Save the Weaver : Need for Institutionalised Training

The only thing that is permanent in today’s world is change. We need to move with time if not ahead of it and that calls for a new entrepreneurial outlook, a zest to explore foreign markets, the gen about how technology can complement traditional skills, the vision to undertake initiatives and up and above all the drive to think big and execute ideas whose time has come. While most business today are engulfed in thinking about the ‘Next Big Thing’, the handloom industry in Kullu is pretty much where it started. The industry lacks the much-required technical knowhow that can alleviate the ailing industry of its problems.

The art of weaving is something everyone in the valley masters at a very early age. Each family has a handloom in their home and traditionally they have been involved in weaving shawls at home for the winter.

Presently, the weavers who are associated with societies can avail training facilities through government schemes. The Human Resource Development (HRD) Ministry has initiated the STEP (Support to Training and Employment Program) project for training women. Weaving is an activity mainly carried out by the fairer gender here. Some major societies take assistance from institutes like National Institute of Fashion Technology (NIFT) and National Institute of Design (NID) to keep abreast with trends in the urban and foreign markets. However, such vital information that offers competitive advantage is beyond the ken of the local players due to the associated costs.

The Integrated Cluster Development Project has been instrumental in providing technical assistance to the weavers registered under it as Self Help Groups (SHGs). On the flip side, with little vigilance on the authenticity of the SHGs formed there is scepticism that the benefits of the government schemes are enjoyed by power looms. With 50 self help groups registered every year, each comprising of 12 members on an average, the scheme has its own limitations of reaching the weavers at the grass root levels. The government training workshops too draw interest only due to the stipend that the weavers receive on attending these. The training provided is substandard and the inclination to learn is at the minimum.

The industry needs to adopt a model that emphasises on bringing about an educational renaissance. Sustaining the weaving industry does not imply that it constitutes solely of weavers who sit and weave shawls on the handlooms every day. This tunnelled vision needs to change and one needs to look at the broader horizon. The government can be forthcoming in this regard by establishing an Indian Institute of Handloom Technology (IIHT) in the district that could play a pivotal role in changing the face of the industry. It could give a fresh impetus to talent in the associated fields of textile design and structure, fabric analysis, laboratory testing, history of costumes in the country and abroad, apparel production techniques, merchandising and marketing, fashion photography, event management, computer design systems, wardrobe planning, technical writing, workshop training etc. giving a holistic thrust to the industry for its sustenance. It would also make the industry lucrative to the next generation which is moving to greener pastures due to increased education levels.

To bring about an inclusive development, primary schools imparting practical knowledge on weaving could be started for the kids of the weavers. Different aspects of weaving could be inculcated in the course structure for different grades. Such an educational model can be expected to be sustainable as opposed to the one-time training workshops for a handful of weavers that neither instigates in them the willingness to learn nor propagates the necessity to be educated in this field.

Training and technical knowhow alone will not eliminate the problems that this industry is facing right now. The main problem is insufficient market access. Most of the products are sold in the valley itself by making use of the 40-50 lakh annual visitor population. However, the real demand lies outside the valley. Urban markets are completely untapped. International markets are barely touched. The potential is huge. The possibilities endless. What it needs is a focussed drive to tap these markets. In the process there will arise a need for trained weavers who are in tune with the subtle and varied demands of these markets. That is where the sustained efforts on training will bear fruit. A bottom up approach to train weavers, master weavers will bode well for the industry in the long run. This, combined with the top down approach of expanding markets will help have all round development of the industry.

Save the Weaver : Marketing the campaign

Save the Weaver: A Litmus Test for Authentic Kullu Shawls

The scenic landscapes of Kullu beckon avid travellers to visit the hinterlands of this small town. Shopping does take a top priority on the itinerary of these tourists who come from all across the globe. It is observed that most foreign tourists acquaint themselves to the location by investing a great deal of time in reading about it through travel guides like the Lonely Planet and Thomas Cook. The internet has also recently been one of the popular media through which tourist information is disseminated. Indian tourists on the other hand, normally come via package tours and are spoon fed by their travel guides. Most tourists are directed by the travel agent. They seem to be least aware of the fact that the hub of the shawl weaving industry is Kullu and not the more popular tourist destinations of Shimla and Manali. The general perception is that one would get better variety of woollens and knitwear in these locations than a small town like Kullu. While this may be true with respect to sweaters and other knitwear, they are un-informed about the cultural linkages and the magnitude of weaving that happens in the valley, the reason being - ineffective marketing initiatives.

While most tourists are misguided into buying machine made shawls sourced from outside Kullu, some others are lured into buying them because of the bulky discounts (sometimes as high as 50-80%). The economies of scale on the power loom and the reduced cost of raw materials (due to the local presence of processing centres and spinning mills) make it possible for Ludhiana and the neighbouring areas to influx the Kullu markets with elaborately designed shawls, with finer fabric, offered in a wider palette of colours at throw away prices.

Tourists with an urban taste and the intention of taking away a couple of these shawls as souvenirs are definite customers for these shawls. But the problem that looms large is about tourists being unable to distinguish between a handmade shawl and a machine made one. There is a lot of evidence to prove that a large section of informed tourists definetly value a handcrafted shawl more than the cheaper machine made one , but they just lack the knowhow to distinguish between the two. As a result they end up being duped into buying machine made shawls at the price of a hand made shawl.

A litmus test for such tourists is to see the reverse side of the woven garment. If the design appears the same either ways, that’s an indication that the shawl is handcrafted. The government of India has also introduced the handloom mark which is a certification that the product is handcrafted and not machine made. The mark costs 60 paise per unit. While some major players that are organized as societies do incorporate this mark to establish their credibility, there is a major slack in the implementation of this mark as a large cross section of the weavers and consumers lack awareness on the importance of this mark. The bigger players also have acquired the international WoolMark certification that establishes the quality standard of the raw material used. However, the exorbitant fees required to acquire this certification has kept others from applying for it.

Thus, although the raw material is sourced from the same location, the presence of the WoolMark on the shawls of some of the influential players attracts a major population of the quality conscious consumers to these branded shawls. In order to combat competition from shawls that are sourced from outside and labelled as ‘Kullu Shawls’, the district has acquired a Geographical Indicator (GI) for the Kullu Shawls. The GI mark signifies that the product has been handcrafted in the Kullu district. By definition it seeks to protect the Kullu weavers from the external power looms and strives to help build a stronger indentity for the Kullu Shawls. A violation of this mark would include a monetary penalty of Rs. 50,000 to Rs. 3,00,000 and/or imprisonment for 3 years.

For the common consumer the difference between the handmade shawl and the machine made shawl is apparently subtle. However, a closer look at the two would bring out the merits and differences between the two. The finish rendered to the handmade shawl is comparatively coarser as it helps retain more warmth. The designs on the handcrafted one are typically ‘Kullu’, like the ones found on the Kullu caps here. The dyes used are organic, eco-friendly and are non toxic on the skin. The acrylic dyes used in the machine made shawls, which make it possible to weave myriad hues into the fabric, are identified as carcinogenic. Moreover, the original properties of the fibre are maintained in the handloom as it is subjected to lesser tension and stress as against the power loom where the yarn becomes brittle leading to breakages in the fibre. This consequently reduces the life of the machine made shawl. The design of the handcrafted shawl is born purely out of the skill of the weaver and is impossible to replicate on the machine.

It’s believed that beauty lies in the eyes of the beholder. So for those who can perceive value in the exclusivity of a handmade shawl and appreciate the efforts that go behind it’s making, a conscious decision to make a deliberate choice between the handmade and machine made shawl is only natural.

Save the Weaver : An Eye-opener for Tourists

For tourists from across the globe, the hilly terrain of Manali-Shimla is a shoppers’ paradise for woollens. The heart of the weaving industry is in the small town of Kullu, 40Kms away from Manali. As one enters this scenic valley, colourful traditional Kullu shawls dot the sideways of every market street and one can see huge signboards atop tiny shops flashing ‘Traditional Kullu Shawls’. This is bait to the blind crocodile. Many of these shawls are not handcrafted, sometimes not even made in Kullu. They are mostly machine made shawls sourced from other towns in the country.

Is it that one doesn’t care enough to make an informed decision while buying or is it that one fails to see the value in a handcrafted product?

I am afraid it’s both. On one hand, tourists have little or no time on their itinerary to go searching for an authentic store and are more often than not directed by their local travel guides or the rickshaw drivers and cabbies to one of the numerous bogus shops that sell machine made shawls at hefty discounts (sometimes as high as 50%). A setup of a few handlooms in the periphery of the store serve as a perfect backdrop to disguise the machine made shawls as handmade shawls. While the tourist walks out of the store with discounted shawls, the local guide walks away with his share of commission, thus making this whole money making act a farce in the name of tourism.

On the other hand, as consumers, we fail to recognize the value of a handcrafted product. The value of art does not reside in the price we pay for it, but in the efforts that have gone into making that masterpiece; that masterpiece which is born out of the dexterity of the weaver, his eye for weaving an intricate design from his own palette of colours, the long hours of adeptly crossing the warp and woof to create kaleidoscopic patterns on the fabric, creating designs which by no means can be replicated on a programmed machine that churns out batch after batch of immaculate shawls at the press of a button. The power looms can produce a shawl in a couple of minutes while the weaver spends an average of four days to weave an elaborate design on his handloom. We must learn to appreciate the beauty of inherent imperfections in a handcrafted product that renders it it’s exclusivity. No price is too high to pay for unadulterated art, be it for the purity of the wool, the sanctity of the natural organic dyes or the simplicity and genuineness of the heart of the person who is making it.

Save the weaver : Online Campaign

SAVE THE WEAVER

The campaign will carry a series of articles dedicated to the Traditional Kullu Shawl Weaving industry. The art of weaving is a part of the Kullu tradition and pride. Many here believe this art would die with the turn of the generation, as it is no longer considered lucrative by the locals. In our efforts to revive this industry, we present a hotchpotch of views, ideas, opinions, facts and ground realities. The main intention of this campaign is to spread awareness about the state of this industry, its bottlenecks, brainstorm possible ways of removing them and to generate enough interest amongst the public to help the weaver regain his lost glory.

Save the Weaver Campaign

SAVE THE WEAVER

…help him weave colour into his life again

Are we crucifying Art at the altar of Technology?

Are the benefits of development restricted only to those at the top of the pyramid?

Are those at the grass root level being exploited?

Do we as consumers bestow enough faith in the genuineness of the product that we buy?

Do we think twice before we buy?

Do we value the beauty of a handcrafted product?

These are some of the questions that remain unanswered in the valley, even as thousands of weavers spend days on their handlooms, in their tiny houses, in the most inaccessible corners, with unparalleled dexterity with the warp and the woof, creating the most exquisite traditional designs.

For a weaver the challenges are many, the possibilities infinite. Illiteracy makes these weavers oblivious to the extent of their own capabilities and skills. With the meagre wages, the inaccessible markets, the threat from power looms, the lack of entrepreneurial drive, and the exploitation associated with illiteracy, the average weaver has a hand to mouth existence. Slowly but surely he is being pulled deeper into the spirals of poverty. For survival he has started exploring greener pastures which guarantee him a quick income.

SAVE THE WEAVER is as much about securing the source of livelihood for the locals here as much as it is about preserving the rich heritage of handlooms in the valley. The art is dying, and with it will die the sense of pride associated with this great Indian tradition. These weavers do not need your sympathy. All they want is a fair chance to prove themselves and weave colour back into their lives. We urge you to come forward and help us create awareness about the problems faced by the weavers and help this art regain its lost glory.

If you would like to join hands with us, you can reach us at savetheweaver@myhimachal.com or anoop.h@gmail.com

DOCC Project: Save the Weaver Campaign