Background
UNDP Artisan project in Tibet stared in 1999. The first phase was called Artisan Heritage Development Project, in short AHDP. AHDP, was based in Qomolangma Nature Preserve. This project ended in 2001. Building upon the AHDP’s experiences and success, UNDP decided that it was logical to expand, continue and export this work to other areas of Tibet so that more communities are able to benefit from an integrated artisan project. The second phase of the project is called Integrated Artisan Development Project or IADP. It was started in July 2003 and will continue for 36 months.

Government of Finland
At this juncture, it is important for me to acknowledge that The Government of Finland has supported both these projects.

Aims
The purpose of UNDP’s artisan project in Tibet is to find creative means of alleviating poverty in rural Tibet by building upon the community’s indigenous skills, knowledge and resources and artisan work is part of this indigenous framework. The ultimate result of our work is that we not only hope to raise the standard of living in rural Tibet, but also to prove that cultural enterprises such as artisan activities can be seen as cultural capital; thus giving culture an economic value for livelihood empowerment.

Methodology
Firstly, the project always starts with a Baseline survey. The purpose of this survey is to understand the current status of artisan activities and to show gaps and areas of need for our inputs. This will form the backbone of action plans. Secondly, the survey hopes to identify indicators to measure and analyse the impact of the project when the project ends.

One of the first workshops held was the Artisan Preparation Workshop. The aims of this workshop were to set challenges, create safe environment for learning, and facilitate learning and exploration and application process for the artisans coming to participate in the workshop. Also, personal and communal hygiene training and various exercises were taught to help artisans improve their life styles.

The second workshop for artisans was the Creative Workshop. The aims of this workshop were multi-fold. Firstly, it was to strengthen their level of understanding in the importance of the creative process. Secondly, the workshop was intended to bridge their current creative levels to international standards. Lastly, the workshop aimed to and create an identity for artisans. Activities during this workshop included a colour workshop, field visits and perspective drawing.

In the second phase of the project, we would also like to include basic numeracy workshop. It would include teaching artisans how to count, read measurements and do arithmetic such as simple additions and subtractions.

After these basic workshops, we will focus on artisan training. These training are divided into 2 areas, technological improvements and skills developments. So far, we have worked on silver smithing, fabric and textile workshops Including sewing, weaving and sewing. Lastly, we have also included atone carving.

The aims of Silver Smiting Workshop were to upgrading of existing silver smiting skills and technology and to develop new products. Items made included rings, pendants, bangles and bracelets.

In terms of the textile fabric workshop, the project started off with a sewing workshop. Sewing Workshop aimed to provide basic theoretical and practical knowledge of sewing techniques and applications. Also, the workshop’s objective was to upgrade existing knowledge and handicraft skills such as teaching trainees how to use a manual sewing machine. Lastly, the purpose of the workshop was to explore and enlarge current product rang, for example, new type of blouses and bags were created during the workshops.

Besides sewing, the project also conducted spinning and weaving exercises. Traditionally, most artisans spin their wool by using top spinning methods. At best, they use hand spinning wheel. However, these are not productive. So we have introduced a peddle spinning wheel. Besides increasing their productivity, it has also helped in improving their posture as they are seated up-right during their work. Lastly, as they are seated on a chair, it lifts them up from the floor and thus, they feel less cold. In terms of quality, the peddle spinning wheel provided more even and uniform yarns than the previous two methods. This has lessened breakage of yarn during weaving.

Traditionally, the fabric Tibetan women leave is extremely narrow. During the course of the project, we also introduced a wider loom for them to weave wider fabrics. Secondly, we also introduced tabby weave which is more simple than the traditional 4 shaft twill weave that they use.

The carving of mani stones or stones with religious inscriptions have a long tradition in Tibet. This traditional skill was up-dated and translated by using modern tools and equipment. New designs are applied to carve beautiful pebble atones into modern jewellery. Trainees were also taught how to select stones, prepare the stones, carve and polish.

In conjunction with the technological and skills training, the project will work on product design. The guiding philosophy of this is that we do not intend to duplicate or reproduce traditional work for traditional markets. Rather, it is a matter in translating traditional designs into contemporary life-style products for non-domestic markets. In this manner, the project hopes to expand its marketing scope into new areas previously inaccessible to rural artisans.

One of the most important workshops conducted was the marketing workshop. The objective of this workshop was to teach artisans and the Project Management team the basics of marketing fundamentals through simple and effective fun & games format. At the end of the workshop, trainees were able to have an understanding of the marketing mix, basically the 4 P’s—Product, Price, Place and Promotions.

The marketing strategy currently explored for the project is that we intend to keep the marketing of products small and exclusive. Currently, the project aims to sell the products only in Lhasa with limited exposure through selected exhibitions events outside of Lhasa. The reason for this is that the project hopes to redefine the image of Asian artisan products.

At this point, it must be acknowledge that all the technical trainers and consultants for the project are international volunteers. International Volunteers from Canada, Singapore, Thailand, Italy, Argentina, etc…are passionate designers and crafts people who are willing to share their time, skills and talents with the people of Tibet. The project has been most fortunate to have them and we look forward to further contributions from interested parties.

Results of Work
I have brought along with me some samples of work
1. Traditionally Key Designed Pendent & Ear-Rings
2. Brass Buddha Hand Incense Holder, Book-Ends, Name Card Holder & candle Holder;
3. Natural Grey Hand-Woven Wool with Non-Violent Natural Silk Lining

Conclusion
UNDP’s artisan project is a very small beginning towards helping rural Tibetans artisans alleviate poverty and preserve their cultural identity, traditions and heritage in this area commonly known as the Roof of the World.