CLUSTER

Cluster indicates a sectoral and geographical concentration of enterprises, which produce and sell a range of related products and are thus faced with common challenges and opportunities.

HISTORY OF CLUSTER

Concentration of units in a given geographical location producing same or similar types of products and facing common opportunities and threats is called a cluster. Clustering has been the age old phenomenon in India. Clusters have been in existence in India for centuries and are known for their products at the national and international level. India has more than 6400 clusters. These have been typified as industrial, handloom, and handicraft clusters. Clusters represent the socio-economic heritage of the country where some of the towns or contiguous group of villages known for a specific product or a range of complementary products that have been in existence for decades and centuries. In a typical cluster, producers often belong to a traditional community, producing the long-established products for generations. Indeed, many artisan clusters are centuries old.

Features of Cluster: Give rise to collective benefits, for example through the spontaneous inflow of suppliers of raw materials, components and machinery or the availability of workers with sector specific skills. Favour the creation of providers of specialised technical,administrative and financial services. Create a conducive environment for the development of inter-firm co-operation as well as of co-operation among public and private institutions to promote local production, innovation and collective learning.

ADVANTAGES
Clustering of units enable provider of various organizations, including banks & credit agencies, to provide their services more economically .

CLUSTER ON APPLIQUE OF PIPLI

INTRODUCTION

Pipli is a beautiful village on the main road that falls between Puri and Bhubaneswar. The village of Pipli , 40 kms. from Puri , is the site of beautiful applique work, created by artists.
Pipli in Orissa is known for its applique work. Applique work forms a major part of the handicrafts of Orissa. The applique work is a piece of art that is done by cutting beautiful pattern on a piece of cloth.

HISTORY
It is said that the kings and nobility of Orissa had patronized the applique work. At one time, the applique work of Orissa is said to have reached the heights of excellence. In Orissa, kings engaged craftsmen in the Jagannath Temple. In 1054, Maharaja Birakshore is said to have appointed 'Darjis' to serve the temple. The 'darjis' provided regular supply of the items required for the rites performed at the temple. The village of Pipli was set up for accommodating the craftsmen of Orissa. Initially, the craftsmen only made banners, umbrellas and canopies for the festive occasions, but with the popularity of the art, the artisans started making many items of utility. The craftsmen of Pipli also supplied the articles of utility to the maths and the monastic houses. But since Independence, the darjis have completely taken to making articles for the tourists.

APPLIQUE
Appliqu or patchwork ( as it is commonly known to all) refers a needlework technique in which pieces of fabric, embroidery, or other materials are sewn onto another piece of fabric to create designs, patterns or pictures.

It can be done with various types of stitches , sometimes visible on top or even carefully stitched underneath the superimposed piece. I too tried my to do the basic style of patchwork, and here it is . Patches attached to the base black cloth using chain and buttonhole stitches.

Applique, which is a French term, is a technique by which the decorative effect is obtained by superposing patches of coloured fabrics on a basic fabric, the edges of the patches being sewn in some form of stitchery. It is distinct from what is known as patch work in which small pieces of cut fabrics are usually joined side by side to make a large piece of fabric or for repairing a damaged fabric. Though the form is not unknown in other parts of India, it is Orissa and specially in Pipli that the craft has a living and active tradition continuing over centuries. While the largest number of applique craftsmen are concentrated in Pipli, there are quite a few in Puri and very small numbers in Khallikote, Parlakhemundi and Boudh areas also.

HOW IT IS DONE

The craftsman first prepares the base material in the shape of square, rectangle, and circle or oval which forms the background for the pieces of art. Appliqu motifs in contrasting colors are then cut in the shape of animals, birds, flowers, leaves, celestial bodies and geometric shapes. These motifs are then stitched into the base cloth in aesthetic arrangements. Raised motifs are prepared by giving several folds. The actual grace of appliqu craft lies in its intricate stitches namely, bakhia, guntha, turpa, chikan and other very delicate and esoteric embroidery techniques. Nowadays, small mirrors and bright metal pieces are used to enhance its beauty. After attaching the appliqu patches to the base cloth, the borders are then stitched. The piece of art is now ready for sale. Almost all the family members get involved in this craft. Skilled persons of the family go for beautiful intricate designs while the less experienced take up the simple works like stitching the borders and making the base clothes.

The stitching process varies from item to item and come under six broad categories, namely, (1) bakhia, (2) taropa, (3) ganthi, (4) chikana, (5) buttonhole and (6) ruching. Sometimes emroidered patterns are also used and in a few items mirror work is also incorporated. The layout of various motifs and patterns vary according to the shape of the piece. The canopy has a large centre piece which may be a square. This centre piece is then bounded by several borders of different widths, one outside the other, till the edge is reached.

In the umbrella and Chhati the inner field is arranged in circles, each circle having patches of one motif placed side by side. Patterns are laid in the same way as the shape of the Tarasa, with a large motif or two placed at the centre. The layout for covers for horses consists of a series of concentric strips in the portion which covers the neck, each strip having patches of one motif, while the portions which fall on either side of the body are plain, having border all round with or without a motif at the centre of the plain field.

COMMUNITY
The craft is traditionally practised by a caste of professional tailors, known as 'Darjis'. As with others services of the Lord, darji seva or the supply of applique items is rendered by the caste members in return for which they receive certain portion of the daily offering, 'bhog' from the temple. All this is regulated by the record-of-rights of the Jagannath Temple. The darjis have their own headman or sardar who has a higher share in the 'bhog' of the Jagannath Temple. It is interesting to note that the craftsmen are socially well organised and there are close family relationships between the craftsmen of Puri and Pipli. Their organisation can be very well compared to the craftsmens' guilds of medieval Europe. They also have annual meetings of craftsmen to resolve social and related problems.

MOTIFS USED
The motifs used are fairly varied yet fixed and cosist of stylised representations of flora and fauna as well as a few mythical figures. Of the more common of these motifs are the elephant, parrot, peacock, ducks, creepers, trees, flowers like lotus, jasmine, half-moon, the Sun and Rahu (a mythical demon who devours the sun). Just as there are a few fixed motifs only a limited number of colors are used in the traditional applique craft. These are green, red, blue, ochre and black. The creative urge of the craftsmen however are released in the endlessly various combination of motifs as well in the mixing of these limited colors. While there has been very little change in the use of motifs, there has been a trend towards greater experimentation in colour combinations.

COLORS USED
The art form typically depended on four basic colors - red, white, black and yellow to produce a striking effect. In recent years, green too has been applied vigorously enlivening the craft even more. Temples and other religious institutions extensively patronized this art. In fact the basic inspiration for the art form was mainly religious in nature.

As per tradition, the colour scheme of the three covers is predetermined. The chariot of Balabhadra known as Taladhawaja has a cloth covering of bright green and red, while that of Subhadra known as Padmadhwaja or Darpadalana has a cover of bright red and black. The chariot of Lord Jagannath called Nadighosha has a cover of bright red and yellow.

The basic design of all three is similar being a combination of narrow and wide stripes while on the four sides above the openings, there are applique mythical motifs like Rahu, Chandra as well as motifs from nature like flowers etc. It is these colourful applique covers which indentify the chariots of the three deities from far away by the millions of pilgrims thronging the Badadanda or the extrawide main road of Puri in which the lords make their annual sojourn in the car festival. Seats and pillows in applique are also made for ceremonial use by the deities during the annual ritual of bathing festival (Snana Jatra) and is locally known as 'Chakada Kama' with motifs of 27 stars and geometrical forms in applique work with motifs of fish, frog etc. on black cloth is used in the ritual dress of the Deities of Puri temple, locally known as the 'Gaja Uddharana Vesha', incarnation of Rescuer of Elephant. Applique cover is also made for caparisoning the dummy horses in the 'Horse Dance' or Ghoda Nacha during Chaitra Festival in Puri and other places.

USES
Among the traditional applique work, Chandua,Chhati, Trasa, Alata,Adhoni, Mandant and Bana, used at the time of Dola Jatra for deities are quite wellknown. The use of all these products are associated with the religious ceremonies of Lord Jagannath. So it can be safely concluded that this art form ascribes its origin to the Jagannath cult. Patronized by kings and nobility of Orissa, appliqu work at one time had reached the artistic heights of excellence. The kings of Puri engaged craftsmen in the service of Lord Jagannath and set up village Pipli for them to live in. They were specially skilled in designing the canvas cloth that is used to cover the chariots of Lord Jagganath ,Lord Balabhadra and Devi Subhadra.

Over a period of time, however the art form evolved to include other products as well that were prepared both for domestic and individual use. Two such products are Batua and Pasa-Pali. Since betel is commonly chewed in Orissa, a special type of bag called Batua is prepared to carry betel leaf and accessories. It is very much popular among the tourists from Eastern parts of the country.

Pasa Pali or the dice-mat is another popular ancient products sold among the natives. All these products are today being replaced from the main menu of appliqu art. Instead, wall hangings, garden umbrellas, lamp sheds, cushion covers and letter bags are now prepared as they are very much in demand by the tourists.