Craft of creativity

The lives of handicraft artisans that are devastated by industrialisation and globalisation are now crushed further by demonetisation and economic crisis. Causing further misery is our outlook in treating their beautiful creations as mere commercial products. It not only takes away the lust out of their work but also robs them of the grace and dignity they had enjoyed in the past.

Most of us are aware that only craftsmanship enables creative expression, like in weaving ideas together with words; composing melodies with notes; using paints to fill canvases with colourful, vivid designs; even materials like clay, stone, fabric, wood, wire, wax, bell metal, conch shells, cane, grass, etc., to create unique objects. Only someone, who has certain tools, precision, desire, and artistry, and derives a sense of accomplishment, can preserve and pass their tradition down the generations, by translating them into ideas and forms.

It is only a connoisseur who can appreciate the value of these pieces of art that carry a legacy of our land, myth, and culture; the time, thought, knowledge, skill and meagre resources invested into these creations. Although not everyone, there are yet some, who, with a keen eye for the art, passionately work to preserve them by bringing about change in the lives of suffering artisans; like the young chemical engineer, Manasa Godavathy.

Her humble origin is not an obstacle for her lofty ideas and ideals, since, like her mother, her heart always beats for art and craft, design and fashion, and for the struggling weavers. Solely driven by this passion, this budding entrepreneur has created her brand MudraMagik, to bring out affordable, organic handloom saris from the Telugu states through #theMagicTouch, and to revive the dying art in small villages through #discoverweaverswithMM. Soon her following rose up on Instagram, and she now shares her profits with the weavers and block printers. As her venture is growing, she ambitiously eyes for encouraging the next generation of these families and others to take up this profession and become entrepreneurs themselves, and showcase the latent talent of India to the world. Like Manasa, there are many who work on handlooms to encourage consumption among people.

Celebrities and films are endorsing them in a big way. With the interventions of fashion designers, weavers have started experimenting with Chanderi, Ikat, Banarasi, Mekhlai, Kanjivaram, Paithani, Zamadani, Mekhla chadar, etc. Brands like Peter England, Allen Solly, etc., have also begun working with our weavers, raising hopes that educated youngsters from these families would change the rules of the game in the days to come. It is all good for handlooms.

However, the country has myriad other unique and famous art forms, which reflect the diverse history and religion, different cultures and traditions; but are desperately crying for help. One can only name a few.

Jharkhand's dolls and tribal jewellery, Orissa's filigree works, folk paintings, metal images and horn figurines are unique, while Assam is known for its cane and bamboo crafts as well as beautiful Kamrupi brass items and terracotta works. Andhra Pradesh is famous for its Kondapalli wooden toys and Budithi bell metal items, primarily used in temples, conch-shell craft has been specialised in Andamans, and Bengal is also known for its Jamdani shawls and Balaposh outfits. Similarly, Dhokra crafts, bamboo items, along with other items of Chattisgarh are eye-catching, as Gujarat takes pride in its Sankheda furniture and Rogan printing, while Karnataka's Channapattana toys, Bidriware, and sandalwood and rosewood-inlay works have no match. Of course, who in the world does not know about Kashmir's Pashmina shawls and carpets? One is also astounded by the simple coconut-shell craft of Kerala. Kolhapuri chappals of Maharashtra, Longoi coiled pottery of Manipur are of impressive craftsmanship. Jutti footwear of Punjab and the blue pottery of Jaipur as well as Kathputlies of Rajasthan are noticed across the country. One cannot miss the Nirmal toys of Telangana, or the Thanjavur dolls or gold-plated paintings. Saharanpur wood carvings, Agra marble art and Khuria pottery are always a neighbour's envy. The geological spread and the range of crafts are unimaginable. But, unfortunately, millions of artisans, who cling to them for their sustenance and for preserving their tradition, are in great despair.

It is now increasingly difficult for them to get raw materials at affordable prices. Ivory anyway has been banned, but seasoned sandalwood is also in short supply. Deforestation, both legal and illegal, is drying up sources of wood; it also deters the growth of bamboo and cane, while more of bamboo goes to mills for paper and pulp. Similar is the case with Korai grass for weaving the 100-count Pattupai mats in Tamil Nadu. New housing colonies near water points are making clay scarce for pottery. Even hides of dead animals, instead of being made available to local leather-workers as was the tradition, are now big business to help urban tanneries; also the caste-tag is deterring the new generation to pursue leather-craft.

Moreover, with the royal and aristocratic patronage for these crafts now a thing of the past and the onslaught of industrialisation and technological growth being a new reality, the artisans are losing their relevance. The efficiency, calculability and uniformity of McDonaldism and mass production of globalisation to meet the modern tastes clash with the fibre of cultural heritage. Even cheap plastic items produced on a mass scale have replaced wood-crafted ones. Steeped in tradition, and unable to upgrade their methods and skills to adapt to such modern needs for want of funds, the artisans find themselves a mismatch with machines.

The challenges are too many and too big for these poor artists, who are poorly literate and are mostly unorganised in their form of groups. Most of them still continue with the method of 'informal contacts of traders with groups of master artisans and low-skilled artisans'. Even they have paucity of infrastructure, such as work sheds, storage space, shipping and packing facilities. In addition, they mostly keep craft production as a family venture and seasonal, using it as a supplement to their agricultural income. After the collapse of the jajmani system, in which the village community takes care of all their needs, they are only depending on local traders for the provision of raw materials and marketing.

Post-demonetisation, even banks are reluctant to extend loans. Thus, in the end, it is the trader who is flourishing. And, for governments, it is a sunset industry.

On its part, the Government of India is setting up SEZs exclusively for handicraft products at some places and has been giving incentives in several forms to encourage production and exports. However, it is all primarily helping the exporters and is earning foreign exchange. Further, even the external interventions to help the artisans are causing them great mental anguish, since they suppress their originality by spoon-feeding them with pre-determined designs, etc. Artisans are thus among the least benefitted ones. Even then they are unable to explore better options available.

They can join any of the formal structural forms, like, Self Help Groups for women for linkages with input providers such as raw material suppliers, microfinance institutions and banks, aggregators and retailers. Similarly, Mutually Aided Co-operatives, Producer companies, and Private Limited Companies can also provide them scope for higher production and growth. Unfortunately, these advantages are not being tapped by most of them due to lack of awareness, procedural complexities, etc.

As a result, and also because their children are seeking greener pastures, they are passing through great distress – for their own sustenance, for preserving the original forms of their art inherited from generations, and for meeting mass demands. Feeling defeated in every respect, millions of them are shedding all their pride of creativity and inheritance to seek alternative livelihood, opting even for menial jobs in urban areas, just for their soulless survival.

It is not that no one is bothered. Some governments, like in West Bengal, are making serious endeavours. Credit goes to Mamata Banerjee and her chosen set of officers for their initiative, Biswa Bangla. Launched in 2014, it is for not only promoting both exports and their culture and traditions by producing world-standard products but also for protecting their artisans and reviving their dying art wherever necessary. Apart from creating Rural Craft Hubs for specific crafts, and providing crucial supporting infrastructure and technological interventions and finances, and marketing facilities, they are also making the artisans as partners. Constantly they are encouraging them to continue with their traditional art. Identifying the dying arts, like jamdani shawls, they are roping in surviving master craftsmen for reviving them. Further, in order to restore dignity to the artists with better livelihood, they are also trying to expand the marketing of their creations through agencies like Amazon, etc.

Ultimately, governments need to transform this industry into a well-organised one by extending all labour rights to the artisans, in order to restore handicrafts and millions of artisans to their erstwhile status. People also need to appreciate their efforts, since the craft of creativity, which is the heart of our culture and heritage, cannot survive without their patronage. Handicrafts need more of Manasas, Mamata Banerjees and officers like those in her team.

Dr N Dilip Kumar is a retired IPS officer and a former Member of Public Grievances Commission, Delhi. Views expressed are strictly personal