Kala Raksha

Kala Raksha aims: to preserve and present cultures of ethnic communities of Kutch (Gujarat, India) through their traditional arts; to facilitate the transformation of traditional art into contemporary products by encouraging innovation within existing traditions; to assist communities in achieving economic self-sufficiency through cooperative efforts; to assist direct sale of contemporary arts, for entire local communities. Artisan initiative and participation are the pillars of our work.
Apr 4, 2011

KR MUSEUM ACCESSIONS MAJOR COLLECTION!

Khetuben views new accessions
Khetuben views new accessions

KR MUSEUM ACCESSIONS MAJOR COLLECTION WITH DONATIONS FROM GLOBAL GIVING! KALA RAKSHA MUSEUM PROJECT REPORT 11 DECEMBER 2010- 2 APRIL 2011

“We would forget these things if not for the Museum,” Khetuben Rana, Artisan

THE KALA RAKSHA MUSEUM IN ACTION

Since its inception, Kala Raksha has dovetailed the collection and preservation of traditional pieces with income generation. The Trust established an international quality Museum of textiles and related materials in 1997. Two features of this Museum make it unique. First, the Museum is based in the village itself. Artisans have access to and responsibility for it. Second, artisans were involved in all phases of the development of the Museum. They assisted in collection, were engaged in documentation, and consulted in the permanent exhibition. The Kala Raksha Museum successfully proves the mutual benefits of involving communities in presenting and utilizing their own cultures. The Museum is intended as a resource base for artisans, designers and researchers. One aim is to revitalize traditions in contemporary ways through the museum’s inspiration. During this period, 17 Kala Raksha Vidhyalaya artisan design students, 2 National Institute of Fashion Technology students, 5 professional designers, and 30 Kala Raksha Artisans actively utilized our collections to develop craft products with cultural integrity. Kala Raksha Vidhyalaya began its course in design for traditional artisans with a field trip to the Kala Raksha Museum. The course encourages artisans to innovate within their traditions; for that, recognizing and supporting the unique features of those traditions is key. The opportunity to examine original pieces becomes more important with time. Even in five years, we have seen that young artisans no longer have access to traditions. “I have been with KR so many years but this was a new experience,” Miraben. One unique feature of the school is that young and older artisans study together. The visit to the museum is a catalyst for elders to explain the traditions. In the men’s colour class this year, we combined a discussion with master artisans and the museum field trip for the first time. As the students were examining textiles in the museum, the elders arrived. They listened to the discussion. “We should take this course, too!” Dr. Ismail Khatri KRV Advisor. Continuing with our museum mobilization program, sponsored by the Government of India Development Commissioner Handicrafts, in February we held the final workshop to develop products inspired by the museum collections. Ninoshka Alvares, a Mumbai based professional designer, conducted the workshop in the Kala Raksha Museum. Thirty artisans from three ethnic communities worked on garments and accessories that combined patterns that Ninoshka developed from museum objects and the artisans own motifs created during their studies at the Vidhyalaya. Serendipitously, no sooner was the workshop over than Kala Raksha was invited to participate in the Ahmedabad Fashion week on 14 February. Although the lead time was just a week, we happened to be ready. As only can happen in India, we got the new products and an artisan designer to the ramp in time to steal the show! “Kala Raksha’s was the best collection this year!” Prateek, Senior Designer Hutheesingh Designs. The Museum brought a few unexpected benefits to interns in the last few months. Craig Delphine, pattern maker from Australia came to help Kala Raksha solve the problem of sizing of garments once and for all. To everyone’s amazement, there seem to be no standard sizes so far in India. After pondering the situation and trying as many angles as we could think of, Craig finally went to the museum. Studying the traditional garments there, he realized that in Indian garment construction, fitting was achieved in simple, straight cuts. This changed his entire strategy for sizing. He went on to teach pattern making to the Kala Raksha tailoring team. In a second project, National Institute of Fashion Technology intern Smita Srivastava was getting stuck in designing recycled quilts for her diploma project. Her designs were too complicated to be sustainably produced by local artisans. A study of traditional quilts in the Kala Raksha Museum collections gave her the direction she needed to design appropriate to artisans and market. As the final touches were put on this report, we began the third group of Kala Raksha Artisan Designer interns, who studied some of the new books in the library and our permanent collections to begin a collection of Art to Wear jackets for the Surface Design Association meetings in Minneapolis in June 2011. “We are not inspired til we see the fabric and threads!” Lakhiben, Kala Raksha Design Intern.

VISITORS AND RESEARCHERS

The end of the winter visitor season brought a variety of visitors to Kala Raksha. After last November’s visit from Creative Scotland’s 10 curators, Deborah May, daughter of one of the curators, spent ten days at Kala Raksha Vidhyalaya. We introduced our museum and its activities to groups from Colorado State University and Kansas State University, and Austria, as part of workshops in traditional crafts. Jane McKeating, Director of Studies, Dept. of Design, Manchester Metropolitan University came to do research for a book on hand embroidery. She much appreciated the opportunity to browse the museum. Dr.Kevin Murray, professor, editor of Craft Unbound, and independent curator, came to discuss development of a code to assist craft collaborations that bridge the city and the village. This code will include basic ethical standards, complementing the Fair Trade system, as well as productive schemes for adding value through storied content. Early development will be conducted in association with Shop for Change. Academic visitors also included Liz Williamson, Head of School of Design, UNSW, Christine LoFaso, Professor, School of Art, Northern Illinois U. Textile artists Russ Mason of Toronto, Sheila Klein of Seattle, and Meghna Singh sponsored by Motiroti UK, spent time looking at our collections. Ashoka Foundation’s Devashri Mukherjee and Janet Visick visited Kala Raksha Center and Museum. In March, we hosted the textile students from the National Institute of Fashion technology in Gandhinagar and 40 students from Royal College of Art, UK. In addition, numerous student and tourist groups visited the museum. Although we do not yet have a way of tracking visitors to our online museum, we have received many compliments on the site.

ADDITIONS TO COLLECTIONS

The most exciting activity of this period was additions to our collections, made possible by generous donations. With the donation from a November visitor, in January Kala Raksha had a large library cabinet custom made for our Museum. This doubles our book storage capacity, and we eagerly added seven new books on textiles and design, including Sui Dhaga: Embroidery in Asia, which has a chapter on Rabari concepts of design written by Judy Frater. With Global Giving’s Bonus Day on 16 March, 2011, Kala Raksha received $650, which was matched with $150. Added to an earlier match of $500 and a donation of $25, Kala Raksha received a total of $1,325 for our Museum. With these funds we were able to accession 49 new objects! From the objects which have been short listed for the Museum, we chose three collections: 19 embroideries from eastern Kutch, 18 Rabari embroideries, and 12 objects for our second online exhibition on recycling. All were professionally photographed, labeled and archivally housed. The eastern Kutch collection will be particularly useful in a documentation Kala Raksha is conducting on embroideries from that region. The Rabari collection adds to one of the strengths on the Kala Raksha collections. The 12 objects selected to enhance our second online exhibition complete a wish expressed in previous reports. This show will coincide with Earth Day, and an exhibition at The Textile Museum in Washington, D.C: Second Lives: The Age-Old Art of Recycling Textiles (www.textilemuseum.org). The online exhibition will open on 15 April 2011. Following is a preview:

INNOVATION: RE-PURPOSE, RE-INVENT, RE-CYCLE

Recycling is a very old idea. And India could well be the home of recycling. In India, nothing is thrown away. It is used again, and again, repurposed, reinvented, until finally the last bit of spirit floats away. Everything seems to be in a constant, flowing state of recycling. The motivation is a deep conviction to sustainability. The impressive aspect of the system is a sense of awareness and value for everything, and the ability to see things familiar as potentially something else. The world of art offers a special manifestation of value as catalyst for re-invention. Women artisans of Kutch have always highly valued the creativity and hard work of their embroideries—so much so, that they invest time and effort in prolonging the lives of much loved objects. In this exhibition we show five ways in which textile artists creatively innovate to give their work longevity.

RENOVATION OF EXHIBITION GALLERY

Renovation of the Museum Exhibition Gallery is moving steadily along. In March, National Institute of Design exhibition designer Mayank Loonker visited the site to initate the final stage. The gallery was painted, bringing with it the opportunity to paint the entire campus for the first time since it was built in 1997. Water proofing of the roofs was an added bonus. Mayank has sent proofs for the first of the exhibition panels. With a few minor adjustments, the text panels will soon be ready. Objects will be re-mounted—including creating life sized dolls and a life sized camel. We will add an LCD screen to enable interactive programs in the gallery as well.

THANKS TO GLOBAL GIVING!

Kala Raksha Trust is self sustaining in its income generation work- a feat not even attempted by many non-profits. However, the earnings from our income generation can not cover the costs of expansion of The Kala Raksha Museum, which is the core of our sustainable, authentic work. Generous donations from our supporters enable us to add to our collections, and host projects that utilize our rich resource. Global Giving has enabled us to realize our first goal in expanding our collections and installing our second virtual exhibition! We thank Global Giving donors for your support, and welcome financial contributions as well as ideas for ways to reach out and share our holdings with interested people. “The Global giving website is easy to navigate. It makes giving so much easier,” Maryann Sadagopan, Global Giving donor.

THE NEXT PHASE

We look forward to developing our Art to Wear collection, with inspiration from our collections. We are also excited to conduct the final phase of documentation of Kutch embroidery traditions and begin editing our documentation for publication with a highly respected publisher. $795 would enable the final research to be carried out. Two more small collections of objects have been identified for accession: an additional collection of Eastern Kutch embroidery, and a collection of women’s blouses. These are valued at RS 16,650 ($378) and RS 18,700 ($425) respectively.

Miraben with Museum data base
Miraben with Museum data base
KRV class of 2011 at Museum
KRV class of 2011 at Museum
KRV interns in Museum
KRV interns in Museum

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Mar 14, 2011

KALA RAKSHA VIDHYALAYA WORKSHOPS TO THE WORLD

Devalben gives thumbs up to workwshop student
Devalben gives thumbs up to workwshop student

KRV WORKSHOPS TO THE WORLD!

In January 2011, KRV held the pilot of a workshop program with international design students and faculty.  Twenty three participants from Colorado State University, Kansas State University and Missouri State University participated.  Fourteen Alumni taught day long workshops in their traditional crafts and the Vandh and Sumrasar campuses.  As always, everyone learned.  At the wrap up the students were impressed with the skill and knowledge that goes into each craft.  Shakil Ahmed expressed his delight that urban Americans were so ready to get their hands dirty.  The Colorado State University students wrote later that they felt their visit to Kala Raksha was the highlight of the trip.  “We thoroughly enjoyed working with the artisans; it was a once in a lifetime experience!”– CSU students.

 In February 2011, KRV held the second successful workshop with a group from Austria and Germany. The workshops take KRV a big step forward in becoming financially sustainable, and in addition open new markets for KRV alumni- teachers.  It is a win-win proposition!  We are ready to hold more workshops in the coming year.  For information, please download our proposal http://www.kala-raksha.org/KalaRakshaWorkshops.pdf

 YEAR SIX AT KALA RAKSHA VIDHYALAYA

Kala Raksha Vidhyalaya’s sixth year began with a small but select group of students. For the women’s class, this is the first year that applications were open to artisans outside Kala Raksha membership.  We were happy to receive three Rabari women who initiated application, and two more young suf artisans who are not yet Kala Raksha members. The Vidhyalaya enjoys a number of visitors while classes are in session.  In the first men’s course, Mr. Paul Folmsbee, Honorable Consular General of the USA in Mumbai visited the class.  He was pleased to learn about our unique design school.

 KRV encourages visiting faculty to repeat courses as it helps to build the strength of our curriculum.  Bishaka Shome has taught Colour: Sourcing from Heritage and Nature to the men’s section for the past four years.  Drawing on her experience and her analytical abilities, Bishakha has improved the course each year.  This year, she focused on understanding the difference between colour proportion and colour intensity, and added an exercise to demonstrate the effects of fibers and structures on colour absorption.  She also contributed to our ongoing design dictionary project. 

 The men took a trip to Kala Raksha Center to study traditional textiles in the Kala Raksha Museum, and met with the KRV Advisor Master Artisans for a program discussing aspects of textile traditions. They visited Mandvi beach to observe the colours of nature. Colour theory inputs were tested practically in dyeing sessions. By the time the first course ended, the artisans themselves were impressed with what they had learned and done in two weeks.

 Dhanjibhai- “If we learn this subject 5 years we will still want to learn.”

 The women’s Colour course was taught by Stina Gardek, who had taught it in 2009.  Stina also improved her syllabus. She added painting and coloured sketching to deepen comprehension, but focused on colour placement, which is the orientation of embroidery artists.  The women also studied textiles in the Kala Raksha Museum, seeing traditions with new eyes.  As time goes on, the younger generations of both men and women artisans have less grasp on traditions, making this exercise more important.  

 Then the group took inspiration from the colours of the Bhuj bazaar.  The assignment of capturing colour combinations they liked made the use of digital cameras easy.  During the final assessments, the artisans reflected on their initial KRV experience.

 Jivaben- “We embroider at home.  We come here to go forward.”

Jassiben- “I do traditional work but now I’ll do it for sale.”

 Deviben- “I wanted to go ahead, to try.  At first I wasn’t sure I would like it.  I learned something and how I like it.”

 For men and women alike, one key initial realization is the value of knowledge.

Hansraj- “Before, I knew red was red because my father told me and I believed it.  Now I have knowledge why.” 

 Lakshmi- “I never saw colours before.  I just saw a wall, a forest….I can see colours everywhere! We thought contrast looked good.  Now we know why.”

 Both the men’s and women’s sections of Course 2- Basic Design: Sourcing from Heritage and Nature were taught by Neha Puri, who had taken the men’s section in 2009.  Neha’s exacting eye helped to instill in the artisan students the importance of seeing carefully and taking their work the extra mile.  This understanding at an early stage will benefit the students the entire year.  The men tackled principles of design in paper and paint.  Finally, they examined traditional textiles to realize that most of the principles of good design were already used.  The final exercise was to dissect a traditional layout and remix it, using what they had learned in the two week course. They left the class feeling full, but eager to translate some of their layouts into their own traditions.

 This was Neha’s first experience with a women’s class at KRV.  She learned the first day some of the nuances of the differences between men and women in learning styles. Surprisingly, the women work quickly, perhaps not worried about making the correct decisions, or tapping easily into intuition. Morning exercise and sketching classes were a welcome chance to exercise body and eyes. 

 Balance, texture, rhythm and movement were explored in paper, but the emphasis was always on bringing it back to fabric and thread.  Exploration of texture led to an exciting realization of how simple variations can create new looks for the market. The artisans had to think and work, but in the end they realized that it was all there from the start.

Jasiben- “We did it, but we didn’t know it!”

 INSTITUTIONAL DEVELOPMENT

Kala Raksha has launched its Artisan Design Concept in Mumbai in December and in Delhi in February.  Both exhibitions proved that artisan designs are well appreciated. Products from all of the KRV graduates who participated sold well.  

 E-Portfolios of KRV Alumni

KRV’s a new website www.kala-vidhyalaya.org is growing.  The portfolios are still under construction so visit with patience and anticipation. 

 Khalid Amin, recipient of the 2010 Best Collection award, enthusiastically responded to a suggestion to hold a solo show, and has developed an amazing collection of 95 stoles, each unique with his distinctive painterly block printing style.  Look for further details. 

 Not to be outdone, the Sumrasar Sheikh women alumni have decided to begin now in planning a collection for next year’s KRV Fashion Show.  This is very important first independent initiative from women graduates, and it underlines the importance this event has had in inspiring and motivating artisans to continue in design development. 

 OUTREACH

KRV Films in an online Festival

Kala Raksha has submitted our films "Artisans Design! The Launch of Kala Raksha Vidhyalaya" and “The Masters’ Voices” to Culture Unplugged online film festival.  The festival will be live online til June 2011.  See http://www.cultureunplugged.com/storyteller/Kala_Raksha

 Artisan Design Online

Find Kala Raksha Artisan Designed work online at www.equalcraft.com

 Articles on Artisan Design have been published in three important online craft journals: Hand/Eye  www.handeyemagazine.com 3 February 2010; Craft Unbound www.craftunbound.net 27 January 2011, and the Craft Revival Trust Newsletter www.craftrevival.org vol 110, issue 2 Winter-Spring 2011.

 Kala Raksha is now on Facebook.  You can follow us at http://www.facebook.com/home.php#!/group.php?gid=34302983925

And join a discussion on issues of craft and design on our blog http://www.kala-raksha-blog.org/

HONOURS

On 12 March, 2011, Project Director Judy Frater was presented with the Crafts Council of India’s annual Kamala Samman award, which honours outstanding merit in the handicraft field.  At the meeting at the National Institute of Design, Ms. Frater gave a presentation on the achievements of Kala Raksha Vidhyalaya.

THANKS TO GLOBAL GIVING!

KRV succeeded in raising the funds to cover the academic year of 2010!  The Indian financial year spans between April 2010 and March 2011, and our sixth year of classes begins.  So we now must raise funds for the 2011 academic year. 

 KRV relies entirely on donations. 9% of 2010’s funding was individual donations—equivalent to over four scholarships. Global Giving has made a substantial contribution.   

As one donor wrote, “The Global giving website is easy to navigate. It makes giving so much easier.”

 Your generous contribution can help! You can make a difference in the lives of our very creative constituency!!

 Miraben: “What was most difficult was making decisions. In two weeks I am more confident.  When you climb stairs you see something new from each level”

 THE NEXT PHASE

Sustainability is still our challenge. With the launch of Artisan Design we hope to develop new markets for our graduates’ work.  This year, women graduates will produce an Art to Wear collection for the biannual Surface Design Association meetings in the USA in June.

We have submitted a proposal to a potential funder for holding the first of an annual fund raising event in the USA, and are circulating our proposal for workshops with KRV alumni.  Initial response has been encouraging.

 Financial sustainability is always a huge challenge for an educational institution.  We welcome any entrepreneurial ideas –and ideas for increasing visibility-from our supporters.

Kari learns batik at KRV workshop
Kari learns batik at KRV workshop
Master Artisans share with KRV students
Master Artisans share with KRV students
Jivaben documents Bhuj bazaar
Jivaben documents Bhuj bazaar
Divya learns to see and sketch
Divya learns to see and sketch
Jasiben contemplates design in embroidery
Jasiben contemplates design in embroidery
Tulsi triumphs in first presentation
Tulsi triumphs in first presentation

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Dec 13, 2010

KALA RAKSHA VIDHYALAYA INAUGURATES ARTISAN DESIGN!

Monghiben at her final jury
Monghiben at her final jury

CONVOCATION MELA AT KRV!

 After completing the final course of the year, Merchandising, Presentation, our traditional artisan students prepared to launch their careers as Artisan Designers. Since beginning the institution, the infinite creativity of the individual has clearly emerged.  When encouraged, each individual effortlessly finds his or her unique expressions. And they confidently articulated these to their juries. This year, Jury members included Subrata Bhowmick, world renowned designer, Shilpa Sharma, previously in charge of products at Fabindia, Amit Sinha, head of the Apparel Department, National Institute of Design, and Priya Kishore, designer entrepreneur and owner of the high fashion boutique Bombay Electric.

The new graduates walked the fashion show ramp with their collections, under the stars on our rural campus.  It was a dream come true for many of them.

 Monghiben: “My dream was to be in the fashion show.”

 Govindbhai: “For years we have made prize winning pieces for others.  This year, my father and I will submit an entry in our own name.”

Graduates received certificates and awards for Best Collection, Best Presentation, Most Marketable Collection, and Most Promising Artisan.  Alumni Hariyaben Uttam (KRV 2009) and Shakil Khatri (2009) addressed the audience of several thousand with confidence and sincerity.

 Sajnuben- “If we do something new we can advance.”

The Convocation ceremony was followed by a public Mela, in which artisans showed their work to local visitors and craft lovers from Chennai, Kolkata, Mumbai, Delhi, the USA, France, Germany, Austria, Australia, Portugal, Italy, UK., and China. Over 5,000 people attended the two day event, and the graduates sold their new products.  This year’s winner of Best Collection nearly earned the cost of his annual tuition! The winner of Most Marketable Collection recorded orders for domestic and international clients.

 Bhagvatiben- “I couldn’t see the sea at night.  I had to imagine—I used my mind.”  And her husband said, “I am so proud of her, because she did not go to school, but she can think.”

 The Mela included craft workshops and local music, with a grand finale of a concert of traditional music and the now customary “Sanedo,” which drew graduates, staff, friends and family onto the dance ground.

 Hanifbhai- “When I came here, I wasn’t an artisan.  Now, I am on my way.”

OFFICIAL LAUNCH OF ARTISAN DESIGN

At the Convocation, we took the benefit of the presence of our Chief Guest, Ms. Kasturi Gupta Menon, Honorary President of the Crafts Council of India, to officially launch our trademarked logo, Artisan Design. 

Innovation has always been an integral part of tradition. In traditional arts or crafts the artisan both conceived the product and created it.  When the old relationships between maker and user broke down, design emerged as a separate entity.  At its best, design- like art- is understood as the work of an individual, whose creative efforts are the most highly valued aspect of the product.  But when concept is separated from execution, the execution becomes “labour.” 

 In order to reverse the trend of artisans becoming laborers, Kala Raksha started Kala Raksha Vidhyalaya.  Here, we value the unique concepts of each artisan designer, consciousness and confidence increase, and the art aspect of craft re-emerges. Artisan Design emphasizes the aspect of the artisan’s thought. The Artisan Design logo will create visibility and value for the individual’s creative effort. 

Artisan Design certifies that a product is an artisan’s own creative innovation. It celebrates the individual’s heart, mind and hand. Artisan Design also creates value for the integrated spirit of tradition.  This is the symbol of re-integration of concept and execution in craft, and of raising status of the artisan. It is a new fair trade idea—fair trade for the creative spirit.

INSTITUTIONAL DEVELOPMENT

Continuing in its linkages with premier Indian institutes of Design, Kala Raksha is currently hosting two National Institute of Fashion Technology students for their diploma projects.  Richika Pallavi is working on sourcing raw materials.  This is a timely project, since one important feedback of the KRV jury this year was the need to have a good materials bank to encourage students to experiment with new materials.  Smita Srivastava is creating a recycle collection, in line with our focus on sustainability.

 Two of the KRV graduates who worked with the Srishti interns in the summer, Abdulla Khatri, and Zuber Khatri have submitted new collections for an exhibition in Mumbai December 12-18. The fabrics developed by Dayalal Kudecha and Ramji Maheshwari in the same workshop have been used for Kala Raksha’s current collection.  All four of these graduates have now firmly established their independent businesses. 

 Shyamji Vishramji, KRV Advisor: “No one who has graduated from KRV has not gotten orders for his work.”

OUTREACH

An Exhibition of Kala Raksha Vidhyalaya at the National Institute of Design

As NID celebrates completion of 50 years of design education, KRV has been given the honour to exhibit our five years of work for the NID Convocation, December 14-15th .  KRV graduates will be present to discuss their work on display.

 E-Portfolios of KRV Alumni

KRV will initiate a separate website which will host e-portfolios of the Artisan Designers who have graduated from Kala Raksha Vidhyalaya. Through the e-portfolios, Kala Raksha will facilitate contact to world markets for each of these artists. The contemporary market has a critical role to play in recognizing and honoring the spirit of the creator.  With information technology, emerging artisan designers can be discovered by people who can value their work.  The portfolios will be maintained on www.kala-raksha-vidhyalaya.org  to be launched in January 2011.

 Collaboration for Online Marketing

Another initiative is live in time for the holiday season.  Through collaboration with Equal Craft, a socially conscious marketplace that provides world citizens with excellent world art, and artisans with true global market value and recognition, KRV graduates are able to sell their designs at www.equalcraft.com 

 The collaboration was developed through the Ashoka network.  Combining age old tradition and the latest technology, Kala Raksha and Equal Craft are breaking social barriers.  E-commerce makes it possible for rural artisans to directly connect with long distance markets. The fact that one can ask what is the difference between a quilter in Vermont selling her quilts on Etsy.com and Lachhuben Rabari selling her embroidered bags on Equalcraft.com says it all. The venture is leveling the playing field.   In the way that Kala Raksha Vidhyalaya offers design education to artisans with no formal education, Equalcraft.com makes social networking possible for artisan designers who may not read and write. 

 THANKS TO GLOBAL GIVING!

KRV has made great strides in narrowing the gap between the budget and the coffers, and Global Giving has made a substantial contribution.  In the second Matching Campaign, Kala Raksha received $2,850- more than three times the previous campaign.  This almost equals two scholarships for our artisan students.  We utilized these funds to balance the budget for the year.  One person, YOU, can make a difference in the lives of our very creative constituency!!

THE NEXT PHASE

Sustainability!  That is our challenge. Our students are working toward their own sustainability.  At the dress rehearsal for the jury, KRV alumni gave sophisticated feedback that proved Artisan Design is sustainable.

 Anwarbhai Khatri, president of the men’s class of 2010: “KRV was the chance of my life.  I  know I will keep going with what I learned.”

 Kala Raksha has submitted ides for becoming self sustaining to one of our major funders for feedback.  This is a huge challenge for an educational institution.  We welcome any entrepreneurial ideas –and ideas for gaining increasing visibility-from our supporters.

Monghiben walks the fashion show ramp
Monghiben walks the fashion show ramp
Govindbhai triumphs
Govindbhai triumphs
Hinaben earns her certificate
Hinaben earns her certificate
Hariyaben addresses the audience
Hariyaben addresses the audience
Jayantibhai sells to Crafts Council President
Jayantibhai sells to Crafts Council President
article in Ahmedabad Mirror
article in Ahmedabad Mirror

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