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Child-and-adult-labour-in-the-export-oriented-garment-and-gem-polishing-industry-of-India

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<strong>Child</strong> <strong>and</strong> <strong>adult</strong> <strong>labour</strong> <strong>in</strong> <strong>the</strong> <strong>gem</strong> polish<strong>in</strong>g <strong>export</strong> <strong>in</strong>dustry <strong>of</strong> Jaipur<br />

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raw materials which affects it at all levels. The countries which are <strong>the</strong> major suppliers <strong>of</strong> rough<br />

<strong>gem</strong> stones, like Zimbabwe <strong>and</strong> Brazil, have become manufactur<strong>in</strong>g centres <strong>the</strong>mselves, which<br />

decreases <strong>the</strong> supply <strong>of</strong> rough <strong>gem</strong> stones to <strong>India</strong> <strong>and</strong> o<strong>the</strong>r countries 149 .<br />

Before <strong>the</strong> raw stone gets its beautiful shape <strong>and</strong> lustre a <strong>labour</strong>-<strong>in</strong>tensive process has to be gone<br />

through. On an average an artisan, can f<strong>in</strong>ish 7 to 8 stones <strong>of</strong> 1 to 3 carat weight per day.<br />

1. Selection: First a selection process separates <strong>the</strong> better quality stones from <strong>the</strong> lower quality<br />

stones accord<strong>in</strong>g to colour, shape, lustre etc.<br />

2. Mark<strong>in</strong>g: Secondly <strong>the</strong> stones are marked with a pencil at <strong>the</strong> places where <strong>the</strong> stones are<br />

supposed to be cut.<br />

3. Cutt<strong>in</strong>g: Thirdly <strong>the</strong> stones are cut, ei<strong>the</strong>r by h<strong>and</strong> or with a power operated saw.<br />

4. Pre-shap<strong>in</strong>g: In this process <strong>the</strong> stone gets a rough shape, called ghat-mak<strong>in</strong>g or gr<strong>in</strong>d<strong>in</strong>g. Traditio-nally<br />

this is done on a h<strong>and</strong>-driven mach<strong>in</strong>e where <strong>the</strong> stone is held aga<strong>in</strong>st a wooden vertical<br />

disc treated with silicon powder. S<strong>in</strong>ce <strong>the</strong> colours <strong>of</strong> <strong>the</strong> natural <strong>gem</strong> stones vary accord<strong>in</strong>g<br />

to <strong>the</strong> angle from which it is viewed, <strong>the</strong> eye <strong>of</strong> <strong>the</strong> artisan is needed to judge on which side <strong>the</strong><br />

rough stone can be pre-shaped so that <strong>the</strong> best colours <strong>of</strong> <strong>the</strong> stone face upwards.<br />

5. Jo<strong>in</strong><strong>in</strong>g: The <strong>gem</strong> stone is stuck on a wooden stick with wax so that it can be better h<strong>and</strong>led<br />

while it will be given f<strong>in</strong>er forms. Dur<strong>in</strong>g jo<strong>in</strong><strong>in</strong>g <strong>the</strong> worker holds <strong>the</strong> stick <strong>in</strong> a kerosene flame<br />

so that <strong>the</strong> wax melts a little <strong>and</strong> <strong>the</strong> stone can be moulded <strong>in</strong>to <strong>the</strong> wax. After some while <strong>the</strong><br />

wax is hard <strong>and</strong> <strong>the</strong> <strong>gem</strong>stone is fixed to <strong>the</strong> stick <strong>and</strong> ready to be cut <strong>in</strong> facets <strong>and</strong> polished.<br />

6. Calibration: Between shap<strong>in</strong>g <strong>the</strong> stone is constantly measured with a gauge, to see if <strong>the</strong><br />

specified size <strong>of</strong> <strong>the</strong> stone is ma<strong>in</strong>ta<strong>in</strong>ed.<br />

7. Table polish<strong>in</strong>g: On <strong>the</strong> top <strong>of</strong> <strong>the</strong> <strong>gem</strong> stone a 'table' or plateau is made by cutt<strong>in</strong>g <strong>and</strong><br />

polish<strong>in</strong>g it with powder.<br />

8. Facett<strong>in</strong>g: In its f<strong>in</strong>al form <strong>the</strong> stone has all k<strong>in</strong>ds <strong>of</strong> facets at all <strong>the</strong> sides, which gives <strong>the</strong><br />

stone <strong>the</strong> look <strong>of</strong> a mirror through which <strong>the</strong> light is reflected almost completely. The lustrous<br />

appearance <strong>of</strong> <strong>the</strong> <strong>gem</strong> stone will be <strong>in</strong>creased <strong>in</strong> this process.<br />

9. F<strong>in</strong>al polish<strong>in</strong>g: The f<strong>in</strong>al process is polish<strong>in</strong>g <strong>the</strong> facetted stone, which is done with <strong>the</strong> help<br />

<strong>of</strong> polish<strong>in</strong>g agents.<br />

The technique which is used <strong>in</strong> Jaipur is wet shap<strong>in</strong>g <strong>and</strong> polish<strong>in</strong>g. Cont<strong>in</strong>uously, dur<strong>in</strong>g shap<strong>in</strong>g<br />

<strong>and</strong> polish<strong>in</strong>g, <strong>the</strong> stone is dipped <strong>in</strong> water which is mixed with polish<strong>in</strong>g oxides like 'emery' <strong>and</strong><br />

chromium dioxide.<br />

Transparent stones like emeralds, rubies <strong>and</strong> sapphires are facet-cut stones. Translucent stones<br />

like turquoise, corals, opals <strong>and</strong> star stones are cut <strong>in</strong> cabochons. Cabochons lack sides but have<br />

a carved top <strong>and</strong> a flat base.<br />

Besides <strong>the</strong> above-mentioned processes, <strong>the</strong> mak<strong>in</strong>g <strong>and</strong> carv<strong>in</strong>g <strong>of</strong> beads are o<strong>the</strong>r activities<br />

which <strong>in</strong>volve many artisans. Beads are made by drill<strong>in</strong>g a hole <strong>in</strong> a stone, ei<strong>the</strong>r with a h<strong>and</strong>-driven<br />

mach<strong>in</strong>e or an electric drill. The beads are used as str<strong>in</strong>gs for necklaces. Carv<strong>in</strong>g is a highly<br />

skilled activity, necessitat<strong>in</strong>g <strong>the</strong> use <strong>of</strong> many complicated tools. The beauty <strong>of</strong> objects, like<br />

149 In: Solitaire International, July-August, 1994. Magaz<strong>in</strong>e <strong>of</strong> <strong>the</strong> Gem & Jewellery Export Promotion Council, <strong>India</strong>, p. 25.

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