Recent years have seen an increase in demand for traditionally handicraft house decoration. Brassware, wood sculptures, handmade lamps, asanas and more are being marketed as ‘minimal aesthetics’ on various social media platforms and weekend pop-ups.
The beautyism has created a bounce in the aesthetic economy, referring to the lifestyle of living with only essential commodities rather than intentionally focusing on appearances. The magnificent finish of various handicrafts in the newly constructed urban homes in Karnataka raises the question of who really benefits from it.
In a fly weaving unit in Bangalore, Nandita Sulur’s team consists of 15 weavers that make asanas, pure silk and cotton silk sarees using traditional pits. Nandita, the owner of Indu silks and sarees in Bengaluru, says, “The decoration of the house becomes more popular, people focus on the price and beauty of the product without taking into account the manufacturer or focusing on the time it takes to make it.”
By removing the middlemen, Nandita paid appropriately to her customers instead of excessive prices. When determining prices, the cost of raw materials and complications of designs are factor, as well as daily wages for workers. “I have noticed that my saree is being sold at a lot of prices in other outlets, which is why I sure to finish middlemen,” she says.
“People want to finish a handmade at large -scale rates,” Says Jenal Desai, founder of Claodisy in Bengaluru, commenting on the tendency of home decoration. She explains, “I have tried to sell my pottery through middlemen twice, but since they add 30% charge, it becomes more expensive.”
Inheritance and handicraft
Artisan hubs like Channapatna and Bidar, who once referred to the cultural heritage and craftsmanship of Karnataka, are struggling to remain relevant due to new marketing techniques.
An artisan in a Bidari art workshop. Photo Credit: Sreenivasa Murthy v
“The National Institute of Design and National Institute of Fashion Technology has helped artisans reinforce their products, making them capable of reaching a broad global market. Traditionally created dolls have now become educational equipment, pen holders and shopies,” HR Rajappa, Managing Director (MD), Karnataka State Handraks (MD). (KSHDC) says.
Karthik, the founder of the Vernam Craft Collective, says, “Chanpapatna toys have become much higher than just toys. From napkin rings to chandeliers, Channapatna artisans are developing designs using innovative colors and shapes.”
Varnaam, who has been collaborating with the artisans for more than a decade, sees that the demand of city buyers and foreign customers for customized products is taking time and a low yield is withdrawn for artisans. The middlemen continued the introduction of electricity in several craft ecology systems by establishing the units and getting more benefits.
Although traditional handicrafts have begun to decorate Indian homes, many consumers are unaware of their origin. “Artisans using bananas fiber and sandalwood are gradually being replaced by western or Korean products in marketplace and metro station stalls,” calls M Mandal, Manager Development, KSHDC.
A good balance
It is important to keep over time, no one should get away from the mark where culture is concerned. Commenting on this irony loss of tradition, the main partner Shejal Tiwari for an independent documentary on Karnataka handloom, which is currently in production, says, “A line must be drawn if artisans are being forced to a trend that may eventually be away.”
She mentions ‘two -minute saree’ with readymade pleats. “It is functional, but a saree is not just a garment. It is a full experience of learning how it is wrapped with its mothers and sisters. Such trends cannot take the value of stories and memories forward.”
Kasuti work, a traditional art form in North Karnataka, was seen on a saree. Photo Credit: Bhagya Prakash
“The term ‘stability’ is often used as a marketing gimmick without taking into account the production process of each handicraft,” says Karthik. “Even though the forests are regulated, the use of wood is still required for handicrafts such as Chanpapatna Toys, which means they cannot be called durable.”
“Culture and tradition appear to be present within places that are not financially good, and when they have some patron, they actually use their hands and sit on the loom, are from villages and economically backward areas. Any money does not go to attention,” says Shejal.
She says how knowledge has been handed over from generations, it is being erased because the artisans do not want their children to handle the family craft. “They will see their sons as road vendors compared to learning crafts. It is no longer about money, it’s a social concern.”
Baby Steps
Kshdc works towards preserving and protecting the rich tradition of craftsmanship of Karnataka, “Rajappa says,” Each piece has a fixed value that is not arbitrary. The price is calculated by a committee in which it is calculated by a committee of officers and master artisans, which keeps in mind the skills, physical values and functions. ,
He explains how houses were constructed in Kalanagar A in Chanpapatna to support artisans. These houses are provided with subsidy and rental for IS 155 per month through 25 -year EMI.
Complex artwork on elephant made of sandalwood. Photo Credit: Shriram MA
Similarly, Bidarware artisans working with black zinc and inlide silver have adapted to craft corporate gifts and home decorations. Through the Cauvery Handicrafts and its e-commerce portal, the government assists the artisans and reduces the participation of middlemen.
Even the influence of KSHDC is spread over Karnataka, craftsmen still struggle without money and support in small towns. Some such as Prakash Canappa Ganigar, an artisan of Krishikala Handicrafts located in Mysore, have taken cases into their own hands. “We train local women in Yarebudihal at the grassroots level, making a self-help group or A. union,
Although it is through sales FairsExhibitions and social media plans help widen their reach. “Despite the challenges faced by rural artisans due to financial inequality, it is expected that consumers are now in favor of products made using ecological and durable practices.”
Boon and ban
Mahalas Prashant, who runs Adhiya works in Bengaluru, says that online platforms such as Dhruti women Marucat and Facebook provide opportunities for women entrepreneurs to promote and sell their crafts. They emphasized the need for a tight-tight social circle among independent artisans, especially when they deal with common issues in which they including hangling and literary theft.
Says Mahalasa, “Once, I found a screenshot of a custom nameplate, which I created, was posted on another account for sale. When facing them, he denied the charge and removed the post. In this sea of social media you can never monitor such accounts.”
The fickleness of trends is important as their far -reaching effects. The subtle loss of heritage, tradition and identity asks for large -scale makeover as artisans and their consumers.
