The ritualistic celebrations during activates are nothing but design manifestations and that is the reason Indian Design originate from its deep cultural roots with Indian philosophy. Historically there is no standard definition of a designer in India and we still need to develop an understanding of design in Indian people’s mind, traditional artist/artisans also lacked individual appreciation and only at times with long endeavors their talents were recognized by government agencies and their policies to promote Indian art and craft.
Art and craft play a vital role in generating employment which has been one of the important objectives of development planning in India. Research says 72. 2% of the total population of India lives in some 638,000 villages in compare to the rest 27. 8% in about 5,480 towns and urban agglomeration. President APS Abdul Salaam has said that employment generation, particularly in rural areas, is very essential for Increasing the growth rate from the current 8% to 10% and maintaining it for a decade (New Delhi, Jan 12: The Financial Express. Indian handicraft and handloom and cottage Industries have a popular role In the Indian economy. India Is one of the major exporter and supplier of handicrafts and fit products to the world market. The Indian handicrafts Industry Is highly labor Intensive and decentralized, being spread all across the country In rural and urban areas. The sector Is considered as the second largest employment-generating sector after agriculture with numerous artisans engaged In craft work on a part-time basis.
Designer and the craftsman so that a equal opportunity generate for the local rural masses and they move with their skills, unique technique and stylized imagery with the Designer’s in the mainstream and develop an authentic Indian Art and Design Industry. OBJECTIVES: To identify the market/employment opportunity for artisans and young designers To identify formulate/structured, programmer or courses to update the master craftsman and young design aspire about the new technology and design thinking. To plan some strategies for involving Industry, Designers, and Craftsman in the collaborative development of the Design Profession. INTRODUCTION Art and Design education has a vital role in everyday life as we all are surrounded by products for daily uses and life cannot be seen apart form these products and the attribute of aesthetics associated with these products is based on the knowledge of Art and Design. Today India as a developing nation has more opportunities and at the same time lot of challenges in art and design industry.
There is an urgency today to establish more art and design institution within the country, where we are able to train young brains to sever in the rapidly growing design industry which serves in the areas such as product design, graphic design, interior design, fashion and textile design, etc. Historically India has a very rich culture of art and craft; it is conspicuous that every state has its own traditional way of making designs and objects for everyday life in their unique technique and style, at the same time beside their utilitarian objective the Indian art and craft possess a deep aesthetic and philosophical knowledge.
Today Indian art and craft has lot of challenges as there is a gap between mainstream art-design industry and traditional art and craft practice. It’s becomes very essential to bring Indian art and craft people to collectively work with this growing technological world. We have seen such initiative by various organizations and individual designer and artist in recent time I. E. A Warlike painting reshow organized by coca cola at college of art New Delhi with craftsman and Art and Design students and the result of the collective effort can be seen in their Campaign Design for coca cola.
Another important example is bamboo workshop initiative by proof. M. P. Raman at MID, where products have been developed with the local bamboo craft people and Design students. The consciousness of government bodies towards importance of design in economic development gave impetus to improve the quality of products and services and the government of India has initiated a “National Design Policy’ mission. The policy is approved by the union cabinet in February 2007 with a vision to band Indian designs globally and claiming “Designed in India”.
The aim and objective of the policy can be Even further to the declaration of National design policy the Indian government formulated the “India Design Council” to advance Design in the country. Such initiative creates an encouraging situation for designers in the country and provides ample opportunities for generating employment in the design industry. Today Indian design education system offer diverse programs at various levels such as certificate, aplomb, under graduate, postgraduate and even doctorate programs.
But even than many design graduates do not fully possess the new competencies of design as some of the design school offering the programs without a global competency standard, So it becomes essential that Indian design study programs acquaint designers with Indian craft, design skills, knowledge of design industry and business skills etc. , one can also notice lack of research in the field of design in India, publication of Journals, magazines, research papers, books, seminar, conferences etc. Re rare, although the demand for such reference are fast increasing among people. Many design companies are shaping up in India and that also in the major metropolitan culture and the numbers are growing annually, we can observe a growing graph of Indian design industry in recent time and this display both opportunities and challenges to the individual designers, industry and education. However one can say that art and design industry is shining and in near future has lots of employment generation opportunity for people.
ART AND DESIGN EDUCATION Starting a discourse on employment generation in developing countries: challenges and opportunities from a Art and Design perspective, its important to consider few fermentation within the Art and Design schools and we witness a long history of Art schools in India as compare to Design schools in India, Considering the fact that there are quite good number of art schools in India which are offering undergraduate, post graduate and doctorate programmer in Fine Arts.
These art schools provide a comprehensive knowledge on theoretical as well as practical disciplines under various specializations and also provide extensive research orientation on various areas. It has been observed most of these art schools some where work on the same pedagogical structure since their inception before independence. In India the art schools were established even before independence by the British in cities like Bombay, Calcutta, Madras, Locknut, Jasper.
From a historical perspective we witness various model for art pedagogy, firstly the colonial period witness art activities based on portraiture, landscape, still life in an accomplished academic style, which were purely based on the British art pedagogy and art school in Madras, Bombay, and Calcutta followed the same. Secondly another pedagogic model we come across during pre-independence within Nationalist movement is establishment of Callahan Sentimental based on indigenous ways of expression and methods and thirdly the most modernist radical school after independence during sass’s is Faculty of Fine Arts M.
S. University Abroad and other parallel art school across the country on the same modernist stand consistently pursuit to restructure its educational activities and objectives with the changing On the other hand Design schools relatively a new phenomenon in India with the establishment of MID. In 1958 Charles and Ray Names invited by the government of India to make recommendations for a training programmer to support small industries. They went around the country talking to experts and observing centers of rafts and studying the local industry.
Their recommendations resulted in the ‘India Design Report’. In 1960 Based on the report by Charles and Ray Names the government of India set up ‘The National Institute of Design’ in Mohammedan. The school started with programs in basic Design and a few years later with programmed in Industrial Design and Visual Communication. In 1969 Industrial Design Centre (DC) was set up by the Government of India under the auspices of the Indian institute of technology Bombay initiated the post graduate programmer in Industrial Design.
In 985 same model of education at ‘DC, IT Bombay was adopted by other It’s and the Indian Institute of Science in Bangor. These institutes started offering post graduate studies in Product Design – IT Delhi (1985), CSS Bangor (1990), IT Kanata (2004). 1987 Ministry of Textiles set up the National Institute of Fashion Technology in Delhi. The school started programs in Fashion, Accessories and Lifestyle products catering to the needs of the fashion industry in India. In the ass’s NIFTY opened centers in other parts of the country – Mohammedan, Achaean, Iambi, Bangle, Hydrated, Kanata, etc.
Late nineties see a major change, 1997 The newly formed Indian Institute of Technology at IT Gatchis with the support of the Industrial Design Centre at IT Bombay introduced a full fledged Department of Design (DoD) with B Des, M Des and Doctoral Degrees. At the same time opening up of Indian economy saw the start of the private design schools in India. Grist Design School in Bangor (1999) Symbiosis Design School, in Pun (2004) ILIUM School of Design, Surgeon (2004) Mare’s MIT Institute of Design, Pun (2005) Raffles School of Design, Iambi (2005) DC Academy of Design, Combaters (2005) Design Institute of India, Indore (2008)
DESK International Institute of Design, Pun (2008) There are few more institute like International Centre for Indian Crafts (CHIC), Indian Institute of Crafts and Design (ACID), Jasper are established with a vision to cater the Indian art and crafts section, specially dedicate to upgrade and inculcate design thinking, design principles, new technologies to the master crafts man and young designers. Such kind of institute also builds up a national and international network for craft oriented design research, documentation and showcase the new innovation in the field of Indian art and crafts sector.
POTENTIAL MARKET/ OPPORTUNITIES movies where models wearing the Indian motifs saris, traditional Jewelries designed by Indian fashion designers. This shows the growing demand for Indian folk creations like, applique© work, Jewelries, home d©cord etc in urban lifestyle and consequently tradition meets with modernity in these days. Today carpet weaving, traditional textile, gem cutting and polishing, Jewelry making, diamond cutting and polishing, metal ware, leather products, Jute products are the flourishing industry only because of the growing demand and popularity of Indian art and crafts in the local and global market.
According to the National Census of Handicrafts, undertaken by the National Council for Applied Economic Research the value of handicrafts produced in 2012 were of RSI. 26, 213 Chores. Positive demand from traditional US market and emerging markets like Latin America and Africa has greatly helped India to sustain its art and crafts export growth momentum. According to the Export Promotion Council for Handicrafts (EPOCH) data, the country’s handicraft exports reached IIS$ 178 million in January 2012. Indian handicrafts are seeing a huge market in China. One of the very interesting developments taking place during the sat few years has been the growth in exports of handicrafts from India to China,” said Rave K. Pass’, President of Indian Handicrafts and Gifts Fair (GIF) Spring 2012, at a press conference in New Delhi. Handicrafts exports to China in 2008-09 were RSI. 418. 33 chores and have been steadily increasing year on year. During 2010-11, handicrafts exported to China totaled RSI. 945. 72 chores registering a growth of 94. 07 percent within a span of three years, which is not only impressive but also indicative that Indian art and crafts are finding a stable market in China.
National and International Fair The India International Trade Fair (TIFF) began in 1980 and since then has evolved as major event for the business community. It is a leading event organized by the India Trade Promotion Organization (TOP). This annual event acts as a platform for manufacturers, traders, exporters and importers and displays a wide range of products and services including: Automobiles, Coir Products, Jute, Textiles, Garments, Household appliances, Kitchen appliances, Processed food, Beverages, Body care and healthcare Products, Furniture, Toys, etc.
There is a special display section to gaslight the tribal and rural handicrafts, good living, focus on products and goods relevant to daily living, ensuring a distinct visibility for generic product categories. The TIFF 2012 theme was “Shilling India”, which is most relevant, modern and extremely important aim for India today. Indian Handicraft and gift fairer (GIF) Sais’s largest exposition of gifts and handicrafts GIF showcase the most extensive range of handcrafted products ever put on display. The fair will feature Software, Kitchenware, Decorative, Furniture, Furnishings, Tableware, Garden Articles and Fashion Accessories.
Surround International Crafts Meal (SKIM) The idea behind this step is to popularize Indian art and craft globally and also to increase foreign footfall in the fortnight long Meal, organized every year from February 1 to 15. Keeping in view the success of Surround Meal, it was decided that the possibility of hosting similar Meals in other states such as Kernel, J, Varnish (New Delhi, June 08, 2012 Hindustan Time) India international Garment Fair The Apparel Export Promotion Council organizes international garment fairs in India in alliance with four major Garment Exporters’
Associations since 1988. The fair, displaying Audiometer Collections is held during the month of January and for that of Spring/Summer Collections, in July, every year. 49 legs have been successfully held so far in the past 23 years INDIA DESIGN FESTIVAL (DID) is an annual festival to celebrate Indian Design including, Industrial Design, Product Design, Visual Communication/ Graphic Design, Fashion & Textile, User Experience, New Media, Exhibition, Architecture and Interior Design. INDIA DESIGN FESTIVAL will serve as a showcase of Indian design to the local and global market.
Besides, there are many more fair, exhibition and Displays are organize by government Nags and Institutes in collaboration with the company to promote, expose and expand the Indian Design, Art and crafts scenario in India. STRATEGIES AND PLANNING According to our constitution handicrafts is defined as the state subject hence the development and promotion of crafts are the responsibility of the state government. Central Government also plays an important role of providing funds for the holistic development of Indian art and craft, Design. Scheme-wise funds allocated during the last three years. (Press Information burro, Gobo.
Of India) IRs. In chores 2011-12 116. 73 171. 60 16. 25 12009-10 I II. Design & Technical Development 12010-11 114. 00 116 184. 11 119. 34 1 12. Handicrafts Artisans Comprehensive Welfare 169 117. 75 I Scheme 1 13. Research & Development Following are the few important scheme which are planed specifically to upgrade the craft persons by central and state government conduct workshop or programmer with the renowned designer, technologist, entrepreneurs, professional, institutions etc to provide knowledge and expertise in terms of design thinking, new technology and process in the field of art and craft.
It also took the responsibility of providing latest equipments/ machines to the artisans Research and Development Scheme: The objective of the scheme is to provide funding to the institute like Institutions like ND, NIFTY, “CT, MASC., SIDES, EPOCH, SPEC, Federation of Artisans, Nags, Individual experts to educate the artisan about design process, technology, market inelegance, management skill, and packaging technique Beside these there are many more scheme sponsored by the state and central gobo. O organize programmer, courses, workshops, fair, research and documentation to upgrade the artisan, bring the designer and crafts men together and shakeup the Indian art and craft industry IMPORTANT EXAMPLE Use of traditional/ folk art in brand promotion GE launched “GE Works” advertising campaign for the Indian market. According to the executive creative director Sanding Apothecary BAD that the campaign is designed to Justify the commitment of GE for Indian grassroots.
An innovative approach for this campaign was to use the master crafts man to depict the role of GE in changing the life in their community. The artists were given the choice and redeem to depict the four pillars of Curing, Moving, Powering and Building by which it is contributing to improve he quality of life local by using Indian traditional and folk art like Patchwork art, Sours art, Maintain art and Calamari art under the supervision of BAD. Traditional and folk art in a more dramatic way, the advertisement was conceptualize by Googol India. “.
According to Mashes Grata, the senior creative director (art) at Googol & Matter, Iambi, to execute the TV on the theme of positioning “PM Lab Hahn, Sable Gala Hahn” employ the talents of shadow-art from Bengal was used, which is almost obsolete today. Explore Rural India is a project Jointly funded and managed by Ministry of Tourism of the Indian Government & the United Nations Development Program (UNDO). A workshop was conducted Jointly by Quicksand and Geodesic (May 2-6, 2009) the Objective is to help crafts-people to understand the principles of branding, packaging, innovation and revenue management etc.
Key deliverables from the workshop to UNDO were a book that laid out principles for using design more effectively to promote crafts under the “Explore Rural India” program and also a film about the whole exercise. Use of traditional/ folk art in Animation, Publication Design, Websites Kuris, Trash & Fallibly a animated 60 minutes film Director by Unusual Shores & Talk Raja Sheets is an amazing example where Indian folk and traditional art are presented to catch the attention of the kids and make them aware about the culture and tradition of India.
This animation tells the folk stories which rendered using traditional/ folk arts from Punjab, Restaurant, Kraal, and Bengal in a very unconventional manner. Such attempt is appreciate able to put India on the map for Original content in the field of Kids entertainment. Young India Books is a website set up by Shame Padres to create awareness about India-centric children’s books. Young India Books carefully chooses and reviews books that cover a wide range of topics like folk art, artists, flora and fauna, family, environment, fantasy ? that are illustrated in the folk art and traditions of India Vapor. Mom is an organization, aimed towards making the individual artisans is an unique attempt to sell the Indian handicraft in the global market Use of traditional/ folk art in Fashion, textile and home d©cord Fabling one of the most profitable retailer in India and the most successful del that organize the crafts man and encourage them to become a “Design Entrepreneur” by giving them share in the company. A sustainable, community- owned, consumer-centered design approach is the key feature of Fabling where 40,000+ craftsmen across India producing handmade garments, furnishings, fabrics and ethnic products.
On analysis, has been the key determinant. Till now this mutually benefited ownership module has 17 centers throughout the country and there are every possibility to become the largest retail chain in the field of art and crafts and encourage the artisan to become a entrepreneur. [pick] A SOOT ANALYSIS of Indian Art and Design Industry in Context to the Indian Traditional/ Folk Art and crafts I Strength Indian’s rich cultural background of industry. I larded craft. Lack of technological and design I Weakness I > Unrealized design India as a developing nation with growing market.
I industry exposure to artisans in I rural sector. Easy and Less-capital investment to Lack of quality services and consistency I in design. Global I exposure. I I develop production centre. Technological progression and I > Unawareness of global standards and Demands. Skilled men power in art and craft. I > Lack of interaction mongo schools, I Polytechnic, Design Collages, Art Rise of design school in India. Rise of design firms in the country. I Colleges, Industry, NAG, Gobo.
I > Lack of courses/ Programmer (Optional) loafer in School, GU and PIG Lava I > Less exposure about entrepreneurship in I design education I > Lack of branding/ promotion I funds among design practitioners. I Threat in I liposuction Rising demand for Indian art and craft Compromise in the quality because of the domestic and global market 1 Collaboration opportunities with the craft product by I I global players. Looter countries like China, Bangladesh, I rising demand. Growing demand of 1 Potential source to generate foreign revenues by the competitive country. Medias sell the products I etc.
Better price/ trade term offered 1 Potential source to generate I elementary 1 Possibilities to use web/ Virtual I Tit promote and > Development of tourism I I (Domestic/ Foreign) Conclusion/ Suggestion With many more opportunities and challenges the India art and design industry is into a constant transitional phase and at this Juncture it becomes utmost important for all who are associated with this industry work in a more structured way, so that he outcome for future generation turned out to be more concrete and they can build upon it a firm structure for Indian design industry.
Education play a vital role as it nurture students from school level to the college research level, so the standard of design education should be par excellence to the global standard and education sector has to do a lot in this direction. Use of technology has to reach to the rural craftsman so as to bring more competencies to their laborious endeavors and government of India has to work in this direction to approve policies for rural areas to quip them with technological changes.