promotion of cultural industries in district bahawalpur - UNESCO ...

UNESCO ‐ONE UN JP IN PARTNERSHIP WITH THAAP‐CASPROMOTION OFCULTURAL INDUSTRIES INDISTRICT BAHAWALPURDisaster Mitigation through PromotingAlternate Income Opportunities in DingarhUNESCO IN PARTNERSHIP WITH THAAP‐CAS2012THAAP‐ CAS, 43 G G ULBERG 111, L AHORE

1. BACKGROUNDTHAAP‐CAS was commissioned to partner with UNESCO for the One UN JPProject “Promoting Cultural Industries for Poverty Alleviation in DistrictBahawalpur” in May, 2012, identified as Contract dated 15 May 2012. The Projectends on 15 October 2012. The TORs for the Project are attached as Annex 1This Project is a continuation of the earlier Project, UNESCO‐Dutch funded One UNProject” of a similar nature which was implemented by THAAP during July 21‐Dec15 2011 in seven villages of District Bahawalpur (BC 33, Bheli, DNB 112, Abbass Nagar,Dera Bukka) with 229 artisans mainly women participants. The current Project aims atbuilding upon the previous work by strengthening the pit‐loom weaving industry of BC 33and establishing the women embellishers cluster with craftswomen from BC 33 and thesurrounding villages. Additionally, villages at Dingarh where the PCRWR project isunderway will also be linked to this endeavor to support the development of alternatemeans of livelihood to reduce stress on the limited water resources of the drought pronearea.2. OBJECTIVESWithin the framework of the Overall Goal of Promotion of cultural industries for povertyreduction and sustainable development, the following are the Project’s specific objectives1. Enhance the required skills among 100 artisans of district Bahawalpur for improvedand innovative quality craft products2. Train 6 Master Trainers in Pit‐loom weaving and Embellished Textile3. Create market linkage and promote/assist in small enterprise development.4. Establish at least two new craft training centers and strengthen existing center at BC33.5. Facilitate alternate means of livelihood in the drought areas of Cholistan inconsultation/collaboration with PCRWR3. ADMINISTRATION: THAAP Team and Office Space; Cluster SitesThe following team has been deputed1. Sajida Haider Vandal Team Leader2. Aisha Imdad Principal Designer & Trainer3. Shajia Azam Designer & Trainer4. Saira Rashid HO Coordinator & Trainer5. Zamir Hussain Abbassi FO Coordinator6. Rashda Bokhari Social Mobilizer & TrainerPROMOTING CULTURAL INDUSTRIES FOR POVERT ALLEVIATION IN DISTRICT BAHAWALPUR:FIRST PROGRESS REPORT 1

THAAP Field Office at Bahawalpur is being used for the Project. The Village ClusterSites at BC 33 are the Weaving Workshop facilitated through the earlier UNESCO‐Dutch Funded One UN Project and the House of Master Weaver Nadeem for theEmbellishment Cluster. Workshops at Dingarh are being currently held at a house.This may eventually become the Site for UNESCO‐THAAP Center for Dingarh4. OVERALL PROGRESSThe Table Below delineates the Progress till 30 June 2012 under each activity head.S.NPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATIONActionACTIVITY A: Promoting CulturalIndustriesOVERALL PROGRESS AT FIRST REPORTAssessed against Planned ActionsMay June Remarks Deviations1 PRELIMINARY WORK None1.1 Mobilization Set up established None1.2 Deployment of THAAP CORE TEAM 6 persons deputed+ Staff None1.3 Identification of Local Resource Persons Identified in all target villages None1.4 Selection of Beneficiaries & BaselineSurveyInitial Selection Done. Will bekept open for other entrants1.5 Preparation of Database & Entry;Initial Entry Done. PeriodicUpdatingUpdating to continue1.6 Organizing Clusters in BC 33 & Dingarh Cluster BC 33 + neighboringvillages. Dingarh clusterproblematic2TRAINING ( Product Development, Marketing Skills & Management)2.1 Procurement of Material for WorkshopsBasic Material for 5Workshops procured2.2 Preparation of Lesson Plans Lessons plans for 2Embellishment Workshops(BC 33 + Dingarh)and OneWeaving Workshop (BC33)prepared2.3 Preparation of Resource Book for Centers In progress. Resource Booksinitiated. To be added to aswork progresses2.4 WORKSHOP 1‐ May 26‐28, 2012 (PitloomTextile Designer FidaWeaving)Muhammad MasterTrainerNoneNoneNoneNoneNoneNoneNonePROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 2

2.5 WORKSHOP 2‐ May 28 &29, 2012(Embellished Textile)2.6 WORKSHOP 3‐ June 8 & 9 2012(Embellished Textiles)*2.7 WORKSHOP 4‐ June 29‐1 July 2012 (Pit‐Loom Weaving)Held Separately in Dingarh &BC 33. In Dingarh twoseparate clusters due tocommunity issuesHeld Separately in Dingarh &BC 33. Dingarh, Very Fewwomen available becausefamilies have not returned dueto draughtPlanned2.8 WORKSHOP 5‐ 12 & 13 July2012(Embellished Textiles)Planned2.9 WORKSHOP 6‐August 17‐19, 2012 (Pit‐PlannedLoom Weaving)2.91 WORKSHOP 7‐ August 17‐19, 2012Planned(Embellished Textiles)2.92 Training by Master Trainers withContinuing Activityassistance of Social Mobilizers & HOCoordinator3 ESTABLISHEMENT/ STRENGTHENING OF CRAFT CENTERS3.1 Equipping Centers as per need Planned. Will be done asProject progresses4 MARKETING LINKAGES4.1 Identification of Marketing Avenues (Wholesale, National Outlets, Individualsetc)In process4.2 Stakeholders meeting for Building AlliancesPlanned in Septemberto support Marketing and ShowcasingProducts.4.3 Updating/Entry in THAAP Website Planned. Products will beincluded once readyNoneAdditionalWorkshopaddedNoneDate maychangeDate maychangeDate maychangeNoneNoneexpectedNoneexpectedNoneexpectedNoneexpected4.4 Preparation of Catalogue of Craftpersons In process Noneexpected4.5 Prepartion of Sample Catalogue tosupport Marketing5 EXHIBITION & PROMOTIONAL MATERIALIn processNoneexpected5.1 Procurement of Material Planned Noneexpected5.2 Preparation of Craft Products In process Noneexpected5.3 Exhibition Planned Noneexpected5.4 Promotional Pamphlet for distribution atExhibitionPlannedNoneexpectedACTIVITY B: ICH TRAININGPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 3

6.1 Collaboration/ Consultation withDoCulture, GoPunjabAchieved for pre WorkshopPlanning. Focal person/sappointed by Government6.2 4 Day Training June 12‐15; 32 Participantsattended7 REPORTING TO UNESCONoneNone7.1 Work Plan Submitted 22 May 2012 None7.2 Draft First Progress Report includingICH TrainingSubmitted herewith* Note Additional Workshop held not foreseen in the Work PlanNone4.1 TRAININGThe following training program was proposed in the Work Plan. Progress isnoted against eachWORKSHOP 1: PIT LOOM WEAVINGLocation: BC 33Number of Participants: 15Schedule: May 26‐28, 2012 3 DaysTrainer: Fida Muhammad, Textile designerOBJECTIVESTo achieve patterns i.e. both geometrical and floral designs in a weave whileusing the same traditional pit loom.ACTIVITIES & CONDUCT OF WORKSHOPThe traditional weaving in the village is basicplain weaving thus creating floral and geometricpatterns entailed the recasting of the pit‐loomfrom the two shafts used for plain weaves to fourshafts. This was the first lesson plan with theweavers taught how to create four shafts in theirtraditional looms. This is a technical process andrequires expertise. While on hand loom it’s prettyeasy to adjust four shafts and incorporate four Designer Fida discussing patternspedals but pit loom is more problematic. Initially we set up two looms on fourpedals and connected them with four shafts. This was followed by preparing thewarp using dyed yarn.PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 4

The Dyeing of Yarn had been taught in theprevious One UN Project thus theparticipants had been asked to dye the Handspun yarn, prepared on the Charkha(spinning wheel) before hand. The quality ofthe dyed yarn was assessed and found to begood thus confirming that the lessonsimparted in the earlier workshops had beenwell imbibed. Following this the warpingprocess was completed by the weavers.View of Workshop in progressPreparation of the design using graph paperwas the second lesson plan. By graphplotting method they can see their designson paper and if they are not happy withpattern they can alter it before starting actualweaving. They get plenty time to visualizetime and again and edit the process and canfix the color combination anytime, they weregiven graph plotting skills on finger tips andleft the rest to explore using skill ofcraftsman and master weaver. The third Preparation of Yarnlesson plan entailed the task of filling everyend of yarn into the harnesses and headles of shafts which requires calculated skillsince basically the design is achieved in this filling. After this the weavers startedwith the weaving process preparing the samples of various designs and weaves.WORKSHOP OUTCOMEParticipants learnt to prepare 4 shaft loom,graph plot and weave herring bone and birdsnest, the popular designs. Tweeds and plaids,and checks and bright stripes of sussi weredeveloped. Ikat had already been taught in theearlier project and they are continuing topractice this to achieve perfection, preparingsamples for market. Now a lot of fashionoriented stuff is waiting for them. Further Working at 4 Shaft Pit‐Loom in patternsworkshops have been planned as a refreshercourse and development of innovative products. Financial support to buy rawmaterial which ranges from animal hair to bushes and even man‐ made fibres will berequired for which THAAP is in discussion with AKUWAT for providing interestfree loans.PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 5

SECOND WORKSHOP PART 1WORKSHOP 1: EMBELLISHED TEXTILESLocation: BC 33Number of Participants: 60Schedule: May 28, 2012Trainer: Aisha Imdad, (Principal Designer & Trainer), Shajia Azam (AssociateDesigner & Trainer); Saira Yasir (Trainer/HO Coordinator), Rashda Bokhari(Social Mobilizer)OBJECTIVESTo build capacity of WEs on concepts of color coordination, quality control andtime managementACTIVITIES & CONDUCT OF WORKSHOPThe Women Embellishers workshopheld in BC 33 was attended by 60female participants, some fromneighboring villages. All participantshad experience of embellishment workat varying level of skills and types. Theworkshop was based on lectures,informal group discussions andexercises.View of the Workshop SessionFollowing an introduction of theparticipants, the working session commenced with a lecture on the concepts ofcolor, quality control and time management. Issues of quality control and timemanagement emphasizing the importance and impact it had on the income ofthe artisans. Craftswomen were advised to take care of the materials byworking with clean hands and keeping materials out of the reach of children. Itwas also stressed that the artisans deliver work on time. Quality of the productand punctuality in product delivery would generate greater income.PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 6

The concept of Primary, Secondary, andTertiary Colors was introduced throughdiscussion and demonstration. The conceptsof harmony and moods of colors were alsointroduced. With the aid of visual referencesof traditional and contemporary embroiderydesigns, patterns, and samples of productsan enhanced understanding of colorWomen showing their work to Principal Designerarrangements was communicated. Thisprovided the artisans a betterunderstanding of not only their owncultural embroidery, its patterns and colorsbut also informed them of current markettrends and demands of the contemporaryconsumer.For the group exercises the women weredivided into groups of 8. In the first exerciseTrying their hand at color developmenteach group member was provided with A4 size papers, a set of poster paints(black, white, blue, red and yellow), and paint brushes. Each participantdeveloped secondary and tertiary colors using the basic primary colors andfollow this with developing color schemes by coordinating colors that theycould make using the poster colors provided. Through this exercise it waspossible to start segregating the skill level of each participant which would beuseful for organizing the cluster according to skill level.For the second exercise each group of artisans was handed color pencils (set of12 colors) and A4 size printouts of pre‐developed designs from traditionalpatterns and motifs. They were asked to color the designs in their own colorschemes. The exercise was followed by an assessment of the color schemesdeveloped by the artisans and a critique in a plenary session. The exercise wasaimed at honing coordinated color schemes.The second lecture focused at improving the designing sensibilities of theartisans by viewing finished traditional crafts produced from Pakistan andother South Asian countries specially India. The women were shown realproducts in addition to illustrations from books.PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 7

The third exercise was conducted in embroidery making. Each participant wasgiven a colored square (12 x 12 inches) piece of cloth with an outlined pattern ormotif printed on it, a wide selection of colorful threads (Anchor), and a choice oftools between needle or aar (hooked needle). This exercise aimed at evolving thecreativity of the artisans in terms of their knowledge and level of skill oftraditional embroidery stitches.This was followed by anotherdiscussion on the finalembroidery samples and acritique of positive and negativeaspects of selection of individualcolor schemes was carried out.Many of the participants had alsobrought sample of theirhandiwork for evaluation. Aselection of the best works inGroup Exercise Sessionterms of color scheme, variety of embroidery stitches was made and potentialMaster Trainers were shortlisted from among the artisans. At the end of theWorkshop the plan for the next workshop was discussed and options. Mostparticipants were keen that some work should be given in the Cash‐for‐WorkScheme which is being planned after their skill level has been honed throughfurther capacity building.Potential Master Trainers identified were 16 women. It is proposed that throughvarious workshops and training sessions a final list of Master Trainers will beprepared based on criteria of skill level, neatness, quality control and ability totransmit to other members of the cluster.SECOND WORKSHOP PART 2WORKSHOP 1‐Part 2: EMBELLISHED TEXTILESLocation: DingarhNumber of Participants:Schedule: May 29, 2012Trainer: Aisha Imdad, (Principal Designer & Trainer), Shajia Azam (AssociateDesigner & Trainer); Saira Yasir (Trainer/HO Coordinator), Rashda Bokhari(Social Mobilizer)PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 8

OBJECTIVES To meet and assess the willingness ofWomen to participate in the Project To determine the type of work and skilllevel of potential participants To build capacity of WEs on concepts ofcolor coordination, quality control and timemanagementACTIVITIES & CONDUCT OF WORKSHOPHand Fan made of Palm LeafThe Dingarh community identify themselves asShiekh tribe and Laars, the village had very few people in it and most houses werelocked. Traditionally families go out into farms for the harvest season which givesthem an opportunity to collect wheat for the year. Due to drought conditions andproblems of access to water (which will be discussed later) most people are finding itdifficult to live here and have locked up theirhouses and are in search for other options. Thetwo extended families at the village bothbelonged to the Shiekh community thus a singleworkshop had been planned. However this wasnot possible due to some conflict between the twofamilies and thus the workshop had two separatevenues with the trainers going from one to theGroup 1 at Workother.After an initial discussion with both groups andexplanation of the Project, the women were askedto show their work which was very finely doneRalli Work with or without embroidery. Once thewillingness of participants had been obtained theworkshop sessions startedThe workshop was attended by 10 (Group 1) and15 (Group 2) participants in the two groups. The Discussion with Group 2workshop followed the same pattern as the one at BC33 with one major differencethat the embellished craft under focus was ralli making. The artisans were shownphotographs and real samples of embroidered products made by artisans fromPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 9

other villages. The women were given the exercise of preparing samples inembroidery. The artisans were given square (12 x 12 inches) pieces of cloth inbright Cholistani colors with a pattern or motif traced on it, a selection of colorfulthreads (Anchor) and needles. They were alsogiven the option to use aar (hooked needle)which many of them traditionally work with.These artisans have been given an extendedperiod of time in which to prepare thesamples of their handiwork for laterevaluation.The women of Group 2 had displayed a rangeof samples of their handicrafts to showcaseGroup 1their aesthetic and technical abilities. These included floral embroideries on clothesand household linens namely ralli bedcovers and quilts, paranday (hair accessoriesmade from thread), pakkhi (hand fans), and chabbay (bread baskets). A survey wasmade of the variety of local embroidery and products made by the women andnoted for future referenceQuality control and time management with the Dingarh artisans was alsodiscussed. They too were advised to work with clean hands and protect thematerial from all kinds of loss or damage. The artisans were informed of theimportance of timely delivery of orders as it would lead to increased orders.THIRDWORKSHOP PART 1WORKSHOP 1 : EMBELLISHED TEXTILESLocation: BC 33Number of Participants: 60Schedule: June 8, 2012Trainer: Aisha Imdad, (Principal Designer & Trainer), Shajia Azam (AssociateDesigner & Trainer); Saira Yasir (Trainer/HO Coordinator), Rashda Bokhari(Social Mobilizer)Objectives Working with themes Tracing and SozenkariPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 10

ACTIVITIES & CONDUCT OF THE WORKSHOPThe workshop was divided into three parts; the first part introduced the four newcollections, each with its own design patterns and color schemes; the second partwas an exercise in Sozenkari (pattern tracing); and the third part was an exercise inpreparing samples in embroidery.The workshop started with an introduction ofthe four new thematic design collectionsnamely; Popular Local Motifs, Birds andAnimals of Cholistan, Tree of Life, and theImperial Collection. The artisans were shownvisuals of designs, patterns and colorschemes from each collection. The visualsincluded color printouts of images relating tothe various themes, book illustrations on thedifferent kinds of embroidery designs andpatterns from around the world, and a rangeof samples of finished products. In additionthey were shown sets of colorful embroiderythreads from each collection. The designthemes and color schemes were explained indetail as each collection was separatelydiscussed further.The first collection called Popular LocalMotifs consists of local flowers in popularpatterns and color schemes. The handicraftson which these patterns are embroidered aremainly household items such as pillowcovers, bedcovers, cushion covers, tablecloths and runners. The artisans were alsoshown samples of similar ready‐madeproducts available in the market. These weremostly machine‐made and mass‐producedWorking at SozenkariA view of the WorkshopHappy with their achievementsPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 11

commodities. However the artisans were able to experience the commercialproducts first‐hand. This was very beneficial for the women in terms ofunderstanding quality control.A variety of birds and animals are found in Cholistan and her rich folklore isreplete with songs and stories. These became the inspiration for the secondcollection, Birds and Animals of Cholistan. Among the most popular motifs used inCholistani embroidery are the peacock, parrot and deer. Most embroidery withbird and animal designs consist of decorative household items such as doorhangings, wall hangings, pillow covers, bedcovers, and cushion covers. Thepeacock is the most popular bird motif used on women’s clothes and isembroidered in a variety of ways.South Punjab is home to many kinds of treesprimarily the Akkh and the Sohanjhana(Moringa Oleifera) dubbed as the MiracleTree. The inhabitants of Bahawalpur andCholistan use many parts of the trees in theirdaily lives for food and medicinal reasons.The trees play an important role in their dailysustenance in the dry and hot weather andhave a special significance in the region. TheExercise resultsthird collection is therefore called the Tree of Life. The artisans were shownphotographs of the different kinds of trees found in their surroundings. Samples ofembroidery were shown to the women for a better understanding of howinspiration from the environment can be transferred into embroidered motifs andpatterns.The Nawabs were the royal family of Bahawalpur. They wore rich and colorfullyembroidered clothes. The Imperial (or Shahi, royal) Collection is inspired theembellished costumes and textiles of the Nawabs. The artisans were shownphotographs of the Nawabs dressed in their magnificent costumes. The artisansviewed these historic photographs with a great deal of fascination.The second part of the workshop was training in Sozenkari which is the techniqueof tracing pattern onto cloth for embroidery. The artisans were divided into groupsof 5. Each person was given an X‐ray sheet (plastic), a needle, a paper printout of aPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 12

design pattern and a 12”x12” piece of colorful cloth (yellow, orange, red, pink,green and turquoise). Each group was given a demonstration of the process ofSozenkari by an expert.Printouts of the design pattern were attached to one side of the X‐ray sheet withscotch tape with the design facing the side of the sheet (step 1). On the other side ofthe sheet, small incisions were made with the tip of needle along the outline of thedesign pattern. This has to done very precisely. Once the pattern was traced, thepaper was removed (step 2).A mixture of indigo and turpentine oil was prepared ina bowl. The viscosity of indigo and oil has to be thin enough to pass through to thepierced patterns. If the mixture is too thinthen it is absorbed by the cloth and makesno tracing mark. A piece of cotton woolwas dipped into the indigo mixture (step3). The cloth on which the design patternwas traced was laid out a soft cushion.The plastic sheet was laid on top of thecloth with the pierced side facing up andthe design pattern placed centrally. Onehand was firmly placed on top of theDiscussion on the Excerciseplastic sheet. Using the other hand, the cotton wool dipped into the indigo mixturewas squeezed slightly to remove access liquid. The cotton wool was then brushedover the pierced design on the plastic sheet from all angles to ensure that the indigopassed through to the cloth. The artisans were also shown a method to check thecorrect transfer of design pattern onto the cloth. With one hand still firmly placedon one side of the plastic sheet, the sheet was lifted from the other corner to revealthe transferred design pattern. In case the design pattern did not transfer properly,the artisans were advised to repeat the process (step 4). The X‐ray sheet with thepierced design pattern was removed from the cloth and washed, while the clothwas allowed to dry. Once dry the cloth with the transferred design pattern inindigo was ready for embroidery (step 5).After the demonstration of Sozenkari to each group, the artisans were able tofollow the process themselves. The artisans usually had patterns traced byprofessionals from the market. This method was an added cost to the women.Many avoided it and tried to embroider directly on the material. Although many ofPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 13

the artisans had become quite adept through years of practice; in terms of qualitycontrol and consumer demand, a higher level of precision was required. Throughthe Sozenkari workshop the artisans were equipped with an essential tool that willreduce their costs and enhance the quality of their products and thereby increasetheir earnings.For the third part of the workshop the artisans were asked to prepare samples ofembroidery. The artisans had a choice from a wide range of colourful embroiderythreads (Anchor). The women picked colors according to their design patterns andthe color of their cloth. They also had the freedom to choose their own embroiderystitches and their preferred embroidery tool (needle or aar) which they wereprovided with. The artisans had 2 hours to do the embroidery. This practicalexercise helped the women understand the themes and color schemes of thecollections discussed earlier. A Master Trainer assisted the artisans in theembroidery. At the end of the exercise a selection of the best handiwork was madebased of creativity in color selection and expertise in variety of embroidery stitches.A list of names and contacts of the potential Master Trainers was compiledcomprising of 16 women.Participants have been asked to prepare samples for the Catalogue which is underpreparation. CFW will be distributed once samples are readyTHIRD WORKSHOP PART 2WORKSHOP 1: EMBELLISHED TEXTILESLocation: DingarhNumber of Participants: 05Schedule: June 9, 2012Trainers: Aisha Imdad, (Principal Designer & Trainer), Shajia Azam (AssociateDesigner & Trainer); Saira Yasir (Trainer/HO Coordinator), Rashda Bokhari(Social Mobilizer)Objectives Assessment of Work and planning for the future Introduction to the thematic areasThe workshop held in Cholistan was attended by 5 artisans. There were noother women in the settlement thus none could be expected to participate. ThisPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 14

aises an issue on how to proceed and different options are being explored(discussed in the concluding note of the Training Section)The Principal Designer introduced the Popular Local Motif theme and its colorschemes to the artisans. The women were shown color photographs ofembroidery and real samples of embellished garments. The visuals covered theflora and fauna of the region, namely the local motifs of flowers, trees, birds andanimals.Three samples of their handiworkwere shown by the participants.The first was an intricatelyembroidered colorful pillow covermade with aar. According to theCholistani tradition, such pillowsare embroidered by young girls fortheir future husbands. The secondpillow cover was also done in aarand the third pillow cover inA Groom’s Pillow case prepared by one of the Participantsappliqué work in muted earth tones. The Cholistani artisans’ work was selectedto be incorporated into the Local Motif Collection.Participants have been asked to prepare samples for the Catalogue which is underpreparation. CFW will be distributed once samples are readyNOTABLE CONCERNS AND RECOMMENDATIONSThere are some issues in Dingarh Communities which need to be appreciatedand strategy developed for overcoming them Issue 1: The commendable input of PCRWR of Rain Harvesting based onimprovement in the traditional system appears to created a feelingamongst the Dingarh community of having lost control on thisimportant desert resource. Women that we met apprised us that this“Toba” (Water Pond” was not theirs but the government’s. They alsospoke about the fact that in the traditional system the community wasthe owners and had evolved a system of access to water, sharing andresolution of conflicts. It appears that now they are made to pay Rs 20‐PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 15

Rs 50 everytime that they fetch water. These are not official charges butsomeone in control of access appears to be making money on the side.Our concern is that with the expected increase of incomes of womenthrough this Project they may become even more vulnerable. Also thismay well be the reason that families are not returning back to thevillages due to lack of access to water. In brief an important ICH of thedesert communities is at risk due to development initiatives.Recommendation: A study needs to be carried out to ascertain thetraditional system of water management based on a sample selection ofTobas in the Cholistan desert. The study should look at governmentinitiatives such as that of the CDA and PCRWR.Issue 2: The less number of women available at Dingarh compared to theinput costs is not viable. The closest village is about 45 minutes by car.Recommendation: We are planning to see if women from any of thesurrounding villages can be included in the Project. This is also essentialin order to reduce the isolation of the communities in the drought areas.It is as yet clear how this will be achieved since logistics is a problem.Additionally the Project funds do not have the capacity to incuradditional expenditure5. MARKETING LINKAGESIdentification of Marketing AvenuesPotential Buyers such as Wholesalers, National Outlets, Boutiques andIndividuals are been indentified to approach when samples have beenpreparedOther activities as per Work Plan are also underway.6. ICH TRAININGIn accordance with the TORs, the Workshop was held in Lahore in collaborationwith the Department of Culture, Government of Punjab facilitated andcollaborate the process.Details of the Workshop are as followsTITLE: UNESCO‐Department of Culture and Information, Government of PunjabWorkshop: IMPLEMENTATION OF 2003 CONVENTION FORSAFEGUARDING THE INTANGIBLE CULTURAL HERITAGEDATE: 12th – 15th June, 2012PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 16

VENUE: Punjab Institute of Language Art & Culture, LahorePARTICIPANTS: 32TRAINERS: Sajida Haider Vandal (UNESCO International Trainer) assisted by SabaSamee and Zamir Hussain Abbasi (THAAP Staff)Organizers Representative: Nighat Siddiqui (Deputy Secretary Admin) AbdulWahid, (Section Officer, Culture)The workshop was inaugurated on 12 June 2012 in the presence of Director UNESCO‐Islamabad and Secretary, Department of Information & Culture. Many senior officials fromrelated departments attended the inaugural ceremony. After the inaugural ceremony thetraining workshop was initiated.At the Inaugural Ceremony, the Participants with Director UNESCO, Islamabad, the Additional Sectretary, Departmentof I&Y and other guestsThe Workshop training material was based on the Implementation Pack of UNESCO ICHSection, Paris and prepared as interactive sessions with examples from Pakistan as well asglobally to expose participants to how other countries had implemented Convention 2003.Resource available online from UNESCO Intangible Culture website was used for thepurposes. Workshop was planned as interactive sessions with presentations, question andanswer breakouts, written and oral quizzes, excercises and field workIMP 5.1 Worksheet “Introducing participants” had been distributed earlier with the requestthat it should be received before the Workshop to enable the trainers to prepare themselves.However this was not done and neither was a list of participants shared before hand .PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 17

Participants were therefore were asked to fill the forms during the sessions which werecollected. Participants were given their workshop bags containing the following items1. The Basic Texts of the 2003 Convention for the Safeguarding of the IntangibleCultural Heritage. (from UNESCO‐Islamabad)2. File folder containing the time‐table and the IMP 5.1 worksheet.3. Two writing notepads.4. The IMP‐WM: Workshop Manual – implementing the UNESCO IntangibleHeritage Convention at the National Level. (Sent earlier by Sajida Vandal)The 32 participants all belonged to governmental departments related to Culture withrepresentatives from Lahore and Bahawalpur Museums, Lok Virsa, Punjab Jiangsu CulturalCenter, Information and Culture Department, Punjab Arts Council, Culture DepartmentKhyber Pakhtunkhwa, AJK Youth Affairs and Culture, Punjab Film Censor Board, PublicRelations and the Punjab Institute of Language, Department of Archeology, Sind,Department of Culture, Gilgit‐Balistan and Department of Culture, Baluchistan. Thisprovided a rich blend of individuals working in culture sector who could share theirexperiences and appreciate the cultural diversity within Pakistan. Workshop could havebeen further enriched with representation from communities and the NGO sector. Thiswould had reinforced the Conventions aim of Involving Communities and Stakeholdersin the Implementation Process.Activities under the WorkshopDay 1 – 12 th June 2012: The main focus was on the Understanding of the Convention.Session 1 comprised of the Introduction/Overview of the workshop, introduction of theParticipants and the Facilitators. Session 2comprised of the introduction of the ICH2003 Convention, its objectives, keyconcepts, mechanisms and obligations.Session 3 presented the Key concepts inthe Convention, for instance, Anchoringthe Convention, Definitions andflexibility within Classifications. Session 4comprised of the concepts of “Who cando what? “. The role of stakeholders, stateparties, communities and NGOs werepresented.Dr Kanwal Khalid of Lahore Museum presenting Case StudyThe first day exercise on translation of key words in Convention in Local Languages elicitedinterest and also was a good opportunity to clarify the key concepts of the Convention.PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 18

Day 2 – 13 th June 2012, Inventorying & Safeguarding, was started with the focus on policies,assistances, inventorying and community involvement. Session 5 introduced the Intangibleheritage policies and institutions discussing the local, national and international levels ofcooperation while planning forsafeguarding the ICH element. Session 6discussed the possibilities and methodsfor acquiring international Cooperationand Assistance. Session 7 introduced themethodology of Identifying andInventorying the Intangible CulturalHeritage element and how to Safeguard.Session 8 further elaborated the conceptand methods of Inventorying and howthe concerned communities can beinvolved in safeguarding the ICH. It wasView of Workshop Proceedingsstressed in the workshop that in order toprepare a nomination form the concernedgovernment should prepare and maintain acomprehensive inventory of ICH.A Group Field Exercise regarding thedevelopment of Inventory of ICH elements wasintroduced to the group. The area of choice forthis exercise was the historic Walled City ofLahore. Two sample forms, ICH 01: List ofGroup at Kasaera BazaarIntangible Cultural Heritage in need of UrgentSafeguarding, and UNESCO Intangible Heritage Form forCultural Mapping, were given to each of the participants;and asked to devise an inventory form suitable forPakistan. They were then divided into three groups andeach group was allotted an area within the walled city.Group 1 was to cover Kasaera Bazaar famous for its metalwork and metal utensils making skills. Group 2 to TaxaliBazaar known for its musical instrument making skills,both traditional and contemporary. Group 3 to Bazaar‐i‐Hakeema to investigate the banned cultural festival of KiteFlying commonly known as Basant. Students met withstakeholders and tradition bearers and explored the ICHMusic Instrument Maker at Taxalielement using the inventory form. For several participants BazaarPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 19

this was the first time that they experienced going to communities to seek out the ICHelements and understand concern of communities regarding these well known ICHelements in Lahore.Day 3 – 14 th June 2012, of the workshop was started by the participant’s presentationsregarding the Group Field Exercise containing the introduction of the identified ICH element,the possible threats to this ICH and ideas about how to safeguard it. Furthermore thepresentations discussed the concerned communities, e.g the community based Kite FlyingAssociation, and the stakeholders, e.g shopkeepers of Kaseehra and Bazaar –e‐ Hakeema.Through these presentations it was observed that the participants fully understood theconcept of ICH elements and how to create an Inventory with the involvement of thecommunity concerned.After the field exercise presentation, the concept of Safeguarding was discussed. Session 9comprised of Awareness Raising in the community, stakeholders and within thegovernmental bodies regarding the threats and risks to the viability of the ICH. Session 10stressed upon the importance of ICH in the Sustainable Development of a region and itscommunities. Session 11 provided anoverview on the issue of Safeguardingthe ICH elements and a group exercisewas introduced. Each group had todevelop a 3 year safeguarding plan foran ICH element, based on the Exercisein the Walled City, comprising of theproposed activity, the time duration,the cost of the activity for 3 years andthe expected outcome from thisactivity. Safeguarding plans devisedgave more role to government andGroup Exercise in processwere weak on other stakeholdersinvolvement in safeguarding. This gave the opportunity to discuss and deliberate on howgovernment can be facilitators to allow communities to enact and safeguard their ICH.Each group made a presentation at the end of this exercise regarding their chosen ICHelement from their group field exercise in the Walled City. In view of the short timeprovided for this exercise it was not possible to devise a comprehensive plan, however itcontributed to enhancing the key concepts of the Convention, particularly the role ofcommunities and awareness raising, the general and specific measures that can be taken forsafeguarding.PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 20

Day 4 – 15 th June 2012, explained the process of filling the Nomination forms and its vitalcomponents that needed to be understood before the form is filled with communityinvolvement. Session 12 focused on the importance of the nominations of ICH as theseimplements the identified ICH element at the International level. As an exercise nominationforms were given to each participants which they were to fill in three groups taking up thesame ICh element which they identified during the group field exercise of the Walled City.The filled nomination form was them presented in groups and it was observed that theparticipants understood the concepts and ODs of the Convention. Session 13 concluded theworkshop by providing an overview summary of the workshop and the Convention.Evaluation of Workshop forms were distributed and collected from participants.This was followed by distribution ofCertificates to Participants by AdditionalSecretary Culture.FeedbackThrough the feedback it was observedthat almost all of the participants enjoyedthe group field exercise to the WalledCity as it provided them with theopportunity to interact with theconcerned community. One participant Certificate Distribution Ceremonysuggested that some of the community / stakeholders should be included in the futureworkshops so that they also get involved and aware of what to protect and how to proceedwith safeguarding their ICH. Interaction between inter‐departmental personnel was muchappreciated as most of the departments were generating cultural initiatives in isolation andby coming together in this workshop they got exposed to other possibilities of safeguardingcultural heritage.AnalysisOverall the workshop was a success in terms of spreading awareness of the Convention andmaking the governmental departments involved amongst themselves and with thecommunities concerned. We were initially concerned that some of the participants weresenior level officials while others were very junior colleagues. However to their credit theyjelled together well, barring a few exceptions. It was also noticeable that barring a fewexceptions most participants attended all sessions. We found the group to be serious and itis hoped that they will be involved in the implementation process.The Workshop on implementation was aimed at providing an overview to participants ofthe Convention 2003, thus all aspects had to be covered and the Basic Text and its ODsPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 21

appreciated. However, due to shortage of time, some of the exercises had to be curtailed andthe benefits that can be drawn from field work especially for involving communitiesconcerned although appreciated by the participants were left inclusive. The exercise offilling in Nomination Forms gave an overview but needs more time. The workshop programplanned by UNSECO ICH Section, Paris has follow on workshops exclusively on inventoryand nomination. In our view these must be planned to enable implementationNote of Acknowledgment:UNESCO Islamabad and TheDepartment of Information &Culture, the two collaboratingpartners were very helpful inplanning the workshop, speciallyMr. Jawwad Aziz of UNESCO. MsNighat Siddiqui and Mr. AbdulWahid of Culture Department wereready to sort out all issues. Thevenue, lunches and dinner werevery well coordinated andmanagementMr. Hamdani, Additional Secretary C&I with Ms Nighat Siddiqui, DepSecretary Admin and Mr. Abdul Wahid, Section Officer at extreme ends7. REPORTING TO UNESCOS. Report Due Date Status1. Work Plan 22 May 2012 Submitted2. Draft First Progress Report includingICH Training30 June 2012 Submitted3. Draft Second Progress Report 31 August 2012 Due4. Draft Final Report and ExpendituresCertified by Head of THAAP31 October 2012 DuePROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 22

ANNEXAnnex 1TERMS OF REFERENCEAnnex 2TIME SCHEDULEAnnex 3BASELINE SURVEY SAMPLE FORMPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 23

ANNEX 1: TERMS OF REFERENCEWithin the framework of the Dutch Funded Project “ PROMOTING CULTURALINDUSTRIES FOR POVERTY ALLEVIATION” the implementaing partner will carry outthe following activities within the stipulated budget1. Submit a work plan of both the said activities and sign contract by 22 May 2012ACTIVITY A2. Conduct the proposed project activities in close consultation with all stakeholders includingrelevent government departments3. While ensuring the sustainability of the previous project phase, expand the same activity ofcraft enterprise development in District Bahawalpur invloving the poverty ridden familiesand also including the communities identified by PCRWR in drought affected areas4. Train atleast 6 Master Trainers in related fields (Pit‐Handloom, Embellished Textiles) and 100artisans in quality innovative products.Submit first progress report by 30 June 20125. Establish at least two new craft centers and stregthen existing centers at BC 336. Train the targeted beneficaries in entrenureship, including designing, quality assurance andmarketing/management skills.7. Identify potential buyers and outlets both local and national level and create market linkagesin order to ensure a sustainable project.Submit a second progress report by 31 August 20128. Produce a promotional calalogue of all artisans trained including those trained duringprevious phase with contact details, trade skills and products9. Establish a mechanism for monitoring and evaluation of the Project and ensure regularreporting to UNESCO, Islamabad10. Organize a Sale‐cum‐Exhibition at end of Project inviting general public as well as potentialbuyers to give visibility to the work and serve as a platform for future delivery11. Submit an end‐of‐project report along with statement of expenditure certified by Head ofOrganization on 31 October 2012.ACTIVITY 2 : Instituional Capacity Building for Implementaiton of Convention 2003 forSafegaurding the Intangible Cultural Heritage1. Following the work schedule submitted to UNESCO and in close consultation withDepartment of Culture, Government of Punjab conduct the first phase of the trainingworkshop ( 4‐5 days) in June 2012. The first phase will focus on Implementation ofConvention 2003 covering key concepts, understanding the Convention, ICH Nominationsand Community Based Inventorying2. Prepare Slides and provide all training material required for the Workshop3. Conduct Activity Based Training Sessions using Audio‐Visual Aids.4. Evaluate the participants at the final evaluation of the Workshop5. Submit a report with evaluation forms, attendance sheet, recommendations and the wayforward at the completion of the WorkshopPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 24

ANNEX 2: PROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION IN DISTRICTBAHAWALPUR & ICH TRAININGS.NActionACTIVITY A: Promoting Cultural Industries1 PRELIMINARY WORK1.1 Mobilization1.2 Deployment of THAAP CORE TEAM1.3 Identification of Local Resource Persons1.4 Selection of Beneficiaries & Baseline Survey1.5 Preparation of Database & Entry; UpdatingWORK AND TIME SCHEDULE1.6 Organizing Clusters in BC 33 & Dingarh2 TRAINING ( Product Development, Marketing Skills & Management)2.1Procurement of Material for Workshops2.2Preparation of Lesson Plans2.3Preparation of Resource Book for Centers2.4 WORKSHOP 1‐ May 26‐28, 2012 (Pit‐loom Weaving)2.5 WORKSHOP 2‐ May 28, 2012 (Embellished Textile)2.6 WORKSHOP 3‐ June 29‐1 July 2012 (Pit‐Loom Weaving)2.7 WORKSHOP 4‐ Jun 29‐1 July 2012(Embellished Textiles)2.8 WORKSHOP 5‐August 17‐19, 2012 (Pit‐Loom Weaving)2.9 WORKSHOP 5‐ August 17‐19, 2012 (Embellished Textiles)2.91 Training by Master Trainers with assistance of SocialMobilizers & HO Coordinator3 ESTABLISHEMENT/ STRENGTHENING OF CRAFT CENTERS3.1 Equipping Centers as per need4 MARKETING LINKAGES4.1 Identification of Marketing Avenues ( Wholesale,National Outlets, Individuals etc)4.2 Stakeholders meeting for Building Alliances to supportMarketing and Showcasing Products.4.3 Updating/Entry in THAAP Website4.4 Preparation of Catalogue of Craftpersons4.5 Preparation of Sample Catalogue to supportMarketing5 EXHIBITION & PROMOTIONAL MATERIAL5.1 Procurement of Material5.2 Preparation of Craft Products5.3 Exhibition5.4 Promotional Pamphlet for distribution at ExhibitionACTIVITY B: ICH TRAINING6.1 Collaboration/ Consultation with DoCulture, GoPunjab6.2 4 Day Training (June 10‐14, 2012)May June July August September OctoberPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 25

7 REPORTING TO UNESCO7.1 Work Plan7.2 Draft First Progress Report including ICH Training7.3 Draft Second Progress Report7.4 Draft Final Report and Expenditures Certified byHead of THAAP7.5 Feed Back & ApprovalPROMOTING CULTURAL INDUSTRIES FOR POVERTY ALLEVIATION & ICH TRAINING: WORK PLAN 26

Name of Center:Tibi Sadiqbad C= Contracor Status= married (M), unmarried (S), widow (W), divorcee, (D)District BahawalBahawalpur B= Boutique F= Female Headed HouseholdVillage: 33‐BC UC: 4‐BC I=IndividualDate of Filling FormS# Name of NIC Number Contact Number Age Education Status (M,PresentLargestCraftworkCraftpersonS,W,D) &Crafts (Mark X ) In embroidary write name of stichesIncome fromOrdersold toFCraft makingHandledper monthEmbroidary Block Chunri Mukesh Organic Gotta Ralli Dabka HandPrintingDyeing WorkloomTotalC B I NoPrice1HaseenaBibi31202-4720972-8 0306-7333005 25 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1500 √2 Safia Bibi 31202-5535976-2 0308-3617515 22 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 800 √3 Rafia Bibi 31202-8548993-6 0308-3617515 22 Primary S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1200 √4 Kaneez Bibi 31202-7421127-0 0308-3617515 28 Nil M √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1200 √5 Nazeer Bibi 31202-5381388-8 0331-3970071 24 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1300 √67KalsoomMaiTasleemBibi_____ 0346-8783972 18 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 2000 √31202-3572945-6 0331-3970071 37 Nil M √ Nil Nil Nil Nil Nil Nil Nil Nil Rs.2000 √8 Ruqiya Bibi _____ 0346-8783972 23 Nil M √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 2000 √9 Azra Bibi _____ 0346-8783972 24 Primary M √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1000 √10SumeeraBibi_____ 0346-8783972 22 Nil M √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1500 √11 Rabia Bibi _____ 0308-3617515 18 Middle S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1800 √

1213GulshanBibiBaranwanBibi_____ 0308-3617515 19 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1200 √_____ 0341-7284531 24 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1800 √14 Nasreen Mai 31202-3834354-2 0307-6465887 25 Nil M √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1200 √15NasreenBibi_____ 0341-7284531 19 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1500 √16 Shahzia Bibi _____ 0308-3617515 20 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1800 √17 Hameed Mai _____ 0306-7333005 26 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 2000 √18 Hajiran Mai _____ 0341-7284531 18 Primary S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1000 √1920NasreenRustamKalsoomBibi_____ 0306-7333005 30 Nil M √ Nil Nil Nil Nil √ Nil Nil Nil Rs. 1500 √_____ 0306-7333006 18 Primary S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs.1500 √21 Ansar Bibi _____ 0308‐3617515 23 Nil S √ Nil Nil Nil Nil Nil Nil Nil Nil Rs. 1800 √22 Attah Ehali 31204‐04423309‐4 0308‐3617516 55 Nil W Nil Nil Nil Nil Nil Nil √ Nil Nil Rs.1200 √23 Bakhtu Mai 31202‐1677699‐2 0346‐8783972 50 Nil M Nil Nil Nil √ Nil Nil Nil Nil Nil Rs.1500 √24RukhsanaBibi_____ 0346‐8783972 25 Nil S Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1500 √25 Ameer Mai _____ 0346‐8783972 35 Nil M Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1800 √26 Kousar Mai _____ 0346‐8783972 30 Nil M Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1500 √

27 Mumtaz Mai _____ 0346‐8783972 30 Nil M Nil Nil Nil √ Nil √ Nil Nil Nil Rs.2000 √28 Riaz Mai _____ 0346‐8783972 20 Nil S Nil Nil Nil √ Nil √ Nil Nil Nil Rs.2000 √29MukhtiyarMai_____ 0346‐8783972 35 Nil M Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1800 √30 Rahim Mai _____ 0346‐8783972 35 Nil M Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1000 √31SumeeraMai_____ 0346‐8783972 25 Nil S Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1200 √32 Zahra Mai _____ 0346‐8783972 18 Nil S Nil Nil Nil √ Nil √ Nil Nil Nil Rs.1000 √