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Handloom in Odisha: an Overview

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AEGAEUM JOURNAL ISSN NO: 0776-3808 HANDLOOM IN ODISHA: AN OVERVIEW Shruti Sudha Mishra* ICSSR Doctrol Fellow, Dept. of Business Administration, Sambalpur University, Odisha, India. [email protected] Dr. A. K. Das Mohapatra** Professor Dept. of Business Administration, Sambalpur University, Odisha, India. [email protected] Volume 8, Issue 8, 2020 http://aegaeum.com/ Page No: 134 AEGAEUM JOURNAL ISSN NO: 0776-3808 HANDLOOM IN ODISHA: AN OVERVIEW Abstract Handloom is an ancient cottage industry. In Odisha hand-woven fabrics have existed since beyond the reach of memory. This sector involves large number of artisans from rural and semi-urban areas, most of which are women and people from economically disadvantaged groups. Some of the strengths of this industry are availability of cheap and abundant labour, use of local resources, low capital investment, unique craftsmanship in manufacturing of the products and increasing appreciation by international consumers. It is important to note that despite such unique characteristics, the industry comprises a meager proportion of Indian exports in global market, thus calling for efforts to promote and channelize the offerings of the industry to tap its hidden potential. Therefore the present study has been undertaken with an aim to discuss the history of handloom in context to Odisha, its cultural importance, and contribution of handloom to the economic development of the weaving community of Odisha. Keywords: Odisha, handloom, weavers, economic development ***** 1: Introduction The glory and cultural vastness of Indian handloom industry has always been a topic of great discussion. Among all the beautiful handlooms having their regional importance, Odisha handloom is the one chosen for the present study. This study has been undertaken with an aim to discuss the history of handloom in context to Odisha, its cultural importance, and contribution of handloom to the economic development of the weaving community of Odisha. Textile of Odisha is a reflection of its cultural ethos with intricate weaves giving it an identity of its own. The thread work, motifs and vibrant colours make them rich and desirable to wear and flaunt by the admirers. ‘Odisha Ikat’ also known as “Bandha of Odisha”, is a resist dyeing technique. Since 2007, the “Bandha of Odisha” has been geographically identified. It is a process of tie-dying the wrap and weft threads, so that designs on the loom prior to weaving can be created. Because of its design process, it has been called “poetry on loom”. This process of weaving has remained speciality of Western and Eastern region of Odisha, produced by community groups called Bhulia, Kostha Asni and Patara. In western Odisha it is woven in Barapalli, Remunda, Jhiliminda, Mahalkata, Singhpalli, Sonepur, Patabhadi, Sgarpali, Tarabha, Birmaharajpur, Subalaya, Kendupali, Jaganathpali and Kamalapur of Bargarh and Sonepur district, are some of the prominent ones where these art of weaving is practised. Some of the popular designs are: 1. Sambalpuri Ikkat – Reflecting the bandha style of craft. Sambalpuri fabrics range from geometric patterns to landscape, potrates and other motifs such as sankha(shell), chakra(wheel) and variety of phula(flower). Volume 8, Issue 8, 2020 http://aegaeum.com/ Page No: 135 AEGAEUM JOURNAL ISSN NO: 0776-3808 2. Bomkai Cottan – Woven by the adept artisans of Sonepur districts, Bomkai is a handloom fabric that has an attached GI tag and is also called the “Sonepuri” fabric. Bomkai sarees are quite popular among connoisseurs and are must-haves for an enviable saree collection. 3. Berhampuri Paata – Also called “Phoda Kumbha”, Berhampuri Paata too boasts of a GI tag and is famous for its temple shaped designs along the border and pallu portion. This paata has another distinction; it is draped around Lord Jagannath, Lord Balabhadra and Devi Subhadra in Puri Jagannath Temple. 4. Khandua Paata – Khandua paata is noted for the text of Gita Govinda eteched on it. Traditionally red or orange in colour, this colour are procured naturally from sal trees. This fabric too, is a registered GI and originated in Cuttack and Maniabandha. 5. Kotpad Cotton – Woven by the tribes of Kotpad village in Koraput, this fabric with a GI tag is renowned for being dyed organically. Vegetables are used to obtain the required colours with black and maroon being the major dyes. 6. Habaspuri – Kondha weavers of Chicheguda in Kalahandi district interwine magic with Habaspuri, one of the major cotton-based textiles of Odisha with fish, flower and temple motifs. It has also been registered under GI. 7. Saptapar/Pasapali – Celebrated for its prominent double ikat checkerboard pattern. Saptapar is famously known as “Pasapalli”, attributed to Bargarh district in Odisha. An intricate pasaa (chessboard) pattern in contrasting colour is its most striking feature. Western Odisha extends from the Kalahandi district in the South to the Sundargarh district in the north- west. Districts of Sambalpur, Bargarh, Nuapada, Bolangir and Sonepur are also included in Western Odisha. Its boundless geographical area, showcase a great degree of cultural importance among the mass. The traditional Sambalpuri saree in its cotton and silk versions is a captivating fabric from the tribal belt of Odisha. Sambalpur- in the state of Odisha, India is famous for its Sambalpuri variety of cotton and silk sarees, using Ikat patterns or the tie-dye method in their making. The fabric silk has lustre, strength, smoothness and soft feel, plus its elasticity and desirable quality to acquire most colours and shades making it all the more appealing. Silk is soft, smooth, airy and very comfortable for all-day wear, apart from the grandeur that it provides. The Sambalpuri saree is made from cotton, silk, or tussar woven on a handloom. It is very popular among saree lovers across the country. Varieties of Sambalpuri saree includes Sonepuri, Saptapar (pasapalli), Sachipar, Udiaan-taraa, Panchavati, Bomkai, Barpalli, Baptaa and Paradaa sarees, all of which are popular. These sarees are named after their place of origin and commonly known as “Paata”. Paintings on tussar saris portray Mathura Vijay, Rasallila and Ayodhya Vijay get their inspiration from Raghurajpur Pattachitra paintings. A unique method of tie-dye known as “Bandha” is used to weave Sambalpuri sarees. These saree’s possesses fast colours; therefore, the older is the saree brighter is the colour. Apart from sarees western Odisha handloom also showcase some masterpiece in form of bed sheets, dhotis and dress materials. 2: Contribution of Handloom in Rural Economy Development of the Weaving Community in Odisha: Rural Economic Development is a sub set of development. Development means opening up something which is latent. Generally the term development implies a change that is desirable. But the desirableness depends on time, place, culture and societal objectives. It is impossible to think of a universally Volume 8, Issue 8, 2020 http://aegaeum.com/ Page No: 136 AEGAEUM JOURNAL ISSN NO: 0776-3808 acceptable definition of development. The term rural development means overall development of rural areas, to improve the quality of life of rural people. It includes the development of agriculture and allied activities, village and cottage industries, socioeconomic infrastructure, community services and facilities and the human resources in rural areas. It is a multidimensional concept. This term may be used as a phenomenon, as a strategy and as a discipline. Whatever it may be, for true meaning of rural development, at least three basic elements should be considered. These are: 1. Basic necessities of life – It includes food, clothes, shelter, basic literacy, health care, etc. 2. Self respect – Absence of self respect indicates lack of development. 3. Freedom – It includes political freedom, economic freedom and freedom from slavery. In a nut shell we may say that, rural development is a continuous process leading to sustainable improvement in the quality of life of rural people, especially the poor. The primary economic activity in the rural areas is mostly Agriculture. And it is also true that agriculture alone is not sufficient to improve the overall development of the state’s economy in general and in particular rural areas. Many economists and social scientists argue in favour of the development of labor intensive industries, more specifically rural cottage industries along with the development of agriculture. Handloom is one of the labour intensive industries and capital employed in this industry is low. More significantly it is true that these industries are run by the weaker section of the society. They are able to operate in a productive and profitable way if some measures are taken from the part of central and state government. Handloom sector plays an important role in the Indian economy in the context of employment generation and the economic development of India. Handloom units are also very important for welfare resources. People can organize these units to increase their income levels and quality of life. So these can help in reducing poverty in the state. According to the 4th All India Handloom Census, the total number of households in Odisha engaged in handloom activities (weaving and allied activities) is 63,223. This is an increase over the 3rd All India Handloom Census where the count was 41,000 (shown in Figure 1). The principal reason behind this increase may be attributed to the success of various initiatives undertaken by the Government of Odisha. Figure 1: Distribution of Handloom Worker Households 70000 60000 50000 40000 Distribution of Handloom 63223 30000 Worker Households 20000 41000 10000 0 2009-10 2019-20 2.1: Handloom workers in Odisha A broad profile of the handloom workers in Odisha has been drawn hereunder (a) by type of workers, (b) by nature of engagement, (c) by gender, and (d) by social groups as discussed below Volume 8, Issue 8, 2020 http://aegaeum.com/ Page No: 137 AEGAEUM JOURNAL ISSN NO: 0776-3808 (a) By type of workers: As per All India Handloom Census 3rd and 4th, Figure 2 shows the number of adult handloom workers based on the type of work they are involved in, i.e., weaving activities and allied activities.
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  • The Cultural Politics of Textile Craft Revivals

    The Cultural Politics of Textile Craft Revivals

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2012 The Cultural Politics of Textile Craft Revivals Suzanne MacAulay University of Colorado at Colorado Springs, [email protected] Jillian Gryzlak School of the Art Institute of Chicago, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf MacAulay, Suzanne and Gryzlak, Jillian, "The Cultural Politics of Textile Craft Revivals" (2012). Textile Society of America Symposium Proceedings. 712. https://digitalcommons.unl.edu/tsaconf/712 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Cultural Politics of Textile Craft Revivals Suzanne MacAulay [email protected] & Jillian Gryzlak [email protected] To all the fine-spirited and creative women, who were mentors and guides in the most profound sense and have since died. Our joint paper critiques and appraises the cultural politics of textile revitalization projects. The format follows a conversational style as we exchange thoughts about our very different experiences as a folklorist doing fieldwork in Colorado’s San Luis Valley and as a weaver and participant observer involved in a weaving workshop located in the Bargarh district of Orissa, India. One of our chief mutual interests, conditioned by the assumption that “all tradition is change,” analyzes the political bases for craft-inspired workshops that attempt to revive traditional arts as economic redevelopment projects.