducting surveys, sample production sessions, test marketing and exhibitions. Besides, there is the
Craft Revival Trust (CRT), a voluntary organization working primarily on revival of languishing and dying crafts.
CRT has created an Artisan Directory consisting of addresses of over 60,000 artisans across India, in an attempt to

locate artisans and research art. CRT also has a created a data base of case studies on interventions with artisans so
as to enable experts to share best practices.
Role of SHGs in the process of Craft Revival
Traditionally, crafts were produced and managed by the craftsmen themselves very often for day-to-day use items.
Craft forms do not typically involve formal training and very often passed are on from generation to generation.
However, craft forms are gradually disappearing with the process of industrialisation, changing tastes and lifestyles
and lack of patronage. Even, the craftsmen are abandoning it in search of more lucrative professions. Many of the
craft forms are dying as there are no takers. And hence, there is a great need to identify, revive and preserve these
craft forms. Proper training and up gradation of skills can lead to put Indian crafts in an advantageous position.
Once again, the onset of globalization and the urge to connect to ones roots, there is great demand for
contemporary products from the craft sector.
SHGs have come to play an important role to enhance the quality of status of women as participants, decision
makers and beneficiaries in the democratic, economic, social and cultural spheres of life. The global conference on
women empowerment in 1988, pointed out that empowerment is the only and surest way of partnering women in
development (Khan, 2006). The WHO and the UN have repeatedly emphasized on the need to strengthen women at
grassroots, in order to ensure the nations development. Empowering women at grass root level not only benefits
the women themselves but more importantly their families also. The crafts sector in India is highly unorganized
sector coupled with the lack of effective policies on part of the government. Despite being the second largest
employer in the country after agriculture, the government has failed to lay down well defined policies in the interest
of the artisans/craft workers. This has posed threats to the livelihood of artisans and putting the sector in a
vulnerable position.
There are a number of NGOs, SHGs, cooperatives and organisations working towards the preserving and reviving
crafts in India. A few SHGs working towards craft revival and preservations with special reference to embroidery
and fabrics across the country are as follows: Self-Help Enterprise (SHE) working for the revival of Kantha Work in
Kolkatta, West Bengal; KalaRaksha for preservation of Kutchi embroidery in Bhuj, Gujarat and Shrujan for the
revival of Kutci Embroidery in Gujarat; Rehwa for revival of Maheshwari saris in Madhya Pradesh; SandurKushala
Kala Kendra for the revival of Lambani Embroidery (Banjara Craft) in Bellary, Karnataka while Sabala for the
revival of the Banjara Craft (Lambani Tribe) in Bijapur, Karnataka; Kai Kraft for the revival of Kasuti Embroidery
in Karnataka; Dwaraka for revival of Kalamkari Paintings of Andhra Pradesh.
Review of Literature
With a simple, inexpensive, environment friendly needle, palm leaf, spindle or loom and the inherent skill of her
hands, a woman can both support her family and enrich the national economy and export trade. In India, craft is not
just a production process; it is a rural womans means to conquer her desert landscape and with the confines of her
limited income- her way of transcending the dependence and drudgery of an arduous agrarian and domestic lifecycle. It is a creative skill and strength that is uniquely hers; an individual statement of her feminity, culture and
being. (LailaTyabji, 2003) The struggle countries face to keep their identity and traditions alive in an increasingly
mechanized and global world is proving to be an uphill task. But in the villages of India, in the craft communities,
the identity survives. It is these craft communities that form the core of our identity. (CCI, 2011)
Craft is at the centre of many socially responsible initiatives that aim to create work opportunities and improve the
lives of the socially excluded. While there are debates over the conflicting interest of unemployment, the depletion
of natural energy resources and the degradation of the environment through industrialisation, craft continues to be a
viable alternative. Empowering women through craft so they can use and refine their craft skills to benefit
themselves and their families and develop in a sustainable way. It also helps recover skills that could easily be
forgotten and to pass them on to future generations (Watt, 2011). Traditional crafts have largely been marginalized
by mass-produced consumer goods, which tend to be cheaper due to the economies of scale associated with

mechanisation. The nature of the crafts sector and challenges faced by artisans reduces their ability to compete with
machine-made products NGOs can be stated to be the strongest supporters of the crafts industry, both in terms of
livelihoods promotions as well as cultural preservation. NGOs via the SHGs framework play an important role in
craft revival. SHGs serve as a form of social and cultural empowerment enabling artisans to establish linkages with
various input providers, microfinance institutions and banks as well as aggregators and retailers. (Edmond De
Rothschild, Report, 2013).
A study on craft revival of a period textile called Phulkari, in the rural areas of Hazara, in the province of Khyber
Pakhtunkhwa, Pakistan has very interesting facts to divulge. On the initiative of an NGO to revive and promote
phulkari, the popularity for the craftwork emerged, undoubtedly due to the unfading lure, beauty and artistry to
attract both local and foreign buyers. The contemporary phulkaris are now made for commercial purposes and has
taken the shape of a commodity. The commercialization entails more profit motive than its original purpose of
body-adornment and keeping a rural tradition alive. However, the commercialisation has compromised its quality
and durability as an art form. The mass produced phulkari work is said to have neither the quality nor the purpose
for which they were originally produced. The process of revival, however, has helped provide livelihood to many
poor rural impoverished households, especially women in rural Hazara (Malik BaharShabnam, 2011).
A study on Coopa-Roca, a craft cooperative offering flexible employment to women from Rocinha the largest
favela in Rio de Janeiro, Brazil, considers the central role of craft in initiatives that seek to transform lives through
economic inclusion. As a mode of making things by hand, a high level of workmanship and a body of knowledge of
materials, craft was co-opted with the aim of improving the quality of goods as well as the lives of workers. Craft
was also seen as a solution for those without work, very often resulting in the creation of philanthropic projects.
Today, the global discussion surrounding sustainability and ethical production brings craft once more to the fore; the
focus is on the value of local resources and cultural practices and places craft at the heart of many socially
responsible initiatives. For craft to be of value and to be able to activate social change, those involved should not
forget where it came from. Craft is more than manual skills and labour, it is collective knowledge. Rather than
seeing the artisans as poor people who need to be helped, craft revival projects have to focus on how the attention
paid to their knowledge can direct the course of a social enterprise. In the end, the study does draws attention to the
intervention and cooperation between locals and outsiders, artisans and designers and the impact of these
initiatives (Watt, 2011).
Another recent study makes an attempt to study the role of an SHG KaiKraft to revive the Kasauti embroidery
prevalent in North Karnataka. Starting 2010, the three year period has been a challenging one; however, with a
strongly committed team, KaiKraft has been able to tread the rocky path. It is observed that KaiKraft is doing
commendable work for the revival of the craft through product design, innovation and development. Furtheron,
KaiKraft has mobilized 78-odd kasuti artisans encouraging them to pursue the craft once again with training and
development. Kaikraft ensures the craftsmen of direct contact with buyers sans middlemen to earn a decent
livelihood (Venkatachalam, 2013).Traditional crafts have undergone tremendous change. Urban markets have come
to accept the concept of traditional crafts and artisans are now in search of new markets. However, traditional crafts
are not saleable in the existing form in the current market. New design and innovation is needed for making crafts
more sustainable. There is a need for design intervention and intervention takes place with trained designers giving
new designs to artisans. Separation of design and execution of craft supports the factory model where the artisan is
reduced to a laborer. This further reinstates the low social status of the artisan as well as the craft.
Artisans need to tackle the problem of lack of design input themselves; design innovation on part of artisans can
raise the level of self-confidence and the level of creativity. Designers need to think like artisans. Crafts need to be
re-integrated and the artisan has to be significantly involved in both design and craft development. Traditional
artisans have an incomparable fortune in the deep knowledge and hereditary skills of the craft. But to foster genuine
sustainability, to restore the vitality of traditional craft, one needs to address the most pressing need in India today:
relevant education for rural people (Frater Judy, 2007). In India, crafts are one of the major industries of the
imagination and of traditional knowledge and skill. Indias myriad craft tradition and living craft skills are rate and

irreplaceable resources, generally acknowledged as living links to the past and as a means of preserving cultural
meaning into the future. Protecting and preserving these skills and knowledge is a major challenge; ensuring that
they provide viable livelihoods for their owners is an even greater one (Liebl& Roy, Year).

Data and Methodology

Objectives of the Study- The research study aims at drawing a linkage between SHGs and their role in the revival
and preservation of crafts. The study assess the involvement of SHGs in the revival and preservation of crafts and
to look at the role of SHGs in the generation of livelihood and bringing a transformation in the lives of the women
artisans in the process of craft revival.
The Banjara original tribal art form is practised widely among the Lambani tribes. Lambanis known as the
Banjaras originally came from Marwar, Rajasthan. They are semi-nomadic people who still hold steadfast to their
ancient mode of dress which is perhaps the most colourful and elaborate of any tribal group in India. They
traditionally make ghagracholis, quilts and batwas for themselves and for their daughters for their wedding. This art
is handed over from generation to generation from the mother to the daughter. Mirror work is a unique feature of
the Banjara craft. Their dress is elaborately embroidered studded with mirrors in addition to variety of materials like
silver, brass, some gold, cowries, ivory, animal bone, coins and at times even the use of plastic. As nomads,
Banjaras embroidery makes use of a lot of mirrors on their clothes to protect themselves from the wild animals. It is
believed that the wild animals run away when they see themselves into mirrors. As wanderers in the forests, the
banjaras make use of old clothes and carry out patchwork to make new clothes. There are about 80 different stitches
used by the banjaras in their embroidery work.
The craft form of the Banjaras the lambani craft is gradually disappearing. The colorful lambani embroidery is
disappearing along with the lambani tribe. Embroidery or crafts, as stated earlier, was for personal day to day use.
And if one thinks of a livelihood through craft, there is no inclination to learn craft today, primarily because of the
amount of time and labor required to master the craft. Besides, the earnings through craft are historically quite low.
Methodology- The paper presents a case analysis of Sabala an SHG involved in the revival and preservation of
traditional crafts. From the many SHGs involved in the process of revival and preservation of crafts, Sabala has
been identified who has been working on the revival and preservation of lambani embroidery; the organisation has
been randomly selected from the many SHGs involved in the process of craft revival and preservation. The paper
makes an attempt to understand the role of the SHG Sabala involved in assisting the artisans in achieving
economic self-sufficiency, through facilitating innovation within tradition to transform traditional art into
contemporary products. Artisans contribute to concepts as well as skills in creating products. Thus, the SHGs role is
to encourage development of transferable skills, and the artisans participate in all phases of production, from
designing to sales.
This paper presents an analysis of a study conducted to understand the working of the NGO /SHG in empowering
women through craft revival. At Sabala, the interaction and discussion was with Mrs. Mallamma S. Yalawar, the
iron lady behind the concept at the office of Sabala, located at Bijapur, Karnataka in May 2013 and November 2013.
The case analysis is carried out with interactions with the person chiefly associated with the operations of the SHG;
visit to the office and workshops of the SHG; interacting with the artisans associated with the different craft forms;
visit to Craft Settlements, for instance, lambani settlement or banjara settlements; visit to the retail outlets; visit to
the museum, if any, maintained by the organization for preservation of the craft. Semi-structured interview will be
used as the main method for collecting data/information. A semi-structured interview format was used to collect
information for the study of the organization on the following broad areas: product innovation and product design,
craft revival, restoration and research.
Case Analysis- The revival of Lambani embroidery at Sabala, Bijapur, Karnataka)

Sabala, a voluntary organisation dedicated to the empowerment of women in the backward districts of Bijapur,
North Karnataka, mainly works for reviving the fast disappearing lambani mirror work.
Sabala creates
opportunities for women to learn a skill and translate it into productive activities to generate income. The efforts of
Sabala encouraged the lambani women to practice their traditional craft as a livelihood option. This has given a
new lease of life to hundreds of artisans of the languishing art.The Banjara original tribal art form is practised
widely among the Lambani tribes. Lambanis known as the Banjaras originally came from Marwar, Rajasthan. They
are semi-nomadic people who still hold steadfast to their ancient mode of dress which is perhaps the most colourful
and elaborate of any tribal group in India. They traditionally make ghagracholis, quilts and batwas for themselves
and for their daughters for their wedding. This art is handed over from generation to generation from the mother to
the daughter. Mirror work is a unique feature of the Banjara craft. Their dress is elaborately embroidered studded
with mirrors in addition to variety of materials like silver, brass, some gold, cowries, ivory, animal bone, coins and
at times even the use of plastic.
Sabala, the brainchild of Ms. Mallamma S. Yalawar, was established as a craft development centre in 1998.
Sabalas origins date back to Mallammas college days, wherein she started a small organization for womens
concerns and empowerment in 1986; she later registered it as a trust in 1987. Sabala initially began with ten
artisans; a training workshop was organized with help from NABARD. Today, Sabala works with over 300 women
artisans- tribals, widows, destitute, physically challenged and economically backward women. Sabala has worked
for the revival of the traditional craft, especially the lambani mirror work, besides creating a network of artisans
known as banjaraa and encouraging the entrepreneurship quality in entrepreneurs. The Sabala craft centre at
Bijapur is fascinating; artisans are busy fixing on colour combinations, colourful threads and beads, cutting and
sewing; it is interesting to see needle and thread at work, the pace at which their hands move till they are packed
away for the destination in India or abroad.
Product Innovation- The lambani mirror work and embroidery was traditionally done on personal outfits ghagracholis worn by lambani women, along with quilts and batwas. Sabala has made the effort to incorporate the
embroidery into modern day products; it can now be seen on home linen, quilts, handbags, conference bags and
laptop bags, wall hangings, slippers, accessories, belts, and many more, besides Indian wear such as kurtis, jackets,
waist coats etc. Sabala also preserves and promotes the traditional lambanijewellery.
Traditionally, the lambani women would embroider with towel thread; these threads are cut out and discarded after
weaving towels and bedsheets on the loom. These threads would be available in vibrant colours to make colourful
motifs. At Sabala, standard threads are used for fast colour and durability instead of these towel threads. The
lambani women make use commercial textiles and synthetic yarns to make traditional skirts, shawls and backless
blouses; the embroidery comprises mainly of borders along the top and bottom edges of the garment with a wider
more elaborate strips of mirror embroidery at the centre. At Sabala, the lambani womenfolk are now working with
cotton, silk as well as jute; usually fond of straight lines the lambani women are experimenting with circular designs
and motifs, not a common feature of their craft form.
Product Design- The lambani embroidery is intricate threadwork, with varied patterns, geometric combinations and
motifs. There are numerous stitching techniques, appliqu work, use of mirrors, shells and beads to create an
ensemble and reflects a sense of gay abandon that is so characteristic of the Banjaras. The embroidery is elaborate;
first, a base design is developed on which the patterns and motifs form a rainbow of colours. The creation of the
base design itself is very time-consuming. In an attempt to ease the process of production and fulfill the mass
demand, Sabalahas developed a fabric with interwoven markings/stitches to simplify the base design process. The
women artisans are indeed happy to work with the new fabric; more time is now devoted to design development.
However, the lambani women do insist on the traditional colour combinations and design; this in fact has helped
retain the original and traditional appeal of the craft form.
Sabalahas insisted and encouraged the women artisans to take on the traditional craftwork. The lambani women
had to be persuaded to once again pick up the languishing art form. In the initial years, Mallama, along with her

artisans, has visited organizations working on crafts like Sandhur and SEWA in an attempt to make artisans aware as
to how advantageous craft can be for them. Today, women artisans at Sabala are regular participants at Dastkaar
and the Delhi Haat. Design entrepreneurs are welcome at Sabala; in the past, designers have helped develop new
products and designs and even conducted workshop to innovate and create new designs. Designers from NID and
NIFT have come to conduct workshops for the artisans of Sabala.

Quality Control- Sabala has been a manufacturer and supplier of handicrafts; it has acquired a name as an exporter
of handicrafts and has clientele across countries like the US, the Netherlands, Spain, Chile, and many more. Sabala
is a participant at international exhibitions at Frankfurt, Santiago, Turkey, Istanbul, Singapore, South Africa, etc.
Quality control measures are of strategic importance in handicrafts, especially when you want to be an exporter
states MallammaYalawar. Yarns are dyed in various basic colours; these yarns undergo prior testing at a German
company for colour quality to confirm international standards. Quality controls are set at all levels, weaving,
cutting, and sewing as well as embroidery. While working with numerous SHGs, group leaders are designated the
responsibility to fulfil assignments on time. Quality awards for artisans have been instituted by Sabala who
undoubtedly maintain the quality but also meet quantity, i.e. to embroider more pieces.
Restoration and Research- AtSabala, work is in progress to identify and preserve stitches and motifs with the
traditional names and references. Sabala is working on the concept of a craft village that will take care of
documentation of art and craft and acquire and preserve ancient heirloom of the lambani, kasuti and other art forms.
The craft village would provide the opportunity to interact with the artisans, to understand their lives and culture and
the opportunity to learn the crafts as well. Mallamma dreams of a museum housing different art forms in the craft
village. Sabala has been very open to the idea of students spending time with the artisans; interns from the design
schools in India as well as universities abroad are regular participants and contributors at Sabala. As a result of the
interactions with the students from design schools and design experts, the women artisans have shown confidence in
creating and presenting their own designs.
Marketing Initiatives- Sabala is a member of both national and international organizations working for women
empowerment, womens rights, sustainable livelihoods and gender equality such as the Association for Womens
Right in Development (AWID), the Export Promotion Council for Handicrafts (EPCH) and the World Fair Trade
Organization (WFTO) at all the three levels: India, Asia and the World. As a member of the WFTO, Sabala has
fair trade online shop (www.nomadsindia.in) selling handmade fair trade products. Sabala had two outlets; one in
Bijapur and the other in Bengaluru (the one in Bengaluru had to be unfortunately closed down due to certain
management issues). As a member of WFTO, Sabala also ensures sustainable livelihoods to its artisans with direct
contact with the customers. Sabala has committees with artisans as members who are directly involved in the
finalization the cost of art work with reference to the size of the design and embroidery.
Observations- Sabala has strived to revive the traditional Lambani craft of a tribal community, the Kasuti Crafts and
other traditional crafts over the 15 year period. As a member of the World Fair Trade Forum as well as the Fair
Trade Forum India, Sabala creates opportunities for economically disadvantaged producers supporting over 300
women spread over six Lambani settlements and four villages besides destitute, physically-challenged and
economically-backward women.
The Lambani women are very much in love with their craft; the embroidery and the bead work. It is worth making
a note that their lifestyle is much untouched by the wave of urbanization and they have not shown little or no
transition towards the modern way of dressing, especially the younger generation. Irrespective of the time taken to
make the traditional ghaghra-cholis, they indulge themselves in the best of embroidery work. This is one factor that
would ensure over years to come that these women-artisans are not reduced to mere labour. One has to keep in
mind that the separation of design and execution of craft often supports the factory model where the artisan is
reduced to a labourer. The Lambani women, as is observed from their living and lifestyle, do not separate
themselves from the craft and hence are found to be significantly involved in both design and craft development.

The commercialization of craft is much noticed in all craft forms and Sabala is no exception. One does observe a
gradual shift towards the mass production of craft items that is taking place. The main reasons leading to mass
production of craft items are the sudden focus on craft as personal gifts or corporate gifts or as part of corporate
social responsibility or even the rising demand from the international market. The pressure to meet this rising
demand for craft may lead to craft losing its originality or authenticity. However, it is observed that the lambani
women artisans close affinity to a the rainbow of colours, mirror works and bead-work and their resistance to a
certain extent to experiment with non-conventional colours or designs is evidenceenough that the originality of the
craft form will not be lost.
The Lambani women have shown great openness to learn; the women artisans do make attempts to accept change.
Interactions with designers at workshops are much awaited at the Sabala camp; it is their willingness to appreciate
and adapt, willingness to learn, all are indicative of the fact that the lambani women accept the fact that times are
changing and they have to keep up with the times. But, they are firmly grounded to their roots and are not ready to
compromise. The Lambani women continue to love their straight lines; their eagerness towards the patta designs
is much evident and so is their unhappiness towards circular non-traditional patterns and designs.
Sabala has ensured active participation of lambani women-artisans at every stage product design, product
innovation, interaction with customers/buyers and even at the finalization of cost of artwork. Artisans also are given
the opportunity to undergo training for new concept developments and interact with professional designers. One
does see a shift to contemporary design away from the traditional to a certain extent. It is all the concerted effort of
Mallamma; her simplicity is as much remarkable, firmly grounded to her roots, there is nothing that would stop her
to take the craft form to all new level.Sabala has created a name for itself in the international market. It is
Mallammas forward thinking; she ensures that the craft form confirms to all international standards. Despite the
cost involved in confirming to the international requirements, Mallamma has always made it a point to meet these
worldwide standards for exports on colour and quality. Export orders from across countries are not rejected for nonconfirmation is one of the objectives at Sabala.
At the same time, Sabala has also ensured the presence of these women-artisans at the national and the international
exhibitions. These are not recent developments / activities initiated at Sabala; Mallamma, right from the initial days
has made attempts to instil the confidence in the artisans and encouraged the artisans to make this creative skill their
very strength. The Lambani women, who rarely moved out of their settlement in the past, are bestowed with the
unique opportunity to see and understand the world outside and also known and understand how much their craft
form is being appreciated.It is said that crafts are industries of the imagination; protecting and preserving these
skills and knowledge is a major challenge and providing viable livelihoods is an even greater one. Sabala has
indeed accepted the challenge;the efforts and achievements are indeed noteworthy.
Efforts at empowerment and sustainability do not stop at craft revival and preservation; Sabala has also been
striving towards financial inclusion. Women artisans are account-holders as well as members at the Chaitanya
Cooperative Bank located at Bijapur. Payments for their contributions are made through bank accounts and at the
same time, the women artisans borrow regularly from the bank. However, Mallamma opined, that though there is
excessive rolling of credit on part of the women artisans to meet their regular day-to-day demand of life. These
women artisans operate in groups, group leaders assure that payments are made on time and that there is little
default on the part of these account holders.
Research limitations/implications- Studies on the role of NGOs/SHGs are very much popular. A Few studies are
available on institutions working on women empowerment and craft revival and preservation in India. The present
study can be one among the few studies available on the working of NGOs/SHGs working towards empowering
women through craft; however, this a preliminary study. The study provides an insight into the effort made by an
NGO/SHG to present craft forms in a more customer-friendly and user-friendly manner. The study also makes an
attempt to understand the extent to which the artisans are involved in the revival and preservation of craft forms and

the benefits derived through the efforts of the NGOs/SHGs. Further on, the impact assessment studies on the
subject need to be initiated to understand the social, economic and cultural empowerment of artisans.
Investing in the crafts sector today presents a tremendous opportunity to shape the lives of millions dependent on the
sector as a source of livelihood. Further on, the strengthening of the craft ecosystem will ensure benefits like stable
employment and income generation opportunities, also the ability to capture a share of a significant global market
and the preservation of unique cultural assets as well. Crafts are a powerful tool to create a catalytic impact on the
lives of women, many marginalized communities and the social outcomes of entire families engaged in this sector.
Investing in the crafts sector today presents a tremendous opportunity to shape the prosperity of those engaged in
Indias non-farm rural economy.
Acknowledgement-The author is grateful to Ms. Mallamma S. Yalawar, for having spent her time with us, talking
about the history and development of Sabala and sharing her experiences at international exhibitions and her future
plans for Sabala, the trip to the Sabala workshop and the interactions with artisans.
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