2022
DOI: 10.1016/j.sheji.2022.04.001
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Designing Innovative Craft Enterprises in India: A Framework for Change Makers

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Cited by 6 publications
(5 citation statements)
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References 23 publications
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“…Due to the lack of efficient sales and distribution channels, BOP producers struggle to offer their products at a reasonable price (Sodhi and Tang, 2014). In India, the prevalent handicraft distribution channel deepens the gap between craft producers and profit-making intermediaries (Banerjee and Mazzarella, 2022; Sethi, 2019). Many scholars have examined the involvement of intermediaries in the Indian handicraft sector and how it prevents artisans from earning the right price for their products (Dalal et al , 2023; Pathak et al , 2017; Shafi et al , 2021; Yadav and Mahara, 2018).…”
Section: Literature Reviewmentioning
confidence: 99%
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“…Due to the lack of efficient sales and distribution channels, BOP producers struggle to offer their products at a reasonable price (Sodhi and Tang, 2014). In India, the prevalent handicraft distribution channel deepens the gap between craft producers and profit-making intermediaries (Banerjee and Mazzarella, 2022; Sethi, 2019). Many scholars have examined the involvement of intermediaries in the Indian handicraft sector and how it prevents artisans from earning the right price for their products (Dalal et al , 2023; Pathak et al , 2017; Shafi et al , 2021; Yadav and Mahara, 2018).…”
Section: Literature Reviewmentioning
confidence: 99%
“…Based on the opinions stated by two important stakeholders in the industry, the artisan and the handicraft entrepreneurs, the suggested model examines the handicraft value chain holistically in the context of a developing economy and integrates all of its components. Any handicraft business model must incorporate the needs of the market and the BOP craft producers (Banerjee and Mazzarella, 2022), which this model does. The proposal of an intelligent system “A” that brings together the artisans and the raw material suppliers onto a common platform can improve the performance of the handicraft ecosystem.…”
Section: The Proposed Modelmentioning
confidence: 99%
“…The main body of artisans is composed of ethnic minorities and poor people, and it is difficult for this group of people to have a voice in society, which leads to the social and economic status of artisans being at a disadvantage in local society. Despite the high output of the Indian handicraft industry and the fact that its products are exported to many countries abroad and are in high demand globally, only a small portion of the profits actually go to the artisans and most of them go to the dealers [5]. The lack of support from the relevant trade unions, the absence of government policies to protect them, and the lack of adequate financial support has led to a lack of competition for traditional Indian handicrafts to compete with other goods in the market.…”
Section: Change and Development Of The Indian Traditional Handicraft ...mentioning
confidence: 99%
“…Many Indian companies have chosen to introduce innovative organizational models to enhance the well-being of artisans by involving them directly in social organizations. This is accompanied by specialized training for artisans to increase their productivity [5]. Sadhna (a social enterprise that aims to promote the sustainability of its artisans in poor areas and improve the economic income and social status of women) promotes traditional silk weaving by providing a modern marketing platform and innovative design practices to the organization's female poor rural artisans.…”
Section: Change and Development Of The Indian Traditional Handicraft ...mentioning
confidence: 99%
“…Cualitativo 29Atalay, 2015;Balaswaminathan, 2019;Banerjee y Mazzarella, 2022;Bofylatos, 2017;Caputo, 2018;Chu, 2016;Daya, 2016; Douglass, 2016; Ferreira y cols., 2019;Gaytán, 2019;Gimeno-Martínez, 2014;Gustafsson, 2019; Kokko y Kaipainen, 2015; Kwesiga, 2013; Liddle y cols., 2013; Macías-Barreto y Rojas, 2022; Miralay, 2018; Morales y Aroca-Araujo, 2019; Mwila y Wemba, 2018; Netto y cols., 2014; Perret, 2017; Rahman y Ramli, 2014; Santamaría y Lecuona, 2017; Sarma, 2015; Schilling y Dantas, 2016; Shafi y cols., 2020; TAŞ, 2021; Uwimabera y cols., 2017; Voscoboinik y cols., 2021. Mixto 4 Betancourt y cols., 2020; Campos, 2017; Kaewpilarom y cols., 2023; Zamacona-Aboumrad y Barajas-Portas, 2022.…”
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