By Ankita Jain
Shyam Badan Shrestha is the Founder of Nepal Knotcraft Centre. From sewing topis to teaching knotting technique to hundreds of women, Shrestha is one of the first to introduce knotting in the valley. During a time when Nepali women had few economic and educational opportunities, she gathered Rs 200, built a small workshop in her house, and started making knotted handicrafts. What started with a small group has evolved into a women’s self-sustenance industry. Today, there are more than 100 plus women; a mix of young mothers, older women and school-dropouts all from poor families across several districts.
Through her venture NKC, she has built on traditional skills of women to empower them. Her factory in Patan Industrial Estate tracks the evolution of various knotting materials and techniques over the years, incorporated by artisans from various districts. Besides protecting the traditional weaving technique, NKC produces and markets Nepali handcrafts using natural fibers from plants native to Nepal.
“If we can replace imported raw materials with local ones and develop research facilities, the handicrafts sector will take off in a big way”
In this issue of B360˚, Shyam Badan Shrestha talks about the ways government can help the handicraft industry survive the ongoing challenges, her SAARC representation, and more. Excerpts:
You were already in the teaching profession, what then inspired you to start from scratch towards your childhood passion for weaving?
After working as a teacher for 13 years, my foray into handicrafts was largely based on trial and error. I was interested in macramé from an early age, but I had no formal training. I am a self taught artist; I learnt the art of knotting from several books. I started by making small items and began experimenting with different materials like cotton, hemp and yarn when I gained confidence. To many, what good is a tough bamboo piece? Maybe to support a beam for construction; but I used it to weave dreams. Today, the Centre produces a wide range of knotted goods such as hammocks, purses, belts and decoration pieces. Among the many products that the Nepal Knotcraft Centre currently makes the ethnic dolls inspired from the Tamang, Gurung and Newar communities are the ones favoured by locals and foreigners alike.
In this journey, along with finding raw materials to make products, I also learned about weaving patterns and techniques belonging to different communities and regions. This helped to bring diversity in my products. Also, Nepal Knotcraft teaches local women’s groups to blend their indigenous weaving techniques with contemporary styles. By the end of the training, the women are sent not just with the know-how but a market for their handicrafts. This initiative has not only made them more socially and financially independent but increased their interest in preserving their art and passing it to the younger generations. These reasons are enough to bring a smile even to one of the gloomiest days.
Have cheap, synthetic Chinese products flooding the market affected the macramé goods business?
It’s true that Chinese products are everywhere and available at an immensely low price. But we have created our own niche market. Today the younger generation and the educated lot are keen on buying our products as it reflects their identity. They feel pride in buying commodities which are weaved by the community they represent. They are glad to see a weaving technique which has been practiced in their villages for long. Since our products are environment-friendly and contribute to the wellbeing of numerous women, these factors also pull many towards buying our hand made goods. Also, we are confident that increasing preference among urban Nepalis for eco-friendly lifestyle has already made handicraft goods a household staple.
You are taking a lot of initiatives to revive the lost art of knotting and weaving, do you think the coming generations will grow this art or see it as a livelihood?
Our own children don’t want to learn this art. They have moved on to other more remunerative jobs. Those who are still weaving are either too poor or too old to go out and find jobs. In our own land, people are ashamed of weaving. On the other hand, the same people are ready to do any sort of work in foreign lands because then it is a matter of survival. The amount of effort they put in there, even two-thirds of that if applied in their own land, will help them survive with pride.
I am on a constant lookout for discovering indigenous weaving traditions practiced by Nepali women from diverse communities and connect them to Knotcraft. They already have the expertise and we give them technical knowledge and resources to use their skills to earn an income. This way the culture is preserved and carried further from generation to generation. Today for the artisans working behind the scenes, weaving is not just a job, it is an integral part of their identity.
In what ways can the government help communities in weaving and other art forms to preserve their culture?
The government needs to prioritise these sectors before it’s too late. The research and development department should work aggressively. They can play a vital role in tapping into the country’s abundant natural resources. If we can replace imported raw materials with local ones and develop research facilities, the handicrafts sector will take off in a big way. Also, we are a cottage industry, we cannot afford huge machinery for better yarn. The government can step in and make these forms of art a reliable source of income.
What are the challenges in your work?
Honestly, every month the number of artisans keep fluctuating. But this doesn’t disappoint me, if I lose 10, I can build another 20 by teaching another lot of interested women. And the cycle goes on. Otherwise, the challenges are aplenty. Finding good manpower has become really hard. Weaving isn’t an easy task. It demands perfection, patience and time. Due to this, it is sometimes difficult to complete the orders on time. And hiring non-skilled workers is never an alternative.
Other than that, political instability is another major challenge. But now I have enough experience to tackle the numerous challenges head-on.
In 1990, I also faced a major setback when I was unable to import raw materials needed to produce the products due to a trade embargo. To address the difficulty with importing raw materials, I immediately started to explore using raw materials within the country and was successful in using maize husk for creating ‘Nepali dolls’. The dolls instantly gained popularity in the global market. Then I forayed into weaving bamboo baskets, blinds and floor mats. I researched the qualities of raw material in plants such as its strengths and durability. Hereby, I discovered a new market where the ethnic identity of Nepal had not been studied and where those skills, which are close to extinction, could be preserved. In a way, challenges have always opened new windows for me.
Do creativity and business go hand-in-hand?
You should be innovative and you should be able to create a market for your creation. People always appreciate something new and relevant. Also, one should always start as a small start-up and gradually grow. This way the roots become stronger and you know where you are standing.
Since you will be representing Nepal in Colombo this month for the SAARC Women Entrepreneur Awards 2018, what are your expectations?
I am looking forward to the opportunities of networking and collaborating. Such platforms provide exposure and lead us towards collaborations. Empowering women entrepreneurs in the SAARC region by recognising their contribution to the socio-economic growth of their respective countries is the cardinal objective of this regional award ceremony. Through this platform, I wish to bring forth the wonderful cultures and traditions of Nepal and inspire other women to start their own businesses, no matter how big or small. I hope my journey inspires women, especially the ones who feel like they have no escape from all the prejudices of our society and feel helpless, to know that they are capable of making something of themselves and becoming financially independent.
What is the future of your business?
We have a long way to go. We as a team will continue looking for undiscovered forms of Nepali weaving art. These traditional skills with modern technologies blend perfectly and provide something new for the market. Further, I will be travelling to the rest of the country to connect with weavers and finding new raw materials. However, I still haven’t found the quality and quantity of raw material that can bring out the best in knot craft. The quality of yarn making is still missing in our country. Further, Knotcraft will continue enhancing the quality of its existing products and expanding our production volume.
