Continuing Forward: Rubia in Mali

Jessica Peck and Ana Dionne-Lanier

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Table of Contents

I. Executive Summary 3

II. Last Semester Review 5

III. Needs Assessment: Process 6

IV. Main Findings 7

V. Analysis and Recommendations 9

VI. Conclusion 12

VII. Appendix A: Survey Instrument, English 13

VIII. Appendix B: Report of Study Conducted in Djenné, San and Ségou, French 15

IX. Appendix C: Additional Information Obtained on Djenné Cooperatives, French 21

X. Appendix D: Further Research 22

XI. Appendix E: Contact organizations supporting artisanal enterprises 23

XII. Collection of Bogolan Photos and Descriptions, English 26

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Executive Summary

Over the course of this year, we have been working with Rubia to determine whether or

not it should expand its organization’s reach to bogolan producers in Mali, and if yes, what form

that would take. After initial research it seemed possible that the Djenné region in Mali would be

an appropriate place for Rubia to work. It was a region that, because of the civil war, had lost a

large amount of its income due to the lack of tourism. Research also brought us to some first

thoughts on what this new project might look like. Focusing on a traditional textile of the region,

bogolan, it seemed that producers were facing a serious lack of market. With Djenné suffering

from a large decline in tourism there seemed to be a potential for Rubia to serve the people there

by bringing a new market to the people. The next step moving forward would require on the

ground research to assess the current situation, explore the actual needs of bogolan producers,

and explore potential beneficiary groups.

At the beginning of this semester, we hired a research assistant, Youssouf Konde. We

developed a research survey, with which Konde was able to create a picture of the bogolan

industry in three villages: Djenné, San, and Ségou. The following paper delves into Mr. Kondes

main findings and analysis of their effect on any potential project in Mali. It delves into the

important questions to consider as Rubia assesses Mr. Konde’s findings and also other research

needed in the process of

First we look at excerpts from Mr. Konde’s report. In Djenné, Mr. Konde found that the

situation was exactly as we had hypothesized. Production of bogolan had dropped off due to lack

of tourism. Tourists had been the primary consumers of the textile. Mr. Konde interviewed four

bogolan cooperatives in Djenné, and they all listed supplies of which they were in need, but they

unanimously stated that their primary need was a financial partner--an international organization

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that could connect them to markets where they could sell their products. Some people in this city

have managed to find other sources of income, but they note that as soon as it is possible, they

would like to return to producing bogolan. In Konde’s personal opinion, the cooperative Pama

Sinintao, which employs 75 people and has a system in place to lend interest-free loans to

members, would be the best organization for Rubia to accompany.

Then the paper will undertake analysis, recommendations, and considerations for Rubia, as it

looks forward to the potential project. Rubia’s mission statement revolves around creating

economic opportunities through craft heritage to support education and health and well being of

women. Any of the above towns or cooperatives would benefit from accompaniment by Rubia

along these lines. It is up to Rubia, now, to determine, based on its capacities and capabilities,

how it could best go about doing this. We identified a few options: providing supplies, creating

educational programs, and opening an international market for the producers. However, there

are substantial considerations and points to reflect on during an design phase of a potential

project. Does Rubia as an organization have the capacity to take on this project? Would it

address the needs of the people? Would the project be sustainable? Would it involve local actors

in its design? Would it take into account local politics and strive to avoid dramatically

privileging some producers over others? There is a complex set of questions to answer and work

through to best be able to contribute to the Malian context.

Before it can truly move forward with a project, more concrete thought must be put into

project design and goals, potential partners, grants, and issues of politics and negotiation around

the project.

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Last Semester Review

This semester has been a continuation of the work that we did for Rubia last

semester. At the end of that semester, we had come to a few conclusions about Rubia’s proposed

project in Mali. First, it seemed that working with citizens around the Djenné region would be

the most beneficial. The people of this region were badly affected by the civil war and are in

need of support, but the region is secure enough that working there does not pose safety risks.

Further, we determined that it would be more beneficial to partner with existing structures, be

they NGOs or cooperatives that were already in place in the region than to start a new project.

One of the most promising options that we were considering was aiding a current cooperative

with access to market. We theorized that due to the lack of tourism because of the current travel

warning, cooperatives would be most in need of customers to purchase their bogolan. We

recommended that Rubia send a representative to Mali to begin on the ground research on the

current situation and to begin finding potential partners. We also recommended continued

research on markets in the US and Europe where bogolan is consumed.

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Needs Assessment: Process

A large part of our work focused around the hiring of and communication with Youssouf

Konde, a research assistant in Mali. He was hired to help us begin answering the above

questions. In the span of a month, Youssouf traveled to three cities in Mali: Djenné, San, and

Ségou, with a survey instrument that we had put together for him. Youssouf took the survey to

producers of bogolan in each city and questioned them on several different aspects of bogolan

production: the ratio of men to women working in the cooperatives and their respective roles, the

rate at which they produce bogolan, the effect that the crisis had on their production, and what

would be the most helpful role for an NGO to play in accompanying them (see Appendix A for

full survey.) Besides talking with the producers of bogolan, Youssouf had a meeting with Sophie

Sarin who works with an NGO (MaliMali) concerned with bogolan production. He did this to

better understand the situation as a whole, or at least from a different perspective. Along with

gathering this information, Youssouf took pictures and videos of bogolan and its production to

help Rubia to better understand the bogolan making process. He also researched price

information on various kinds of bogolan, and purchased samples of the cloth for Rubia to see.

Summarized below are Youssouf’s findings regarding current bogolan production in Mali. For

more in depth statistics and explanations, see his full report, Appendix B.

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Main Findings Djenné

• Three large cooperatives (>20 people), one smaller cooperative

o Coopérative Pama Sinintao

Funds are used to give members loans without interest

Members are paid according to what they have contributed

The profits are divided equally among the members

o Coopérative Pakarssa: No information

o Coopérative Chez Tanti Bogolan

Basically the same as Pama Sinintao, except no fund for giving loans. In

the larger cooperatives, women greatly outnumber the men

All the cooperatives produce traditional bogolan, but use modern patterns to suit the modern

tastes of customers. In total, 117 people work in the bogolan industry in Djenné and women and

men have different roles in the production of the textile. Konde found that production has

essentially halted due to the lack of customers. The women of Djenné have turned to producing

traditional necklaces and gardening as another source of income. There is apparently one NGO

present, trying to aid artisans, but the head of the organization does not inspire confidence in the

producers and there are prohibitive fees to participate in their programs. Most producers have

decided against working with this NGO. The Djenné producers listed many materials that would

aid them in bogolan production. The biggest need they have identified, however, is for a partner

to help them with financial security and access to markets

San

• Bogolan is a large part of the economy and produced by families that are not organized in

cooperatives but production has almost ceased. No NGOs are working in the area.

• Konde found their bogolan to be of lower quality and cheaper than in Djenné

• In total, 75 people work in bogolan with about an equal number of women and men

working.

• The producers are 90% financially dependent on bogolan sales and have no other source

of income

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They are extremely interested in working with a partner to accompany them in any capacity

possible

Ségou

• Two major enterprises produce bogolan:

o N’domo

Attempts to pull in independent producers and accompany them

Ecological practices that waste nothing in the production of bogolan

The demand is overwhelming and they cannot accompany everyone they

want to

They are calling for a partner to help them in their efforts

o Sorobel

Capable of producing more/employing more than they do currently

In need of a partner to help with market access

General Observations:

• Malians do not generally consume Bogolan. It is bought primarily by tourists.

• Prices for tourists are generally more expensive than prices for Malians

• Tourists are assumed to both understand better the value of bogolan and have more

means of purchasing it

• We asked Youssouf to pick the cooperative that he thought Rubia could best work with, and

he said, “Based on my observations, Rubia could work with Pama Sinintao or with Tanti

Bogolan. They have essentially the same financial management strategy, besides the fact that I

would personally go with Pama Sinintao because of the existence of their interest free loans to

members. This seems important to me for dealing with potential unforeseen

circumstances.” They are also mostly women though most of the cooperatives included men and

women producers.

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Analysis and Recommendations

Possible Interventions

In thinking about a possible intervention by Rubia, it is important to keep in mind three

components. First, it must fit within Rubia’s purported mission to “develop economic

opportunities through craft heritage, to support education, and to promote health and well-being

for women and their families in Afghanistan and elsewhere.” Second, it must address needs

identified by producers on the ground in Mali. Third, it must be feasible given Rubia’s resources

and the current situation in Mali. Following are potential interventions that Rubia could

undertake in Mali and an analysis along these three points.

Assistance with supplies: All of the cooperatives with which Youssouf spoke have been

affected significantly by the 2012 civil war: they have lost the majority of their income due to the

decline in tourism. The bogolan producers all listed several items that could aid them in their

efforts. A full list is found in Appendix B, Youssouf’s full report. Therefore, all are in need of

financial accompaniment in their work. While Rubia’s mission does hope to develop economic

opportunities, providing supplies alone would not address all of the problems and does not really

address education or well-being. Most of the producers already have stocks of bogolan that they

cannot sell. More supplies does not seem to be a complete answer as it doesn’t really develop a

full economic opportunity by addressing the lack of a market for bogolan.

Education focused program: As part of Rubia’s mission statement involves promoting

education, we have identified two different interventions that could involve promoting education.

First, Sophie Sarin, a contact that we made in Mali who works with an NGO called MaliMali on

bogolan production, suggested that preserving traditional bogolan would benefit the

industry. She believed the best way to do this would be to hold a conference where older women

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pass on their knowledge of creating traditional bogolan to the younger generation. While

authentic, traditional Bogolan is a textile with a rich history in Mali, making it a marketable

commodity, the current problem is that people already know how to make bogolan, and are

making it, but it is not being sold. A second potential intervention that would involve education

is training the cooperatives in business practices and marketing to international markets. In the

future, this may be an attractive option, but for the moment, these markets are yet unopened to

them. In the short run, Rubia would need to focus on opening these markets in the first place

before training the bogolan producers in business practices.

Access to markets: Of all possible interventions, opening international markets to bogolan

producers seems to best fit the above considerations. It develops economic opportunities through

handcrafts, the dying of bogolan. And Rubia could add components dealing with education and

health in a potential project involving bogolan. Further, it directly responds to the most

commonly noted issue of producers interviewed in Mali. They have stockpiles of bogolan to sell,

but no customers.

An intervention of this sort raises several challenges that Rubia would need to address for

it to be successful. First, does Rubia have the internal capacity to take on this project? Adding a

new wing of Rubia in Mali would require additional responsibility and negotiation within the

organization as to how that can happen. Another consideration is, does Rubia have sufficient

expertise in the area to begin designing a project? This will require additional research in US

markets for African textiles and in potential donor funding. We included a few suggestions for

organizations to contact and workshops to consider on this topic in the Appendix (D). However,

this is by no means a complete list. As we are working from afar and unfamiliar with the internal

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workings of Rubia, we cannot adequately address this question. However, it is imperative that

Rubia do so before moving forward.

Second, is this sort of intervention going to effectively address the situation in Mali? It

would be designed to address the producers’ stated needs, but there needs to be a clear goal and

with markers of success and evaluation check points. Also does Rubia have the customer base to

support the Malian bogolan producers? Or could a plan be put into place to increase it? There is

also a question of sustainability. How would the program be funded and would this project be

sustainable and empowering, creating skills and independence for the producers? Theses are all

important questions to be answered during the designing stages of the project.

Once these questions are answered, there remains a closer look into how the project will

effect the situation. How would an intervention by Rubia affect the current dynamics of the

bogolan producers? Would it create jealousy or instability in the village? Which stakeholders

would need to be involved in the decisions that Rubia makes regarding its program? There will

need to be negotiations between the bogolan producers and Rubia and also within Rubia so that

the program is clearly defined and

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Conclusion

Based on the needs assessment conducted by our research assistant, Youssouf Konde, we

now have a good understanding of the current situation facing bogolan producers in rural Mali.

Due to the recent crisis, tourism has ceased, and thus the main customers for traditional bogolan

have disappeared. Bogolan producers are thus in possession of large stocks of bogolan and no

income.

This situation is obviously grave, and it would fit well within Rubia’s mission statement

to foster economic opportunities for these artisans of traditional handcrafts. However, several

concerns must be addressed before Rubia can choose definitively to intercede in Mali. It must

rigorously assess its own capacity to do so. It must assess the projected, sustained effectiveness

of its proposed project. And it must assess the effect that its project would have for the day-to-

day lives of the Malians that it would affect. If, once these considerations have all been made, a

project is still deemed appropriate; Rubia can continue to move forward with either more

research or a pilot of their proposed project.

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APPENDIX A

Questionnaire for University Study of Bogolan Artisans in Mali Date ………………………………………../………/………. / 03/2014. Name    Address     Sex  :     Male  /____/  Female/____/  Telephone  :      Village  :    

I. Currently who produces bogolan more ?

Female   Male  1   2  

II. What is the state of provisions to support bogolan fabric making?

High   Moderate   Low  1   2   3  

III. Do you wish to continue selling bogolan?

IV. Is it difficult to find the inputs necessary to create bogolan? Do you have trouble

selling bogolan? If yes why?

V. How much stock do you have of bogolan? . / _____________/

VI. How many people do you employ to produce bogolan? /______/

VII. How log do you need to produce bogolan in total? (In days) /______/

VIII. What is the maximum amount that you can produce in a day?

/_________/

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IX. Before the security crisis what was the price of bogolan? (the average)

De : /__________/ à /_____________/ /___________/ à /_____________/ Women Men

X. Now what is the price?(Average)

De : /_________/ à /____________/ à /_________/ à /_____________/

Women Men XI. How was your personal production of bogolan affected by the violence in the North?

XII. Do you know of other NGOs in the area interested in bogolan? Which?

XIII. What material would you need to revitalize your production? List. If you could have help what would you need that would help the most?

XIV. What are your recommendations of places of people who are interested in

Bogolan? (Open)

XV. Si If your recommendations are met, what economic impact will bogolan

production have on you?

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APPENDIX B Rapport de l’étude sur l’artisanat Du Bogolan Dans Les Villes De Djenne, San, Ségou

-­‐ Djenne ville de la 5eme région administrative du Mali est une localité très riche culturellement et historiquement. Aussi une localité de tourisme.

Les femmes sont très organisées dans cette localité autour de plusieurs activités régénératrices de revenues. À cet effet l’artisanat du Bogolan représente une grande place.

A Djenne nous avons trois (03) grandes coopératives de production de Bogolan essentiellement composées de femmes. Cependant ses coopératives regroupent aussi des hommes.

La production du Bogolan utilise des matériaux pour la plupart disponible sur place. Et très facile à obtenir.

La production du Bogolan est assure par les deux genres à Savoir les femmes et les hommes. Retrouver la statique des gens composant ses coopératives. Coopératives Nombres

d’employés Genre Majoritaire

Rapport Femme

Rapport Homme

Observation

Coopérative Pakarssa TRAORE

15 Les femmes 70% 30% Elles comportent 03 groupes de (15 employés)

Coopérative Pama SININTAO

75 Les femmes 60% 40% Elle est la plus grande de Djenne

Coopérative Chez Tanti Bogolan

20 Les femmes 90% 10% Elle dispose de 02 point de vente à Djenne, à l’entrée de Djenne sur la berge et à l’atelier

Atelier Lassine KONE

7 Les hommes 10% 90% Il produit aussi avec la coopérative Pakarssa TRAORE

Au regard du tableau le Bogolan utilise une main d’œuvre d’environ 117 personnes a Djenne pour sa

production et sa commercialisation. Pour ses producteurs l’argent du Bogolan couvre tout leur besoins financières. Et est la principale activité de ses gens.

Quant aux prix, elles sont relativement différentes d’un point à l’autre dû aux moyens dont dispose les uns et les autres, aussi par rapport à la disponibilité et aux voies et moyen d’acquisition du tissu support. Le tissu support est le fruit d’une synchronisation de main d’œuvre entre les hommes et les femmes.

• Les femmes file le coton bruite pour obtenir les files. • Ces files sont tissées par les hommes (Tisserant) pour donner le tissu support du Bogolan.

En outre les différences de prix sont aussi dues au motif de Bogolan. Toutefois la production journalière du Bogolan dépend généralement du climat <soleil>, et le nombre varie en fonction des motifs à faire, certaine motif peuvent se faire en quantité élevé par jour tandis que d’autre prend plus de temps. Cependant il y a une différence entre les prix pour le consommateur interne et ceux des touristes ou consommateur externe. Retrouver les différences dans le tableau ci-dessous.

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Statistiques des Prix Interne Statistiques des Prix externe/Touriste Coopératives Moyenne Pagne Couverture

Maximum Pagne Couverture

Moyenne Pagne Couverture

Maximum Pagne Couverture

Coopérative Pakarssa TRAORE

15.000F -35.000F 30.000F -50.000F 25.000F -40.000F 30.000F -60.000F

Coopérative Pama SININTAO

10.000F -25.000F 20.000F- 40.000F 20.000F - 35.000F 30.000F - 45.000F

Coopérative Chez Tanti Bogolan

15.000F/Pagne 25.000F/Pagne 20.000F/Pagne 35.000F/Pagne

Atelier Lassine KONE

15.000F –30.000F 30.000F -60.000F 25.000F -40.000F 30.000F -60.000F

Vous remarquerez dans le tableau qu’il y a une différence notoire entre les prix interne et externe, la seule explication que les producteurs n’ont données est que les touristes connaissent la valeur du Bogolan que les interne, aussi ils ont plus de moyen que les internes. Les 03 coopératives de Bogolan ont évoqué les mêmes problèmes à savoir le manque de moyen suffisant pour accroitre leur production. Ils évoluent tous sur fond propre et ne bénéficier d’aucun soutient. Il n’y a presque pas d’ONG pour les accompagne. Cependant l’ONG A.A.D.I de Djenne avait voulu travailler avec eux mais ils y ont eu le problème d’auto prise en charger évoquer par cet ONG pour leur participation à des Festivals et expositions interne, car ils disent tous ne pas avoir ce moyen et ont préférer se passer de la collaboration avec cet ONG. L’ONG A.A.D.I est un démembrement de CARE/ Mali piloter par la femme du Maire de Djenne, Cette dame n’inspire pas la confiance des producteurs qui préfère évoluer solidairement entre eux. Comme besoin les producteurs demande une assistance matériels telle, les :

-­‐ Bassine pour le Tremper et le lavage du Bogolan

-­‐ Les Gangs pour la protection des mains

-­‐ Les Marmites pour bouillir les écorces d’arbre utilisé dans la production

-­‐ Des sceaux pour le transport d’eau de production

-­‐ Des pinceaux, ou broche a dent pour le dessein des motifs du Bogolan,

-­‐ De la poudre d’eau de javel et du Savon utiliser dans la production.

-­‐ Aussi des appareils de séchage du Bogolan car la production dépend uniquement du soleil, et pendant l’hivernage la production s’arrête ou diminue considérablement du faite qu’il n’y a pas assez de soleil.

-­‐ Ils ont aussi exprimé leur désir d’avoir un Magasin leur servant d’atelier et de stockage de leur production.

La production du Bogolan comprend trois(03) étapes sur deux(02) phases :

-­‐ Le tremper du tissu support dans l’écorce bouillie : trois(03) fois.

-­‐ Le poser de l’argile sur le tissu trois(03) étapes

-­‐ Et enfin le lavage.

En ce qui concerne le matériels utilise dans le Bogolan, il s’agit de :

-­‐ Les écorces d’arbres (Wolo, le raisin sauvage)

-­‐ Les feuilles d’arbre (N’galama)

-­‐ La boue(Argile)

-­‐ La potasse

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-­‐ L’eau de javel et le savon

Toutefois le nombre produit dépend strictement du motif à faire. Cependant ce dont les producteurs de Djenné ont le plus besoin est un partenariat gagnant, gagnant sur le plan financière et commercial. En vue d’améliorer leur production et l’écoulement des produits qui tourne au berne actuellement car les touristes sont absent et le marché intérieur presque inexistant. À cet effet chacun des coopératives disposent de stock important depuis la crise car ils ne vendent presque plus du faite de la crise politico-sécuritaire que le pays a connue. Parallèlement à la mévente et au ralentissement de la production du Bogolan, les femmes de Djenne toujours dans le cadre de leur parfaite organisation, fond l’artisanat des colliers traditionnel et du jardinage. Cependant elles se disent disposer à reprendre la production du Bogolan des que les conditions s’améliorent.

-­‐ San ville de la 4e Région administrative du Mali/ Ségou est un carrefour très important, reliant le sud et le Nord du Pays. À San, le bogolan est une activité importante, nous avons une grande concentration de producteurs au quartier Misira de San. Les producteurs ne sont pas réunies en coopérative là-bas comme a Djenne, mais la production pour les familles qui le fond est assurer par tous les membres c’est-à-dire hommes, femmes et enfants de ces familles, et ces famille sont en quelque sorte les ateliers, car la production et la commercialisation est assurer sur place.

Nous avons puis nous entretenir avec 04 familles qui continuent la production malgré la crise. Cependant noter que beaucoup de producteur a temporairement abandonné la production pour des motifs de crise, de manque de fond et de marché intérieur. Ainsi plusieurs producteurs ont préférer évoluer dans d’autre activité avant un lendemain meilleur pour le bogolan. Pour les enquêtés les donnes sont relativement les mêmes d’un atelier a l’autre, nous avons presque les mêmes problèmes, les même constats : la production est moins, les stocks non écouler, la consommation de moins en moins.

À San tout comme a Djenne, il n’y a aucune ONG évoluant dans le Bogolan, aucun partenaire, la

consommation est assurer par le marché intérieur et les quelques touristes qui transite par San, ou qui viennent pour le <Sanké mon> la fête de la pêche collective organiser chaque année à San. Ici noter qu’il y a une petite différence entre leur Bogolan et ceux de Djenne que je trouve plus perfectionner que ce que eux ils font. À San nous avons le style traditionnel Bamanan de Ségou un peu moins perfectionné que ceux de Djenne. Cependant les prix sont relativement moins chère à San qu’a Djenne, cela s’explique aussi du fait que le tissu support et un peu plus abondant à San qu’a Djenne, car le mètre du tissu support est céder à San a environ 150FCFA tandis qu’elle peut atteindre 250FCFA a Djenne, et aussi du faite que San est un carrefour, Djenne est presque isoler géographiquement par rapport à San, Aussi noter que l’accès de Djenne est un peu contraignant car il y a le système de baccage pour entrer a Djenne(la traverser du fleuve par bac). Regardez image ci-dessous.

À San le Bogolan utilise environ 75 personne actif malgré la crise économique dont sont confronter les producteurs, ce nombres peut évoluer à tout moment des que les conditions d’écoulement change. Retrouver la statique des ateliers de San dans le tableau ci-dessous Ateliers Nombres

d’employés Genre Majoritaire

Rapport Femme

Rapport Homme

Observation

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Atelier Chez Ousmane BELEM Lafiabougou

30

Les Hommes

40%

60%

C’est le plus grand atelier de San, aussi leur proximité avec l’hôtel Teriya est un atout pour l’écoulement de leur production

Atelier Chez Fafoume TOUMAYON Misira

15

Les femmes

90%

10%

Elle dispose de Stock important par rapport à ses moyens non écoulé

Atelier chez Dramane KONTA Misira

15

Les Hommes

35%

65%

C’est l’une des ateliers fonctionnelle d’une grande famille de production de Bogolan

Atelier chez Bata BERTHE Karantela

5

Les Femmes

100%

0%

C’est un petit atelier de Femme qui ont rien d’autre à faire que la production, elle le fait selon ses moyens

Atelier chez Souleymane BAH Misira

10

Les Hommes

0%

100%

C’est un atelier uniquement d’homme, et n’a pas assez de moyen

Tout comme a Djenne, les prix varie aussi à San selon le consommateur, retrouver le tableau des prix ci-dessous

Statistiques des Prix Interne Statistiques des Prix externe/Touriste Ateliers Moyenne Pagne Couverture

Maximum Pagne Couverture

Moyenne Pagne Couverture

Maximum Pagne Couverture

Atelier Chez Ousmane BELEM Lafiabougou

10.000F -20.000F 20.000F -40.000F 15.000F -40.000F 25.000F -45.000F

Atelier Chez Fafoume TOUMAYON Misira

10.000F -.0F 20.000F- 0F 15.000F - 0F 22.500F -0F

Atelier chez Dramane KONTA Misira

10.000F- 20.000F 20.000F- 35.000F 15.000F -40.000F 25.000F -45.000F

Atelier chez Bata BERTHE Karantela

10.000F/Pagne 20.000F/Pagne 15.000F/Pagne 22.500F/Pagne

Atelier chez Souleymane BAH Misira

10.000F/Pagne 20.000F/Pagne 15.000F/Pagne 25.000F/Pagne

Face à la mévente à San, les producteurs du Bogolan se disent contraint d’exporter leur production soit à Bamako, soit à Mopti, et cela a son impact sur les prix. Comme principale difficulté ils sont unanimes sur le manque de fond de roulement, c’est-à-dire un fond pour assurer la production, et un partenaire commerciale pour l’écoulement des productions. Les besoins en matériels sont entre autre :

-­‐ Les bassines pour la trempe et le lavage du Bogolan,

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-­‐ Les sceaux pour le transport d’eau de production,

-­‐ Le manque de point d’eau proche pour certain,

-­‐ Les Marmites pour bouillir les écorces d’arbre

-­‐ Et en fin des charrettes à traction d’âne pour le transport du Bogolan produit sur les sites de lavage et de commercialisation.

Comme matériels utilisé dans la production du Bogolan, nous avons presque les mêmes matériaux qu’a Djenne :

-­‐ La boue (argile),

-­‐ Les écorces d’arbres (N’galama, Wolo, Raisin sauvage),

-­‐ La Potasse, la poudre d’eau de javel, le savon.

Tous les producteurs approché de San se disent dépendant financièrement à 90% de leur production, et n’ont rien d’autre comme activité à mener, d’où leur cri de cœur à l’endroit des personnes de bonne volonté à venir leur aider que ce soit financièrement ou autres, ils disent être disposé à coopérer avec toute personne intéressée par le Bogolan.

-­‐ Ségou, 4e région administrative du Mali est une ville très riche historiquement et culturellement, surtout avec le Festival sur le Niger.

C’est une grande ville ou divers activités se côtoies, cependant l’artisanat du Bogolan occupe une place importante dans les activités socio-économiques de la ville avec deux grandes entreprises de production du Bogolan tous exportateur vers les destinations étrangères. Toute fois ces deux grandes entreprises connaissent des difficultés lieu à la crise qu’a connue le Pays.

-­‐ L’entreprise le N’domo implantée à Pelegana se dit à vocation sociale, évoluant dans la formation, l’accompagnement des artisans, elle évolue à ce jour ci avec un effectif de 20 maitres artisans et 15 femmes en tout 35 employés diffèrent du personnel administratif. elle travaille en partenariat avec les femmes de la maison de l’artisanat de Ségou, filiale, filage du coton. Ce qui fait qu’il travaille avec le coton biologique et ordinaire, une partie du tissu support est faite sur place au sein de l’entreprise, et l’autre partie de la consommation est acheter sur le marché avec les Tisserant.

Au jour d’aujourd hui, le N’domo connait des problèmes due à la crise que traverse le pays notamment la mévente intérieur et la diminution très significative des commandes extérieurs. Le tourisme est l’un des grands consommateurs de l’artisanat du Bogolan, et malheureusement ce volet connait un arrêt notoire dû aux évènements que connait le pays en ces temps-ci. À cela s’ajoute le manque de moyens pour encadrer et accompagner les artisans comme le souhaite le N’domo. À cet effet le N’domo lance un appel à toutes personnes désirant l’accompagner pour la formation et l’accompagnement des artisans, car ses moyens seul ne suffissent plus à contenir la demande croisant des artisans désirant être encadré. Aussi le N’domo souhaite renforcer ses partenaires commerciale de par le monde. Avant la crise, le N’domo travaillait sur commande tant la demande était grande surtout de l’exportation, mais à ce jour elle dispose d’une quantité importante de stock non écouler. Cependant les prix sont standard chez le N’domo, elles n’ont connues aucune évolution car cela est un principe chez eux. Retrouver le tableau des prix chez le N’domo ci-dessous :

Désignation Prix Pagnes 15.000F Couvertures 30.000F Jetez de lit 22.500F

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Jetez de Canapé 20.000F Cousin(Ours) petit et Grand 3.000F – 4.000F Cependant noter que le N’domo n’évolue avec aucune ONG et assure son fonctionnement jusque-là sur

fond propre, généralement des quelques commandes extérieurs. Elle fait le Bogolan classique et contemporain. Ils sont besoin d’un partenariat de formation en vue de partager les connaissances dans le cadre de l’artisanat du Bogolan.

Le n’domo utilise les mêmes matériaux dans la production du Bogolan que Djenne et San, toutefois elle est une entreprise écologique ou tout est transformer et dont rien ne se perd tout au long de la chaine de production.

L’entreprise le <Soroble> est la seconde filiale de production du Bogolan a Ségou, implantée sur les berges du fleuve Niger au quartier administratif de Ségou, elles emploient 26 artisans producteurs de Bogolan moins le personnel administratif. Un effectif insuffisant selon la demande et la tailles des commandes à en croire le promoteur mais la crise que connait le pays a eu un impact contraignant pour employer plus d’artisans.

L’entreprise utilise des hommes comme des femmes. Cependant au jour d’aujourd hui, elle produit sur commande pour la plus part de l’extérieur car elle dispose d’un vaste réseau de consommateur extérieur, toutefois elle produisait pour la consommation intérieur, mais depuis la crise elle n’a presque plus de consommateur interne.

L’entreprise a la capacité de produire beaucoup de Bogolan selon la demande car les matériaux de base sont abondant sur place, elle assure aussi l’innovation continue dans le domaine du Bogolan. La preuve est qu’il a reçu le prix UNESCO de l’innovation, Voir Image ci-dessous :

Mais à la différence du N’domo, les prix ne sont pas standard chez eux et varie en fonction du motif à faire. Retrouver le tableau de prix ci-dessous :

Désignation Prix Minimum Prix Maximum Pagnes 15.000F 35.000F Couvertures 30.000F 50.000F Ils font aussi des jetez de lit, de canapés et des ours, leur prix dépend des motifs. Comme besoin, <le Soroble> a besoin d’aide financière pour accroitre l’entreprise, à cet effet l’aide de qui que ce soit est la bienvenue pour épauler l’entreprise à s’épanouir. Le <Soroble> produit tout sorte de Bogolan et se prête souvent à l’innovation du Bogolan.

-­‐ Au-delà des deux entreprises de production dont nous, nous sommes entretenue avec les promoteurs, il y a 4 Coopératives de femmes productrices de Bogolan a Ségou, dont malheureusement nous n’avons pas puis avoir des donner avec eux car La présidente de deux coopératives étaient en déplacements, et les deux autres ont si je peux me permettre refuser au motif que la production est à l’arrêt du fait de la crise.

-­‐ En conclusion, noté que l’artisanat du Bogolan est un univers très complexe et simple à la fois. Mais elle connait des jours sombre du faite de la crise, de manque de partenaire technique et financière, mais aussi du fait qu’elle n’est pas consommer par une grande partie de la population Malienne.

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APPENDIX C Information Complémentaire obtenue par échange Téléphonique auprès des 03 coopératives de Djenne Il ressort des échanges que le statue polygamiques des hommes qui font parties des coopérative n’est pas pris en compte dans la gestion des gains des différentes coopératives. La répartition des gains est ainsi :

-­‐ Coopérative Pama Sinintao : après la production, le fond de fonctionnement est écarté pour assurer la production continue, ensuite le bénéfice est reparti en deux parties :

-­‐ Une dans la caisse de la coopérative destiner aux autres besoins de la coopérative et des membres notamment l’octroyer de crédit sans intérêt aux membres de la coopérative dans le besoin.

-­‐ L’autre pour payer les membres de la coopérative en fonction de leur apport dans la production qui varie entre : 250F et 1000F/pagne. Aussi le fond de la caisse inutilisé est partagé entre les membres de la coopérative à la fin de l’année.

-­‐ Coopérative Pakarssa : La répartition n’a malheureusement pas puis être connue car ils n’ont pas voulue parler de cela au téléphone.

-­‐ Coopérative Chez Tanti Bogolan : la répartition est presque identique à celui de la coopérative Pama Sinintao, sauf qu’elle n’a de fond sociale (caisse), aussi elle n’a pas donner de façon claire le montant perçue par les employés, mais elle as donné celui perçue par le dessinateur qui varie en fonction du dessin : elle est comprise entre 500F et 1000F par pagne

En ce qui concerne la couture, ils disent tous travailler avec des ateliers de couture pour faire des chemises, robes et autres mode de la tendance solliciter. Mais cela se fait sur commande chez tous les coopératives de Djenne. Cependant pour la couture de certain model le prix varie entre 500F et 1000F. En effet le prix d’une chemise de bogolan tout fait auprès de la coopérative Pakarssa varie entre 15000F et 20000F. Comme style de bogolan, les coopératives se dit faire tous et tant souvent à la modernisation en vue de l’adapter au gout de la tendance actuelle. Cependant elles se disent tous prêt à faire n’importe quelle motif proposer ou solliciter par un client Cependant les entreprises de Ségou font aussi des sacs de bogolan, voir l’image d’un exemple dans le dossier images de Ségou. Selon mon constat, RUBIA peut travailler avec soit la coopérative Pama Sinintao, ou avec celle de Tanti Bogolan. Ils ont presque la même gestion financière de leur argent, sauf que celui de la coopérative Pama Sinintao m’a convaincu <jugement personnelle>, car l’existence d’un fond de caisse me parait importante pour faire avec a d’éventuelle imprévue. Voilà entre autre ce qui ressort de mon entretien téléphonique avec le trois coopératives de Djenne.

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APPENDIX D With the on-the-ground research and analysis provided by Konde, and with our analysis

regarding the design of a potential project we determine that additional next steps will involve

market assessments to determine the possibilities for marketing bogolan, and an initial look into

potential avenues of funding to continue exploring a possible project.

Market research

The report indicated that the main need for most of the cooperatives involves an

international partner to open up a new market for their production. This requires a more in depth

look at the potential market for bogolan in the United States and Europe. African textiles have

experienced a range of marketing strategies. There are NGOS and organizations engaged in

opening international markets that may provide more insight. While Rubia has current

relationships with fair trade organizations and a stream of Afghan goods, it will be different

venture to add a new product, especially one with a potentially different consumer base.

Research led us to identify 5 organizations [For full list see Appendix E] working with African

Artisans, the most important of which is Aid to Artisans. This organization provides support for

projects seeking to “create economic opportunities for artisan groups around the world where

livelihoods, communities, and craft traditions are marginal or at risk”. Their programming

emphasized business education opportunities for artisan enterprises, which is similar to Rubia’s

mission, which hopes to support education. Connecting with Aid to Artisans will open up new

expertise in market readiness, and a background in project in Mali.

Funding down the road

Another aspect of looking forward involves looking at funding programs for any potential

project. To an extent this will reflect the design and focus of the project. Answering important

questions such as focusing on cultural heritage or poverty alleviation may open and close certain

avenues of potential funding. One grant we proposed that would correlate with starting a

relationship with Aid to Artisans is their Canvas Small Grants Program. This program hopes to

help small or remote qualified artisans. This grant would be an important potential, though it

gives less emphasis on the preservation of cultural heritage through craft and more on successful

marketing.

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APPENDIX E

Following are a list of organizations that are working in Sub-Saharan Africa and supporting artisanal enterprises. Each is followed by a description of the work the organization does and then explicit recommendations for Rubia based on the description.

Indego Africa www.indeogoafrica.org Indego Africa is an organization that aids women artisans in Rwanda supports women artisans in Rwanda by providing access to markets and education. Indego Africa opens markets for artisans in three ways: 1) its online store, 2) through over 80 retailers nationwide, and 3) through collaborations with brands like J. Crew. Its education efforts focus on management and entrepreneurship, health, technology, and literacy.

Indego Africa’s theory of change is essentially that when women are provided with access to markets and education, they can increase their income as well as their awareness of what they must do to keep their families healthy and safe. When these things happen, improve their own quality of life as well as that of their family.

Important for Rubia: This was the most impressive organization that I found working with artisans in Subsaharan Africa. Its website is well laid out and aesthetically pleasing, its yearly reports demonstrate a true concern for measuring impact, and it was even the subject of a Harvard Business School review that lauded it because “"[Indego] understood the importance of building an organizational infrastructure and to-market opportunities first… That gives them the potential to quickly expand globally. This is completely backward from what everyone else does. They created all the processes before they started, designed all the procedures, translated them into the language the women needed and created the links to the America market." (HBS professor Kathleen McGinn in a Jan. 5, 2010 article on Law.com.) These are all things for Rubia to keep in mind when implementing its own project. Sahel Designs www.saheldesigns.com No e-mail listed, only a contact form on their website Sahel Designs is an organization in Burkina Faso that supports local artisans and sells their fair trade products (such as bags, lamp shades, and bogolan pillow covers) online and through various retailers. In the organizations own words, “SAHEL Design is about discovering, celebrating and reviving traditional craft techniques. It’s about learning from and respecting the people who make them. It’s seeing the continuation of skills into future generations by making them profitable today.” Sahel designs is a very small, but even so it is attempting to improve the quality of life in the town in which it works. It has installed a teaching center, where the art of traditional weaving can be passed on, and is working on installing a water pump.

Important for Rubia: Sahel’s mission is very close to the one that Rubia has expressed. It may be beneficial just to contact Sahel Designs to see if Rubia could talk to them about the process that they went through in starting their project and to see if they have any suggestions for a project in the same vein. Creative Women www.creativewomen.net

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Info@creativewomen.net Creative Women, a Vermont-based company that works with cooperatives in South America, Africa, and India provides a conduit for women’s cooperatives to sell their goods to foreign markets. They sell products such as pillows, throws/blankets, towels, scarves, and table settings. They not only sell through their website, but they successfully sell through retailers as well, such as Anthropologie, Creative, Contrast, Drifting Arrows, and Fair Trade Décor. The organization has grown from a five person project at the outset to an eighty person enterprise. They operate in Bolivia, Morocco, India, and Ethiopia.

Important for Rubia: This could be another interesting discussion to have, especially when thinking about scaling up. What considerations are necessary from the beginning if Rubia is planning to expand its project in the future? Aid to Artisans www.aidtoartisans.org info@creativelearning.org

Aid to Artisans is an organization focused on promoting handcrafts in developing countries. According to their website, “[they] create economic opportunities for artisan groups around the world where livelihoods, communities, and craft traditions are marginal or at risk.” Aid to Artisans has three primary concerns:

1) Business training: ATA offers customized training in all aspects of artisans enterprises from export marketing to preparing for a trade show exhibition to organizing a local craft fair. They also offer an exciting opportunity from August 16th-20th in New York called their Market Readiness Program™. During the program, they explore topics such as: the structure of the US market, export distribution channels, trends in color and design, costing and pricing, quality control, and others.

2) Market Access: On their site, they write, “We work with each artisan enterprise to assess its product and business. We develop actionable marketing plans that define target markets, distribution channel strategy, costing and pricing structures, sales and marketing activities. Targeting local, regional, or export markets, and determining distribution channels requires a focused marketing plan.”

3) Canvas™ Small Grants Program: a handful of grants are “designed to address the plight of small or remote groups of qualified artisans.” With this grant, ATA funded a textile project running in Mali, Benin, and Burkina Faso until 2013. It focused on “enhancing strategic market access, improving product offerings, and building business management capacity.” In the end, eight international product development design consultancies were arranged, which helped the artisans to take part in international and regional trade fairs. These ultimately generated $1.5 million in sales. Other successes listed on the site include the organization of seven international buyer incentive trips, three regional training workshops (along the lines of Market Readiness Program but conducted on location in French), and nine artisans joining Facebook.

Important for Rubia: Rubia’s new project in Mali could most likely benefit from every program that ATA offers. It may be extremely beneficial for someone from Rubia to attend the

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conference in New York. One of our primary questions—what the market is like for handcrafts in America—is specifically addressed, as well as several other highly relevant topics. Also, Rubia sounds like it would be an excellent candidate for the Canvas Small Grants Program, even more so because they have a history of working with bogolan in Mali. Hand/Eye Hand/Eye is an organization that grew out of ATA. It was inspired by the premise of the Canvas Small Grants Program ™, and seeks to give out grants using the same criteria. Important for Rubia: This is another source of possible funding. Now that Rubia has an idea of the actual needs of the women on the ground in Mali, the next step is implementing a project. However, first it would wise to consult others that have undertaken similar involvement in the area to be as informed and effective as possible. Studying and/or contacting the above organizations can help Rubia do just that.