Study on Empowerment of women through their involvement in Mithila Painting

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dc.contributor.advisorKumari, Shipra
dc.contributor.authorKumari, Savita
dc.date.accessioned2018-07-26T06:36:44Z
dc.date.available2018-07-26T06:36:44Z
dc.date.issued2017
dc.description.abstractThe handicrafts of Bihar are appreciated all over the world because of their great aesthetic value and their adherence to tradition. Mithila painting is more than an art. Through this creative ability, a group of women express their desires, dreams, expectations, hopes and aspirations to the people. Mithila painting, is also known as Madhubani painting. Madhubani painting is an emblematic expression of day-to-day experiences and beliefs. As such, symbolism, simplicity and beauty hold them together in a single school of traditional art. Traditional artisan skills exist in clusters and are unique to Bihar. Mithila painting is one such art form. Madhubani painting has been encouraged by All India Handicrafts Board and this traditional skill, as it has been rigorously promoted by the Government, has a unique work and trade organization, though co-operatives are yet to establish ground amongst the artisans. While earnings from these activities are low ranging from Rs 30–35 with a likely median of Rs 50–60 per day, many of these could be helped to become more viable occupations. This research focuses on impact of Mithila paintings on the status of women artisans and also on the economy of Bihar. Objectives 1) To know the Socio-Economic & Personal profile of the Mithila painting artists. 2) To assess the empowerment of women involved in Mithila painting. 3) Ascertain relationship between socio economic and personal profile with empowerment of women. 4) To identify the perceived constraints involved in Mithila painting. Research Methodology The study was conducted in Madhubani district of Bihar. Where two blocks were selected purposively (i.e.; Rahika & Rajnagar) from where 60 respondents were selected from five village where Mithila painting was being run effectively. Findings Section 1: Socio-economic & personal profile of the respondents Nearly 50 per cent of the respondents belonged to young age group, 65 per cent were from UR category. Nearly 40 per cent were engaged in farming, business and painting while house wife constituted only 35 per cent. Thirty per cent were found to have studied beyond high school. In general, participation in social institution appeared to be very low five per cent of them were office bearers of an organization, 25 per cent were members of an organization, 30 per cent were not members of any organization and 40 per cent were members of more than one organization. Nearly 80 per cent of them had joint family and 20 per cent had to nuclear family. Among the surveyed women, 50 per cent had income ranging from Rs. 50,001 to Rs. 75000 i.e. were in the medium income group. Medium entrepreneurial orientation were found among 55 per cent of the respondents. Majority (68.33 %) of the respondents had high risk followed by medium (25 %) and low (6.67 %) risk orientation. Local leaders at the tola/panchayat level, neighbour and relatives were the ‘most often’ and ‘sometimes’ used source of information by majority of respondents. Majority of them were using these source of information ‘often’ and ‘most often’ such as scientist and handicrafts fair while other sources of information such as officials, family members, friends, magazine, news paper, radio and television were used ‘most often’ and ‘sometimes’. About 3-15 per cent of respondents were found to have never consulted any of these cosmopolite interpersonal sources of information. Section: 2 Empowerment of women involved in Mithila painting. Majority of the respondents (66.94 %) had psychological empowerment, 60.3 per cent social empowerment, 59.78 per cent cultural empowerment, 60.3 per cent economic empowerment and 56 per cent of the respondents were politically empowered after starting Mithila painting in Rahika and Rajnagar block. Section: 3 Relationship between socio-economic and personal profile with empowerment of women. The result of psychological, social and economic empowerment revealed that out of ten variables which were subjected to analysis, only three variables education, entrepreneurial orientation and family annual income were found to be highly significant contributors towards empowerment of women artists. However, education and entrepreneurial orientation were found to be non-significant contributors towards cultural and political empowerment of women artists. Section : 4 Constraints faced by women artists involved in Mithila painting. 61.33 per cent of the respondents experienced personal constraints, 63.99 per cent faced socio-psychological constraints while 66.99 per cent had economic constraints after starting Mithila painting .en_US
dc.identifier.urihttp://krishikosh.egranth.ac.in/handle/1/5810062043
dc.keywordsWomen empowerment, Mithila painting,en_US
dc.language.isoenen_US
dc.pages60+x+xen_US
dc.publisherDr. Rajendra Prasad Central Agricultural University, Pusa (Samastipur)en_US
dc.rating.count2en
dc.subHome Science Extension Educationen_US
dc.subjectnullen_US
dc.themeEmpowerment of women through Mithila paintings in Biharen_US
dc.these.typeM.Scen_US
dc.titleStudy on Empowerment of women through their involvement in Mithila Paintingen_US
dc.typeThesisen_US
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