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Bibliography Bibliography BOOKS: Abraham, T.M. (1964), Handicrafts in India, New Delhi: Graphics Columbia. Ahmad, Sheikh, Bashir, (1993), Marketing strategies of the Handicraft products in a developing Economy, Srinagar, Kashmir: Gulshan publ. Ahuja, Ram, (2008), Research Methods, ND:Rawat. Akytiz, Yilmaz, (1998), "The East Asian financial crisis: back to the future?", in Jomo Kwame Sundaram (ed.)Tigers in Trouble: Financial Governance, Liberalisation and Crises in East Asia, Hong Kong,:Hong Kong University Press. Allchin, Bridget,(ed.), (1994), Living traditions: Studies in the ethnoarchaeology of South Asia, New Delhi: South Asia publ. Alsayya, N, (1997), "From Vernacularisation to Globalisation" in Vner Kirdar (ed.) Cities Fit For People, New York: PP. 205-214. Amin, Samir, (1997), Capitalism in the Age of Globalisation: Management of Contemporary Society, London: Zed Books. Amin, Samir, et.al. (2010), Dynamics of Global Crisis, Delhi: Aaakar Books. Anderson, B. (1983), Imagined Communities, London: Verso. Appadurai, Arjun, (1990), "Disjuncture and difference in the global cultural economy" in Mike Featherstone (ed.) Global culture, Nationalism, Globalisation and Modernity: A theory, culture and society special issue, London: Sage, pp. 295-310. Appadurai, Arjun, (1996), Modernity at Large. Cultural Dimensions of Globalisation, Minneapolis, London: University of Minnesota Press. Arrighi, G. (1994), The Long Twentieth Century. Money, Power and the Origins of Our Times, London, Verso. Arrighi, G. (2000) "Globalization and Historical Macrosociology", in J. Abu-Lughod (ed.) Sociology for the Twenty-First Century: Continuities and Cutting Edges, Chicago: Chicago University Press. 282

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Page 1: Bibliography BOOKS - Shodhgangashodhganga.inflibnet.ac.in/bitstream/10603/31224/... · Bibliography Bhalla, A.S. and F. Lapeyne, (1999), Poverty and Exclusion in a Global World, Great

Bibliography

Bibliography

BOOKS:

Abraham, T.M. (1964), Handicrafts in India, New Delhi: Graphics Columbia.

Ahmad, Sheikh, Bashir, (1993), Marketing strategies of the Handicraft products in a

developing Economy, Srinagar, Kashmir: Gulshan publ.

Ahuja, Ram, (2008), Research Methods, ND:Rawat.

Akytiz, Yilmaz, (1998), "The East Asian financial crisis: back to the future?", in Jomo

Kwame Sundaram (ed.)Tigers in Trouble: Financial Governance,

Liberalisation and Crises in East Asia, Hong Kong,:Hong Kong University Press.

Allchin, Bridget,(ed.), (1994), Living traditions: Studies in the ethnoarchaeology of

South Asia, New Delhi: South Asia publ.

Alsayya, N, (1997), "From Vernacularisation to Globalisation" in Vner Kirdar (ed.)

Cities Fit For People, New York: PP. 205-214.

Amin, Samir, (1997), Capitalism in the Age of Globalisation: Management of

Contemporary Society, London: Zed Books.

Amin, Samir, et.al. (2010), Dynamics of Global Crisis, Delhi: Aaakar Books.

Anderson, B. (1983), Imagined Communities, London: Verso.

Appadurai, Arjun, (1990), "Disjuncture and difference in the global cultural

economy" in Mike Featherstone (ed.) Global culture, Nationalism,

Globalisation and Modernity: A theory, culture and society special

issue, London: Sage, pp. 295-310.

Appadurai, Arjun, (1996), Modernity at Large. Cultural Dimensions of

Globalisation, Minneapolis, London: University of Minnesota Press.

Arrighi, G. (1994), The Long Twentieth Century. Money, Power and the Origins of

Our Times, London, Verso.

Arrighi, G. (2000) "Globalization and Historical Macrosociology", in J. Abu-Lughod

(ed.) Sociology for the Twenty-First Century: Continuities and

Cutting Edges, Chicago: Chicago University Press.

282

Page 2: Bibliography BOOKS - Shodhgangashodhganga.inflibnet.ac.in/bitstream/10603/31224/... · Bibliography Bhalla, A.S. and F. Lapeyne, (1999), Poverty and Exclusion in a Global World, Great

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Field Photographs

With Chandua workers in Gita Applique Workshop,Singhi Sahi, Pipili.

Chandua artists in Rajanigandha Applique workshop, Daraji Sahi, Pipili.

lddan Bibi and S.K. Jakir of Narasinghpur, Pipili.

Badal Khan in his Noorjahan Applique workshop, Pipili.

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With Chandua workers in Diamond Applique workshop, Pipili Sasan Maouza, Pipili.

Workers busy in packaging in Diamond Applique workshop, Pipili Sasan Maouza, Pipili.

Saran Mohapatra, a sexagenarian veteran Chandua artist of Daraji Sahi, Pipili.

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Interview Schedule Impact of Globalisation on handicra{ts and rural artisans: A case study of Chandua artists in Pip iii. Orissa

Section A:

• 0. Socio-Economic profile of the Respondents:

0.1 Name: 0.2 Present Address:

0.3 Place of Birth (Please specify):

0.4 Category: 1) Artisan, 2) Entrepreneur,

1) Remote Village 2) Village 3) Town

3) Both

0.5 Age:

0.6 Sex: 1)Male 2)Female

0.7 Religion: 1) Hindu 2) Muslim 3) Other

0.8 Caste: 1) Gen. 2) SC. 3) ST. 4) OBC (Please specify your caste name ......................................... )

0.9 Marital Status: 1) Married 2) Unmarried 3) Divorcee

0.10 Educational Qualification: 1) Primary 2) Secondary (lOth)

3) Higher Secondary (+2)

4) Graduation 5) Above (Please specify) ........................... .

0.11 Language known:

Read Speak Write Oriya Hindi English

0.12 Household information:

!.Family Type- Joint/Nuclear

2.No. of family members

3.No. of people in Chandua profession

4.No. of People holding govt. jobs

5.No of people holding private sector jobs

6.No. of people in any other profession (plz specify)

7.No. of children below 14 years

8.Whether they are school goers

9. Whether they help in Chandua work

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0.13 Ownership ofLand and other assets. (Yes=1, No=2)

Assets If owned No. of items 1.Land (Irrigated) 2. Land (Non-Irrigated) 3. Stitching machine 4. Bicycle 5. Motor Cycle 6. Car 7. Radio 8. TV 9.Computer 10. Music system 11. Telephone/Mobile 12. Refrigerator

0.14 Type ofHouse (yes=1, No=2)

1. Pucca house 2. Semi-Pucca house 3. Thatched house 4. No. ofrooms 5. Whether electrified? 6. Whether belongs to BPL?

Section- B

• 1. Chandua craft in the age of globalization:

1.1 How old is the Chandua tradition?

1.2 Who were the earlier Chandua makers?

1.3 Why Pipili is famous for Chandua products and not other places?

1.4 What were the earlier Chandua products?

1.5 What were their uses?

1.6 Is there any new forms ofChandua or you are continuing with the old tradition?

1. 7 If there are new forms of Chandua, what are they and what are their uses?

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1.8 Why are you making these new forms of Chandua? What are their advantages?

1.9 Who introduces the new designs?

1.1 OWhat is the difference between the classical and new Chandua makers?

1.11 Which one is qualitatively good- the classical or new forms of Chandua? And how?

1.12 What were the raw materials used earlier?

1.13 Do you use the same raw materials now? 1)Yes, 2) No

1.14 If No, what are the new raw materials you use now and why?

1.15 Where do you get the raw materials from?

1.16 How do you make Chandua now:

1) Hand 2) Machine 2) Both 3) Any other

1.17 How did you make Chandua earlier:

1) Hand 2) Machine 3) Both 4) Any other

1.18 Who are the buyers now? (Please give preferences)

1) Local customers 2) Indian Tourists 3) Foreign Tourists

1.19 Who were the buyers previously - 10/15 years ago? (Please give preferences) 1) Local customers

2) Indian Tourists 3) Foreign Tourists

1.20 Do you think that the market for Chandua has increased over the 10115 years? a) Yes b) No 1.21If, Why?

1.22 Has there been an increase in the number of foreign tourists in the region recently?

1)Yes 2)No 1.23 How do you think can the sale of Chandua be increased? What should be the marketing strategy?

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1.24 Do you think the product requires publicity for its expansion? 1) Yes 2) No

i) IfYes, Please specify the medium, according to preferences. 1) Print Media (Newspaper)

2) Electronic Media (TV)

3) Any other

1.25Does it face any competitive threat in the market? 1) Yes 2) No

1.26 If Yes, please specify the source and nature of threat:

1.27 What are the major festivals you observe in a year?

1.28 Is there any festival related to Chandua and do you observe that?

Section- C

• 2. Transition in the nature of the Profession:

2.1 Average number of artists engaged in Chandua profession in Pipili now:

2.2 Average number of artists engaged in Chandua profession in Pipili earlier:

2.3 Average number of big Chandua units in Pipili now:

2.4 Average number ofbig Chandua units in Pipili earlier:

2.5 Average number of small/household Chandua units now:

2.6 Average number of small/household Chandua units earlier:

2.7 Average monthly expenditure of the family now:

1) Below 1,000 2) 1,000-3,000 3) 3,000-5,000 4) 5,000-8,000 5) 8,000-10,000 6) 10,000 and Above

2.8 Average monthly expenditure ofthe family earlier: (Before 10-15 years)

l)Below 1,000 2) 1,000-3,000 3) 3,000-5,000 4) 5,000-8,000 5) 8,000-10,000 6) 10,000 and Above

2.9 Do you have any other source of income? 1) Yes 2) No (If Yes, Please specify ................. )

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2.10 How do you spend your income? (In order of preference)

1) On food items

2) Children's education

3) Clothing

4) Festivals 5) Health 6) Any other

2.11 Would you like your children to follow the same occupation? 1) Yes 2) No

2.12 IfYes Why?

2.13 IfNo, why and what is the desired profession then?

2.14 Do your children want to follow this occupation? 1) Yes 2) No

2.15 If, why?

2.16 Do you think people from other castes in Orissa are also engaged in this profession? a) Yes b) No

(If Yes, Please Specify .......................... )

2.17What attracts them to this profession?

2.18 Are you aware of the existence of similar crafts in any other parts of Orissa/India? 1) Yes 2) No

i) IfYes, Please specify ..

1) Orissa .... 2) India .....

Section- D

• 3. Gainers and losers of Chandua craft:

(Questions 3.1-3.9 are only for Entrepreneur/Artisan cum entrepreneur and Family artisans)

3.1 For how long have you been in the profession/business?

3.2 Why did you opt for this business?

3.3 Is it your family business or you employ outside artists?

3.4 How many people you employ? 1) No. of regular artists ....... 2) No of home-based piece-rated artists ..... .

3.5 Wage given to the artisans-Mode of payment (please specify):

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3.6 Average sale ofChandua per month/year now:

3.7 Average sale ofChandua per month/year earlier:

3.8 Average selling price of a piece of Chandua now and average profit:

3. 9 Average selling price of a piece of Chandua earlier and average profit:

(Questions 3.10-3.19 are only for hired regular artist/ home-based piece-rated artist) 3.10 For how long have you been in the profession?

• 3.11 Are you a hired regular artist/ home-based piece-rated artist?

3.12 If, why?

3.13 Average making charge/wage now (please specify the mode of payment):

3.14 Average making charge/wage earlier:

3.15 Are you satisfied with the wage? What is your expectation?

3.16 Do you want to leave the job due to low wage? If Why?

3.17 Average number of Chandua made per month/year:

3.18 Average time taken for making a normal size Chandua:

3.19 Working Condition:

l.No. of working hours in a day 2.Break timing in a day 3.No. of holiday in a week/month 4.No. of days you get work in a month/year 5.Whether women artists get maternity leave 6. Whether sickness leave is permitted 7. If permitted, with/without pay 8.No. of overtime hours in a day/week 9.Mode of payment for overtime hours (plz. specify) lO.Whether the work place is a Pucca/Thatched house 11.Whether congested or well-ventilated 12.Whether electrified 13. Whether toilet facilities provided

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3.20 How do you sale the products and why?

1) Directly to Customer 2) Through Businessmen/Entrepreneurs

3) Through agencies- Cooperatives, NGOs 4) Any other

3.21 Where do you sale the products? 1) Inside Orissa 2) Outside Orissa 3) Outside India

3.22 If '3' how do you send to foreign countries?

3.23 Do you feel that the Government takes initiative in promoting the craft? 1) Yes 2) No

3.24 If yes, please specify how ...

3.25 Are you satisfied with the role of the government in promoting this craft? 1) Yes 2) No

3.26 If No, please specify your expectations ...

3.27 Do you get any financial assistance/Loan? 1) Yes 2) No

3.28 If Yes, from where? Please specify .............. ..

1) Businessmen/Entrepreneurs 2) Government bodies 3) NGOs/SHGs

3.29 What is the interest rate?

4) Any other

3.30 Do you get any training for making Chandua? (Only for Artisans): 1) Yes 2) No

3.31 If Yes, from where? Please specify ... whether Skilled/Semi-skilled/Unskilled

1) Family/heredity 2) Government agencies 3) NGOs 4) Any other

3.32 How much you have paid for the training?

3.33 What is the qualification needed for the training?

3.34 Do you get any modem tool for making Chandua: 1) Yes 2) No

3.35 If Yes, from where? Please specify .......... .

1)NG0s 2) Government agencies 3) Any other