Skills survived many odds

SUMITA GHOSE

AS we  celebrate our 78th Independence Day, there’s no better time to honour the rich tapestry of handcrafted textiles that embody India’s cultural, economic and social heritage.

India’s handcrafted textiles are a testament to centuries of skilled craftsmanship, creativity, and dedication. Each region of India boasts its unique textile traditions, from the vibrant extra weft handloom woven pattus (shawls) of Rajasthan to the elegant Kanjeevaram silk saris of Tamil Nadu, the intricate chikankari of Lucknow, and the colourful bandhani of Gujarat. These textiles are not just fabrics; each is a story woven into threads, passed down through generations.

Handcrafted textiles and handmade products made from natural fibres and raw material remind us of our struggle for freedom and the pride we take in our heritage. During the Swadeshi movement, Mahatma Gandhi advocated the revival of indigenous industries, particularly handspinning on the charkha, and handloom weaving, as a means of self-reliance and resistance against colonial rule. Khadi became a symbol of our quest for independence.

We remain inspired by another great soul — Rabindranath Tagore. Through the establishment of Sriniketan in 1922, Tagore sought to revitalize rural Bengal by integrating education, culture, and sustainable livelihoods. Today, nearly a century later, Tagore’s vision remains remarkably relevant as we navigate the complexities of globalization, sustainability and our craft heritage and culture. 

After independence from British rule in 1947, considerable efforts, led by Kamala Devi Chattopadhyaya and others, were made for the revival and growth of handloom products and handicrafts. The Khadi and Village Industries programme was one such major initiative to encourage decentralized village industries, using local raw materials as much as possible. The Handloom and Handicrafts Boards were once powerful bodies which supported weavers and craftspeople in  their work.

Unfortunately, these institutions could not keep up with the times. Artisans moved to other occupations and handloom customers shifted to modern brands that flourished in an increasingly mechanized textile sector. Incentives given to large industrial houses to start textile mills that provided cheaper, brightly patterned fabric in colours that did not fade after washing, and were easy to maintain meant that Indian customers, especially the middle and lower classes, switched to buying more mill-made offerings.  State-sponsored marketing outlets like Gurjari and Rajasthali did provide an outlet for handcrafted products, but these were often mired in bureaucracy.

Handloom weavers, finding declining demand for their skills and products, moved away to towns to work in the mills. The demand for beautiful, unique handwoven products globally remained, but it was only a few high-end products designed by well-known designers or through special efforts like the Festivals of India, which were able to successfully find their way to global markets.

The birth of organizations like Dastkar in the 1980s promoted the work of artisans mainly by organizing bazaars across the country, to make crafts accessible to the urban customer. This provided avenues for craftspeople to gain direct understanding of the market and be able to design and make products accordingly. Dastkar also provides much needed design and product development support to newer crafts organizations that are based in rural areas and do not have access to such facilities.

In the early 21st century, after 10 years of liberalization and globalization, the middle class grew exponentially. There were more jobs available with the advent of multinational brands in the country, and purchasing power went up. People, especially women who earlier found it expensive and unaffordable to buy handwoven, handcrafted garments and home furnishings, were now able to purchase these and  waited for exhibitions to reach their cities in order to buy directly from artisans. Organizations like Fabindia invested time and effort in helping artisans hone their skills, and redefined, renewed craft traditions to cater to contemporary needs. They have been able to cover the length and breadth of the country with an extensive range of beautifully crafted garments and home decor, connecting people through their shared heritage.

In each state of India, farsighted, tenacious artisans continue to hone and perfect their skills in order to remain not only relevant but create products and offerings  which are cherished for years and often passed down from generation to generation.

One of these is Tushar Solanki, just 27, who learnt the art of weaving from older relatives in his family, in a hamlet called Satram ki Beri in Barmer district, Rajasthan. His first employment was with the Urmul Marusthali Bunker Vikas Samiti (UMBVS) in Pokhran, after which he got a chance to participate in a  six-month course on different aspects of running a handloom enterprise at the Handloom School in Maheshwar, Madhya Pradesh. This opened up the world for him. The organization he started afterwards with a few fellow weavers and friends is called Bandhan — Faith and Relation.

Supported by Rangsutra with orders and funds, Tushar set up a small unit so that weavers could work together in a common place. He and his team are testimony to the commitment and drive that so many of our weavers and craftspeople have even today, despite the challenges they face in continuing with their craft. They choose to work together in small teams, helping one another,  and collectively moving ahead. Tushar plans to grow his unit, as there are others in the village who are keen to work with him and there is still demand for handloom-woven soft home furnishings globally, as well as for beautiful saris. He has woven many saris inspired by the traditional checked shawl, the bardi.

Tushar  is occasionally invited to the Indian Institute of Craft and Design (IICD) in Jaipur for lecture demonstrations, where he shares his skills and his experiences with students. He is optimistic about the future despite the scepticism of some of his neighbours. Tushar is an example for other rural entrepreneurs to follow, and for us in civil society to encourage.

Sumita Ghose is founder-director of Rangsutra Crafts