Warli Preserving Memories Through Paintings
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
Copyright © NIFT 2020 - 2024 Student document Publication meant for private circulation
GUIDED BY: Mrs. Tulika Tandon, Assisstant Professor, NIFT Mumbai
Published in 2022 Processed at National Institute of Fashion Technol ogy, Mumbai Campus, Mumbai, India Digitally Printed at Mumbai, India.
The craft document “Warli : Preserving Memories through Paintings”
Written,only. edited, illustrated and photographed by: Agnibha Das, Mohd. Anas, Manasi Sawairam, Saachi Golwalkar, Sarika Nair, Stuti Kumar B.Des | Knitwear Design | Batch 2020
KNITWEAR DESIGN
All photographs and illustrations used in this document are copy righted by respective people and organizations. All rights reserved under International Copyright © 2018 convention. No part of this document may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopy, recording or any otherinformation storage and retrieval system, without the written permission from the authors and National Institute of Fashion Tech nology, except by a review/ reader who wishes to quote brief passage in connection with a paper review/essay written for inclusion in a periodical, newspaper or broadcast.
Warli Preserving Memories Through Paintings NATIONAL INSTITUTE OF FASHION TECHNOLOGY, NAVI MUMBAI Knitwear Design Batch of 2020-2024 Image 2
Acknowledgement
We, as a team would like to thank our college, National Institute of Fashion Technology, Mumbai for giving us the opportunity to explore this beautiful craft cluster of warli in Dahanu, Maharashtra. We would also like to express our gratitude to our Director, Mr. Pavan Godiawala, our mentor Mrs. Tulika Tandon and other faculty mentors for lending support and guiding us throughout our journey on field and while documenting. Our project wouldn’t have been possible without the cooperation of the craftsmen of Bapugaon and Ganjad in Dahanu and the valuable information they provided. We would like to express our heartfelt gratitude towards all the craftspersons for welcoming us into their homes along with their workspace and permitting us to take a peek into their life and culture. The friendliness of the artisans, their families and the shop owners made us feel at ease. Their cooperation has been key to us in understanding the craft and discovering many new insights about it, the community and the region.
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A special thanks to Mr Ramesh Hengadi (Senior Warli artist), Mr Rajaram Hengadi (Senior Warli artist), Mr Mayur Vayeda (Contemporary artist) and Mr Tushar Vayeda (Contemporary artist) who took out time from their busy schedule to share their knowledge and experiences about the history of Dahanu and Warli craft with us. We would also like to express deep appreciation to our families, friends, and colleagues for providing us constant encouragement and support, without whom this would never have been possible. The completion of this undertaking was possible with the support, participation, and assistance of many.
We commuted daily to the artisan’s place by auto rickshaw , which was almost 40kms from our place of stay. We spent our time with them learning about the various aspects of warli. The process of finding the raw materials, turning them into paint and then using them to paint the stories was beautiful. Its origin to its current position in the market and its integration into Modern day products. The stories that warli paintings portray are significantly interesting and intriguing. We heard the perspective of both young and old artisans and learned about their views on the future of this art form. We interacted with about 10 artisans in a span of seven days and had a great learning experience. All the artisans were extremely welcoming and heartful. With every interaction with the artisans, we found out something new and unique about warli as an art and about their vision of the future of warli. Although both younger and older artisans had different opinions about the future possibilities, both generations were bonded tightly with the idea of preserving the authenticity of the art form.
India is known for its diverse cultural heritage, art form and traditional practices. Warli art is one of the traditional art forms that has contributed to Indian cultural heritage for a long time and is doing so presently as well. To study the beauty of warli art, we head towards a village named “Dahanu”. Dahanu is well known for the Warli art form and is home to some really well-known warli artisans. We consider ourselves extremely lucky that we got a chance to see, learn and experience the beauty of warli first-hand from the artisans themselves.
Abstract
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Contents Image 5
2 1. ProblemsArtisan’sArtisanSample4.EndProcessModernTraditionalDesign3.About2.ArtHistoricDahanuDahanuKeyDahanu.................................................................6INTRODUCTION..........................................3-16Demographics.................................................8toBapugaon...........................................10toGanjad...............................................12Timeline.................................................14andCultureofDahanu...................................16WARLI:THEUNWRITTENLANGUAGE........17-20TheCraft...................................................20INTHEMAKING.........................................21-52andMotifDevelopment.............................24rawmaterialsused..............................37rawmaterialsused..................................38OfWarliPainting......................................40Products........................................................52ARTISANS...................................................53-74Questionnaire..........................................57Overview..................................................61Data......................................................63Identification........................................73 5. PRESENT STATUS........................................75-82 A contemporary take on Warli..............................77 Promotion of the Art form.....................................79 Support from NGOs and other organizations........81 6. 9.8.7.OurConclusion..........................................................87SWOTANALYSIS...................................................83-90Analysis.....................................................85Team...........................................................89PICTURECREDITS.......................................91-92GLOSSARY..................................................93-94BIBLIOGRAPHY...........................................95-96 Image 6
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1. Introduction
Dahanu
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Dahanu is a Taluka in Maharashtra’s Palghar district. Its beach stretch covers a distance of 17 kilometers. Despite the fact that it is extremely hot during the summer, the mild wind cools the entire coast. The Arabian Sea coast is to the west of the town, while the Sahyadri hills are to the east. Dahanu has be come a popular tourist site as a result of this combination. Dahanu is known for its chickoo fruit and is flanked with fruit orchards. Tribals are the original inhabitants of this land. The Zoroastrians’ Mecca is a renowned tourist destination because it contains a magnificent temple that houses the Zoroastrians’ sacred fire. This fire is thought to have been kept burning for nearly a thousand years. The presence of Iranian and Persian culture adds to the allure of this location.
The coordinates of Dahanu are 19.97°N 72.73°E. It is 9.89 metres above sea level on average. According to the 2011 Indian census, the total population of Dahanu is 351,808, with 173,784 men and 178,024 women living in this Taluka.
Dahanu
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Key Demographics
In Dahanu, the total percentage of Taluka Agriculture farmers is 11.58 percent, with 6.66 percent of male farmers and 4.92 percent of female farmers. Dahanu labour accounts for 12.41 percent of the population, with male labour accounting for 6.44 percent and female work accounting for 5.97 perAgriculturecent. farming employs a total of 40,741 cultivators, with men cultivating 23,423 acres and women cultivating 17,318 acres. In Dahanu, 43,656 people work as agricultural labourers, with 22,641 males and 21,015 women.
The population of the Dahanu Taluka is separated into male and female members. The literacy rate is 47.62 percent, with 27.68 percent of males and 19.94 percent of females literates. There are 167,519 literate persons, with 97,386 males and 70,133 females. There are 166,138 work ers who rely on multi-skills, including 93,067 men and 73,071 women. The total number of workers is 47.22 percent, with male workers accounting for 26.45 percent and female workers accounting for 20.77 percent.
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Dahanu to Bapugaon
Our journey to Bapugaon was using a rickshaw and a van. We visited the artisan brothers namely, Mr Ramesh Hengadi and Mr Rajaram Hengadi. 517 hectares make up the entire geographic area of the village. There are 1,780 people living in Bapugaon, 912 of them are men and 868 of whom are women. Bapugaon village has a literacy rate of 49.04 percent, with 57.68 percent of men and 39.98 percent of women being literate. About 272 houses make up the village of Bapugaon. Bapugaon Village’s zip code is 401602. Dahanu, which is around 31 kilometres away, is the nearest town to Bapugaon for all main commer cial activity.
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DAHANU
BAPUGAON
Ganjad is where we observed the true beuty of Contemporary Warli from the brothers, Mr Mayur Vayeda and Mr Tushar Vayeda. The settlement has a total land area of 2805 hectares. 1,966 persons make up the entire population of Ganjad, of which 954 are men and 1 012 are women. The literacy rate in the hamlet of Ganjad is 52.44 percent, with 60.27 percent of men and 45.06 percent of women being literate. The settlement of Ganjad contains roughly 367 homes. The ganjad village locality’s pincode is 401602.
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Dahanu to Ganjad
According to 2019 statistics, the Palghar assembly and parliamentary constituency includes Ganjad village. The closest town to Ganjad for all significant economic activities is Dahanu, which is located about 14 kilometres away.
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DAHANU
GANJAD
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Dahanu is a historic town. It was most likely founded around 500 BCE. As early as 150 BC, according to certain records, there was a settlement. The causes of the natives’ wandering lifestyle are unknown. All of these improvements took place before the year 100 CE, and they refer to the Dahanu area rather than the settlement of Dahanu. The hamlet was eventually populated.
Historic Timeline
Dahanu was treated well by the Marathas and paid relatively little taxes. With the fall of the Maratha Empire in 1818, it was annexed by the British. In the 1870s, villagers assassinated an unknown officer in the town over a dispute. The specifics are unknown.
AFTER INDEPENDENCE
MARATHA AND BRITISH EMPIRE
RISE AND FALL OF PORTUGUESE
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The Portuguese had established their authority in the region by the 1490s. From around 1495 to 1540, the territory was under De Facto Portuguese administration. Prior to this, it was administered by the Sultan of Gujarat, who was inept. The Maratha conquests of Thane and Vasai se verely weakened their power and supremacy in the region. This shift of power was aided by the establishment of the Inquisition in Goa and other Portuguese colonies. The Portuguese erected a modest church to convert people to Christianity during their reign. This strategy backfired, caus ing widespread dissatisfaction. Before 1940, the church was in ruins and was destroyed.
After the Indian Independence War, the town became a part of Independent India. On 1 May 1960, the Dahanu Taluka, along with Talasari Taluka and Mumbai city, became a part of Maharashtra state following the Sanyukta Maharashtra Movement.
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In Dahanu, the majority of the tribes are Warli/Varli, Malhar Koli, Mangela, Machhi, Bari, Mahyavan shi, Vdaval, Kunabi, Kokani, Kathodi, and others. The population of Dahanu taluka are largely tribals who live in rural areas and go to urban areas for work on a regular basis. The discourse and habits are heavily influenced by tribal culture. The tribal art most commonly depicts village life and daily activities. Tribals are the original inhabitants of this land. The Warli tribe created the world-famous tribal art “Warli art.” Many foreign students have come to learn Warli art in the tribal communities. Tarpa dance (Adivasi Nrutya) and Dhole dance are also well-known around the world.
Art and Culture
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2. Warli - The Unwritten Language
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3. In The Making
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Warli art is based on the concept of simplicity and symbolism. Warli painting, when observed carefully, is based on the elements of design, which comprise the very basic foundation of design thinking and development. Elements of design include DOT, LINE and SHAPE. The very first thing when you see a Warli painting is the use of Rudimentary shapes such as circles, triangles and squares. The shapes are inspired by nature and natural objects. The circles are inspired by the sun and moon while the triangle is inspired by the pointy edge of trees and pointy heads of mountains (observed by the Sahyadri Range in Maharashtra).The line is inspired from the river while the squares are mostly observed from man-made constructions and are used to depict a house of wor ship or a piece of land for cultivation.
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Common Motifs in Warli
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The basic figure is usually decorated with a crown or a draped cloth to signify a deity. God of Nature includes Vaghya God, Hir wai Goddess and Himai Goddess. Naran God and Panchshirya God motifs are used to save families.
GOD AND GODDESS MOTIF
MALE FIGURE
FEMALE FIGURE
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The basic male figure is drawn first. The only addition to the figure is a small circle (in the form of a bun or ‘Ambada’) connecting the head.
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A circle is connected to two inverted triangles with a help of a thin line representing the neck of the figurine. Two lines arise from the remaining corners of the upper triangle and represent the arms while two vertical lines below the lower triangle represent the legs.
BIRD AND ANIMAL MOTIF
As warlis are farmers, animal motifs like Cows, Bulls, Goats, Cocks, Hens, Sheep’s, dogs are used in painting as these are domestic animals. Peacock is our national bird and hence it is added with variations in each painting. The Warli tribe has also created motifs for butterflies.
TARPA MOTIF
This motif is inspired from the folk dance of the Warli community. Tarpa is made of dry bottle gourd, bamboo tubes and bamboo sticks, cord and wax. This instrument is beautiful looking and 2 feet to 6 feet in length. This Motif is widely used in their paintings.
Concentric circles of male and female figurines holding each other’s hands/waist or shoulder could be seen featuring in this motif. The main performer is seen at the centre of the circle, playing an instrument (usually the tarpa).
MUSICIANS
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The motif for houses depends from family to family. The basic motif of the house involves a square or a rectangle with a triangular roof, intricately filled with vertical or diagonal lines. A community house is depicted with two to three vertical lines to mark two or three storeyed building (almost like a bungalow). A Pandal or the tent house is well-defined by creating a wider roof with vertical lines. Barn is stacked with hay and is usually shown alongside a small farmhouse.
Trees such as coconut trees are frequently featured in Warli paint ings for its multiple benefits. Tulsi plant is also drawn as it is very auspicious in Maharashtra.
The figurines that portray a band or a group of musicians are included in themes which involve a marriage ceremony or some festivals. The figurines carry instruments such as a flute, cymbals, several types of drums and the tarpa.
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HOUSE MOTIF
TREES
DEVCHAUK MOTIF
This motif is dedicated to the bride and groom. The highlight of this motif is the groom on a horse while the bride in a palanquin. This motif is painted by married women participating in the ritual. The rest of the painting consists of a procession includings musicians, a band and some guests.
The ‘Devchauk’ motif or “God’s square” is a very popu lar design which is painted during marriage rituals. The ‘Devchauk’ consists of Goddess of fertility, Palaghat. This process of drawing square with God is called as “Chauk Lihine”. In the beginning, they just draw a simple line for name of God which is known as “Devregh” (line for God).
Chauk Motif
The square shape in the Warli paintings is called a ‘Chauk’ or ‘Chaukat’ and is painted by women on walls of houses during festivities or marriage occasions.
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LAGNCHAUK MOTIF
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Common Themes in Warli
This is an extremely important theme in any Warli painting collection. The main occupation of the Warli tribe is agriculture which makes them highly dependent on fertile lands. Their love for nature is depicted through their paintings. Trees seem to be swaying in the breeze, birds chirp overhead and the Warlis are depicted hard at work in the fields. The figurines are shown bending over bundles of rice, piling them, ploughing the field and cooking near the huts. They depict their day to day lives which do not seem so mundane.
HARVEST
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TARPA DANCE THEME
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Apart from being a very famous motif, it is represented more as an iconic theme as it is depicted in larger dimensions ( mostly on walls of their houses). A Tarpa player is placed at the centre of a concentric spiral consisting of male and female figures swaying back and forth to the tunes of the instrument.
TREE OF LIFE
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The Tree symbolizes the human dependence on nature and balance of life. The tree is placed at the centre of the painting and is surrounded by human activities according to the mood of the painting and situation. The tree is highlighted by intricately drawn leaves that provide movement to the painting.
MARRIAGE CEREMONY
This theme is very important as it depicts the entire procession and activities that are celebrated during a typical tribal marriage affair. The groom on a horse followed by the bride in a palanquin, surrounded by guests and musicians make up for a very intimate arrangement. Usually, two themes are merged while depicting the marriage, for example; The tarpa dance could also be featured in the marriage ceremony.
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MUD
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Rice, known as ‘Tandul,’ is used to form a white paste that serves as the foundation for Warli painting. Many artists own land where they grow rice and thus have access to raw ingredients. Others buy some from ration shops in their area.
Bamboo sticks were commonly used to paint on the walls in warli art. The bamboo used was grown locally.
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Some craftsmen have access to water through a suitable connection in their dwellings, but others who live in isolated places rely on hand pumps or wells.
WATER
BAMBOO STICK
RICE
Traditional Raw Materials Used
The mud, or mitt,’ used to form the background for warli painting comes in various colors. The different colors used include ‘Kale mitti’ (black), ‘Geru Mitti’ or terracotta mud (red), and powdered cow dung (green). It has been used in Warli paintings since the beginning. It’s available locally in many regions, and it’s also readily available at the hardware stores.
Some craftsmen have water access through a sufficient connection in their homes, but others who live in remote areas rely on hand pumps or wells.
PAINTS
BRUSHES
Traditional artisans have now started using modern artistic brushes to make the traditional motifs of Warli.
Modern Raw Materials Used
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There has been a major shift in the raw material. Earlier, rice was used as a raw material as a paste. Over time even traditional artisans are shifting to acrylic and poster colors.
MUD
WATER
Even though the art of Warli is being contemporized, still the base raw material used in the art is mud and cow dung which is obtained directly from nature. The mud, or mitti,’ used to form the background for warli painting, comes in various colors. The different colors used include ‘Kale mitti’ (black), ‘Geru Mitti’ or terracotta mud (red), and powdered cow dung (green). It has been used in Warli paintings since the beginning. It’s available locally in many regions, and it’s also readily available at the hardware stores.
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Process of Warli Painting
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Take some raw rice and then grind the rice enough till it turns into rice flour/ powdered rice.
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The rice flour is then filtered to make it smooth and fine; this will help to remove any dirt, lumps or foreign particles.
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Now water is added to the rice flour to act as gum to bind the paste together and to add
Now filter this mixture to create a paste and remove the excess water.
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This will give us white paste made from rice flour and would be used to paint warli art.
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Cow dung paste is made by mixing it with water, or red soil mixed with water is used to create a dark red/brown background as they are the tradi tional colours used in warli art for years
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This mixture is kept aside and let sit for a few hours.
Using this mixture, the back ground of the cloth is painted.
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Bamboo sticks were used initially as paintbrushes. The bamboo stick is chewed at the end to make it supple and delicate as a paintbrush.
Finally dipping the bamboo brush in the rice paste warli art is painted on the cloth.
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End Products
Today, Warli art has evolved far enough to be included into contemporary fashion and design cre ations. As the need for Warli paintings has increased in metropolitan areas, the art form has developed into newer, more diversified styles and types. This is especially true in the realm of clothing and fashion, where the traditional white on red design isn’t the only option. Warli prints are increasingly adopting bright colours like neon pink, green, and red, as well as subtle shades of purple, beige, green, and yellow. The integral symbols stay the same, but the addition of current goods gives it a more modern touch that resonates to a wider audience.
It would be odd if such a wonderful art form wasn’t included in the fashion industry’s developments. Warli art has the charm of beautiful village art, but it may be adapted to linen collections in earthy and neutral colours. While Warli designs on sarees have a certain aesthetic appeal, this unusual art form has also been seen on semi dresses, Kurtis, and other fashion novelties. When Anita Dongre unveiled her designs at Lakme Fashion Week Winter Fest 2015, she used the Warli art style under the Grassroot label of designer dresses.
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3. Artisans
Ramesh Hengadi (Senior Artisan) Rasika Ramesh Hengadi (Ramesh’s wife) Rajaram Hengadi (Senior Artisan)
Artisans
Kalpesh Wavare (Senior Artisan)
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Rajashree Rajaram Hengadi (Rajaram’s wife) Mayur Vayeda (Contemporary Artisan) Tushar Vayeda (Contemporary Artisan) Vikas Bonge (Contemporary Artisan) Mamta Bonge (Trainee) Shrusti Bonge (Trainee)
INCOME-RELATED QUESTIONS
1) Rs. 2500 - 5000( )
2) Rs. 7500 - 10,000 ( )
3)
1) Male ( ) Female ( ) Education level of artisan
2) Female ( )
7.
1) Male ( )
2)
18. Current monthly income of the artisan:
2) 6 - 9 months ( )
1) Illiterate ( ) Primary ( ) Secondary ( ) College ( ) Languages are known- Comprehend practiced by family?
3)
16. Has there been a change in the location or area of the craft?
INFORMATION
6.
Sample Questionnaire
If yes, specify __________________________
2)
1) Male ( ) 2) Female ( ) 3) Children ( )
National Institute of Fashion Technology, Mumbai – Craft Development Initia
GENERALtive
2.
3.
13. No. of months for which artisan is involved in craft related activity: 1) 3 - 6 months ( )
4.
2)
4)
11. Family members participating in craft –
3) Throughout the year ( )
15. Are there any month /months in the year that is high in demand for craft?
5.
If yes, specify the occupation _______________________
1) 0-5yrs ( ) 5-10 yrs ( ) 10-25 yrs ( )
1) Yes ( )
12. Average number of hours devoted to the craft per week –
1) Yes ( )
17. Are you planning to train your children in your traditional craft practices?
1. Artisan’s NameContact NumberArtisan’s AddressArtisan’s AgeArtisan’s Sex ¬
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Read 10.9.Total:3)2)1)8.Write______________________________________________Sizeofthefamilyunit–Male()Female()Children(below13yrs.)()._______________________Whatcraftareyouassociatedwith?Forhowmanyyearsthecrafthasbeen
4) 25-50 yrs ( ) 5) beyond 50 yrs( )
14. Have you engaged yourself in any other activity apart from the handicrafts?
2) No ( )
2) No ( ) Give reasons for your choice _________________________
19. Do you have a saving account in the:
3) Two-wheeler ( )
1)20.ASSETSDwellingOwn House ( )
1) Own ( )
1) Yes ( )
4) Designers ( )
1)lowing: Land ( )
23. Are there any occupational health hazards/diseases, linked with your craft
2) Cattle ( )
7) Gas Connection 8) Computer 9) Any other item 10) MEDICALNoneFACILITY
3) Market Demand Design ( )
26. Has there been an adoption of new techniques in the development of craft because of any change of location?
2) No ( )
1) Kachha ( )
If yes specify the reason1) Better pricing ( )
25. Who gives the design?
3) Old Patterns ( )
2) Post Office ( )
2) Pucca ( )
If yes, specify _____________________________
4) More than Rs. 10000 ( )
DESIGN & TECHNOLOGY
28.3)2)1) Have you explored new raw materials other than traditional ones?
2) Non-availability ( )
If yes, please specify ________________________
2) Latest Design ( )
2) Trader/Agent ( )
2) No ( )
5) Electronics (TV/Radio/Mixer/Grinder/Music System/etc)
21. Type of House
From other sources_____________________
2) Rented House ( )
3) Semi-Pucca ( )
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22. In the last two years, have you purchased/changed or added any of the fol
6) Mobile
1)practice?Yes ( )
24. Are you working on-
1) Traditional Design ( )
4) No ( )
27. Have you developed any new products in last two years?
3) Any Other ( )
4) Four-wheeler ( )
3) Rs. 5000 - 7500 ( )
1) Bank ( )
32. Which of these would you like to strengthen for your growth
29. If yes, are the new products more profitable than the old products?
29. If yes, are the new products more profitable than the old products?
1) Production ( )
2) Semi-skilled ( )
3) Yes ( )
1) Yes ( )
Master craftsmen ( )
4) No ( )
30. Identify the skill level of the artisans (as per the artisan’s perception), with respect to the handicraft only:
5) Any other ____________________
38. Is this kind of training good for your work opportunities?
1) Yes ( ) 2) No ( )
39. Do you need further training?
2) No ( )
3) Packaging ( )
3) Packaging ( )
2) No ( )
If no, specify the place ___________________________
34.How did covid affect your business?
33. What was your situation before covid?
1) Unskilled ( )
2) No ( )
1) Yes ( ) 2) No ( )
40. In which of the following areas would you want to be trained?
Master craftsmen ( )
2) Design ( )
2) No ( )
1) Production ( )
4) Market Demand ( )
1) Yes ( )
3) Skilled ( )
2) Design ( )
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35. Did you’ll face any difficulty sourcing the raw materials during the pan
30. Identify the skill level of the artisans (as per the artisan’s perception), with respect to the handicraft only:
If no, specify the place ___________________________
If yes, specify the kind ______________________________
31. Are you self employed –
1) Skill Development 2) Capacity Building 3) Design Innovation 4) Better Quality 5) Marketing
31. Are you self employed –
3) Creative persuasion ( )
1) Yes ( )
1)demic? Yes ( ) 2) No ( )
4) Market Demand ( )
32. Which of these would you like to strengthen for your growth
5) Any other ____________________
1) Yes ( )
1) Unskilled ( )
2) Semi-skilled ( )
3) Skilled ( )
36. What were your losses during Covid 19??
COVID – 19 PANDEMICS
37.TRAININGHaveyou received any training recently for upgrading your skills?
5) Labor Cost ( )
1) Self ( )
3) Nearby Markets ( ) 4) Far away markets ( )
2) No ( ) 42.If yes, what do you use it for?
6) Any other ______________________________________
1) Yes ( )
1) Yes ( )
3) Raw Materials ( )
2) Business Purpose ( )
If no, then give suggestions_________________________.
45. Are you satisfied with the present system of pricing?
2) No ( )
3) Both ( ) 43. Have you benefited in any way from the use of the Internet?
2) Agents ( )
1) Yes ( )
2) Trader/Agent ( )
1) Local Market ( )
2) Sometimes ( )
If yes then specify –
2) No ( )
4) Local Market Demand
41. Do you use the Internet?
47. Do you have any problem in buying of raw materials
6) Any other ___________________________________.
2) No ( )
1) Often ()
46. Where do you procure raw material from?
3) If yes, specify ________________________________.
44. Who or what decides the pricing of your products?
1) Personal ( )
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3) Rarely ( ) 48. How can this problem be eliminated? (Give 2)1)54.2)1)53.Any4)3)2)1)52.2)1)51.6)5)4)3)2)1)50.MARKETING2)1)49.__________________________________________________________.suggestions).DoyougetanysubsidyfromtheGovt.whileprocuringrawmaterials?Yes()No()Ifyes,specify__________________________________________.Howdoyousellyourproducts?Directlytocustomers()Melas&Festivals()Dealers/AgentNetwork()Exports()LocalMarkets()Tradefairs()anyother:_____________________________________.Areyoufacinganydifficultyinmarketingyourproducts?Yes()No()Ifyes,whatarethemainreasons?Distancefromyourunittomarket()Transportation()Middlemen/Agent()Lackofdomestic/localmarket()other_______________________________________.Doyouhaveyourownwebsiteforsellingyourproducts?Yes()No()Ifyes,specifythename_____________________.Areyoulistedonanyofthee-commercewebsites?Yes()No()Ifyes,specify______________________________.
1) Yes ( )
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Artisan’s Overview INTRODUCTION
Artisans interviewed during the primary research of Warli art were natives of the Palghar district. We interacted with younger and older artists; all of them had a take on this art form. Some artists are fully engaged in it and take it as their profession, while others do it in their own time and do some other work on the side. Also, the artisans have been a part of national and international exhibitions several times.
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MARKETING
Artisans wish to get more trained in terms of skill development, design innovation, and marketing of their products. They are also stepping into digital platforms such as Instagram to gain more exposure and wish to set up their own online store.
In terms of selling their products, they get their orders directly from customers. Apart from this, they also go to trade fairs and exhibitions. These artisans have made their mark on both national and in ternational levels.
The covid pandemic had a significant impact on the business of artisans. Sales of paintings, as well as products, went down reasonably. Some of the artisans who took this as a full-time job now became part-timers or ultimately left. Artisans faced financial issues and business losses during the pandemic. The business has slowly started to pick up as everything returns to normal.
Artists work mostly with traditional designs and motifs, but as per the market demand, they are also shifting towards contemporary design. Motifs and Patterns that they draw are passed on to them by their older generations, and they tend to stick with them most of the time.
They were optimistic about the idea when asked whether they plan to train their upcoming generations. They showed keen interest in training future generations to carry this art form forward.
PRODUCTS
COVID-19 PANDEMIC
Apart from just paintings, the artisans have also developed new products (ex., Variation of tarpa, miniature figurines, miniature house models, key chains.etc.) They also upcycle products such as waste wood and glass water bottles. Etc, and paint on for added value.
DEVELOPMENT
FUTURE GENERATIONS
MOTIF
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Artisan’s Data
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HengadiRamesh
Mr. Ramesh Hengadi was the Warli Artisan who was interviewed during the primary research. He is from Bapugaon, a hamlet in Maharashtra’s Thane district. Mr. Hengadi, a personable and knowledgeable individual, has been practising the Warli Art for the past 25 or 26 years. His earliest recollections indicate that he began the art form in seventh or eighth grade. As a result, he is well educated, holding a Masters of Art postgraduate degree. The majority of his family members work in warli art, but he focuses on it since he pursues it as a profession rather than a hobby. He has also participated in numerous national and international shows. He has also arranged a lot of events locally. He has been working toward building a centre for Warli art in Bapugaon itself for the past 18 years.
MARKETING
COVID-19 PANDEMIC
DESIGN TECHNOLOGIES
Current monthly income is more than Rs.50000 the price range for var ious work differs for example huge paintings the price range goes from 15-17k fir A4 size the range depends around 100-500rs.
Their current marketing channels currently are direct to customers, through flees and festival melas and local markets. They have not explored the digital marketing methods due to no network connection in the village they reside in. For exploring the e-commerce platform, they need help and expertise of the young generation.
There are no occupational health hazards/diseases linked with the craft practice as only Natural raw materials are used. But they do get support from Paramparik NGO which helps them in getting projects
The situation before the covid situation was very organised, projects were set, and proper schedules were followed. Artists had improper environment and discontinuous workplace and that due to covid effect ed their business. They also faced difficulties sourcing the raw materials during the pandemic. The biggest loss was canvas purchasing.
MEDICAL FACILITIES
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INCOME
With change in societal needs and modernisation, he felt the need to contemporise the traditional warli art. They have tried to experiment with new products during the pandemic by introducing masks, pen stands, jugs, and other products inspired from warli. He and his artisans have adapted to the European cultural paintings and developed his own motifs. There are small changes in the traditional motifs that he has made that define his style of painting. The new products they have introduced like lampshades, pen stands, sarees, wall hangings, etc, have more demand in the market than the traditional paintings on canvas.
RajaramHengadi
67 Mr. Rajaram Hengadi is the brother of Mr. Ramesh Hengadi. He was born and brought up in Bapugaon too. He holds a bachelor degree in arts and has been practising the art of Warli for the past 20 years. He has been following his brother’s footsteps, but practises this art form when he receives offers from his potential clients. He too participated and has been involved with a number of exhibitions and Art Melas. Image 52
MEDICAL FACILITIES
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DESIGN TECHNOLOGIES
Current monthly income of around Rs.5000 from Warli art. In the months of exhibitions, he earns around 1 lack based on the sale of the products. He practices this art as a side hobby and not his main profession. He is a teacher by profession and does bamboo-craft to add to the monthly income. The price range for various work differs for example huge paintings the price range goes from 15-17k fir A4 size the range depends around 100-500rs.
Their current marketing channels currently are direct to customers, through flees and festival melas and local markets and exports that go to various parts of the world like America, parts of Europe, Japan, etc. They have not explored the digital marketing methods due to no net work connection in the village they reside in. For exploring the e-com merce platform, they need help and expertise of the young generation.
INCOME
As a traditional artisan, he is still working on the traditional designs and motifs like the Tarpa dance, and the old ritualistic paintings. He has tried to experiment with the types of motifs, colours, and products. He tried to introduce new products in the market inspired from warli like trays, coasters, prints of warli on dupattas, sarees, etc. The products like trays and coasters he introduced, were all made from recycled material that he found in the Tata Steel Company he was earlier working in.
MARKETING
The art of warli has no occupational hazards or risk to health as the raw materials are all naturally obtained COVID-19 PANDEMIC
Before the pandemic struck, he was getting better prices for his products, and a better income from all his professions. But due to the pan demic, everything got stopped ad he was unemployed for a long time and there was no work. During that time, there was very low income for him. The demand in the market for the products and the art was very less. He faced a lot of problem in sourcing raw materials, since they had to travel to Mumbai to source the raw materials and the covid put a stop to all activities and everyone was constrained to their houses.
Mr. Mayur Vayeda is the brother of Mr. Tushar vayeda. He was also born and brought up in Ganjod, Devgaon. He has been practising the art of Warli since he was 17 years old.he has secured Masters Degree in Business Administration The art was taught by his aunt. he also started exploring marine life to find new elements related to it as Warli focuses more on land and also does experiments with materials and keeps the design minimal by shifting from intricate pattern to minimalism. He has also been a part of Asia pacific exhi bition and worked for 1.5 years on it.
VayedaMayur
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Covid did not have a very severe impact on the Vayeda brothers. There was a change in the working environment since everything shut down and everyone was shut down to their house, but they managed work well without having much negative impact on it. The only problem they faced was sourcing of raw materials which was very difficult. They still dealt with it since they had a huge stock of raw materials like paints and canvas already stocked up.
The art of warli has no occupational hazards or risk to health as the raw materials are all naturally obtained.
INCOME
DESIGN TECHNOLOGIES
Mayur being from Marketing and business background, is doing well in the marketing field. They have a well-developed website and a fully functional Instagram page that brings them a lot of business.
He has a current monthly income of over Rs. 10,000. He has a lot of ongoing projects, and the cost of artworks depends on the size of the project, the client and the time and effort they are putting on one artwork. It usually ranges 40K to 50K depending upon the size and detailing.
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COVID-19 PANDEMIC
The Vayeda brothers have experimented a lot with the designs and the techniques of warli painting without disrupting the authenticity of the craft. Keeping the design motifs simple and intricate they have shifted to a very minimal style of painting. They have given a more contemporary and modern twist to the traditional art of warli. They have done a lot of large-scale projects on global level to promote the traditional art of warli that originated in the same village of Dahanu. One of their proj ects was working on the Lodhi art district, in which they have painted the whole wall with the traditional motifs of warli.
MEDICAL FACILITIES
MARKETING
VayedaTushar
71 Image 54 Mr. Tushar Vayeda was the Warli Artisan from Ganjad, Devgaon. A knowledgeable individual who has been practising this art since college. Tushar Vayeda likes to adapt the Warli style of painting to render new materials, to bring in different ways of depiction and create new and various meanings to symbols. He gets inspired by nature by what he sees daily and experiments along with it but moves Warli tradition forward without Diluting its essence. He has also developed certain new products; cave painting in 2019; Ja pan Residency project, Project Noco on 2015 inspired from Warli Hut stop - motion in Warli.
The situation before the covid situation was very organised, projects were set, and proper schedules were followed. The only problem they faced during the Covid19 pandemic was sourcing of raw materials which was very difficult. They still dealt with it since they had a huge stock of raw materials like paints and canvas already stocked up.
INCOME
The Vayeda brothers have experimented a lot with the designs and the techniques of warli painting without disrupting the authenticity of the craft. Keeping the design motifs simple and intricate they have shifted to a very minimal style of painting. They have incorporated the use of Spray paints and stencils as new techniques in the development of craft because of changes of locations. They’ve developed various new prod ucts in the last two years and have explored new raw materials other than the traditional ones as the new products are more profitable than the old ones. They have done a lot of large-scale projects on global level to promote the traditional art of warli that originated in the same village of Dahanu. One of the their project was working on the Lodhi art district, in which they have painted the whole wall with the traditional motifs of warli.
MARKETING
COVID-19 PANDEMIC
The Vayeda brothers have a current monthly income of over Rs. 10,000. They a lot of ongoing projects and the cost of artworks depends on the size of the project, the client and the time and effort they are putting on one artwork. It usually ranges 40K to 50K depending upon the size and detailing.
There are no occupational health hazards/diseases linked with the craft practice as only Natural raw materials are used.
DESIGN TECHNOLOGIES
Tushar’s brother Mayur being from Marketing and business back ground, they are doing well in the marketing field. The have a well-de veloped website and a fully functional Instagram page that brings them a lot of business.
MEDICAL FACILITIES
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Aside from economic issues, the Warli tribe is also concerned about losing their language, as Varli is not taught in their communities’ schools. Local artists are attempting to educate their children on the age-old warli art so that they do not lose contact with their heritage. Only a few large-scale projects are attempting to popularise Warli art. While attempts are made to revitalise this creative form, the community is equally concerned about copying and the loss of intellectual property rights.
With rising industrialization and industry, this traditional and historic art is vanishing. People have begun to move their attention away from traditional handicrafts and handlooms to contemporary inventions in our fast-paced, technology-driven society. With fewer consumers, many artists are becoming impoverished and compelled to seek new employment.
DYING CULTURE OF WARLI
LACK OF CONNECTIVITY
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Artisans are unable to obtain materials since they reside in a remote location with no adequate network or raw material sources. Because they live in villages, they are unable to engage with a bigger audience.
INADEQUATE SOURCING
INCREASING URBANIZATION
Internet is one of the primary marketing sources, but the artisans are not very familiar with it. Traditional artisans lack marketing abilities due to their lack of understanding of social media and how to apply it to grow their business.
It is critical that actions be implemented to assist and strengthen this group in order to conserve and protect the traditional art’s skills and knowledge. It is a critical step towards maintaining the country’s heritage.
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4. Present Status
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The Next generation have introduced their imagination and creativity to the present Warli Art. The con temporary motifs include more movement to the Warli figures supported with rhythmic lines and dots to fill up spaces. Proper use of negative spacing is implied. Explorations include new and improved motifs of flora and fauna. In the basic two dimensional designs, they have also created motifs for buildings and vehicles such as bus, trucks, cars, cranes and bikes. Warli figures are portrayed carrying suitcases and laptops. This time, the young adults have portrayed three dimensional elements such as a skyscraper. Warli art and culture is carried forward by themes inspired by cities and urbanization Sustainable and eco-friendly messages are conveyed by themes such a Plantation drive.
Warli has always remained minimalistic for generations to pass. Its base colour remained in the shades of brown while the painting was done using white rice paste. The base colour was obtained using two materials : either the red mud (laal mitti) from the local market or the brown cow dung from their barns. The Red mud had an even finish while the cow dung leaves shades and tints of brown on the cloth. Every season has a different shade of brown cow dung. With the next generation implementing their creativity in the craft as well as an increase in market demand, Warli paintings have started widening their colour palette. Keeping their style authentic, the base colour could be changed into any desired colour. However, the warli paintings remain to be two coloured- a base colour and a motif colour. Glitter was also used to highlight a few elements.
A Contemporary Take on Warli
COLOUR UPGRADATION
MOTIF AND THEMES
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Exhibitions conducted by government offices and non-governmental organisations (NGOs) play a significant role in the promotion of Warli painting products. Several NGOs help Warli artisans display their work at galleries. Many painters receive commissions for paintings. Some individuals purchase artwork from artists and send it to distant nations by courier. The utilisation of Warli as paintings in various locations is generating excellent feedback in the market. Artwork by Warli is likewise in high demand in other countries.
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Promotion of the Art
Unfortunately, due to ignorance, the warli art is disappearing. The government is attempting to come up with new strategies to assist craftsmen in rural India generate more revenue and businesses through self-employment. Through state ministries, many plans and programmes help to support it. The development of the unorganised handicraft sector is the responsibility of the Ministry of Textiles.
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NGO and Organizations
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AYUSH
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The Raah Foundation, an NGO with headquarters in Mumbai, aims to reverse that with the opening of the first Warli Art Studio in Jawhar, Palghar district. The studio wants to update the style while making sure that tribal artists receive a fair share of the pro ceeds. In a project titled “Rural Livelihood Creation in the Indian Crafts Sector,” the Tata Trusts and the Harvard University South Asia Institute worked together, and the foundation’s application was approved (SAI). Six organisations from throughout the nation were chosen for the project, and Raah is one of them.
In Thane’s Dahanu taluka is where AYUSH (Adivasi Yuva Shakti) is located. It’s a business with a tribal affiliation. It supports tribal self-determination. They have been attempting to register intellectual property rights for Warli art since 2010. This group was given the authority to claim the geographical indicator for Warli art in 2014. This protects the intellectual property rights of the warli artisan. It backs the promotion and preservation of this branch of the arts. It features a dedicated social media channel for marketing the art, and an upcoming artist e-commerce website is also planned. In addition to defending the rights of craftsmen, AYUSH also looks for undiscovered artisans in rural communities and seeks to raise them by teaching them new skills in their field.
With the help of the Samta Foundation’s Art Initiative, hand-selected tribal artists have a place to acquire new talents and make money for a better life. The initiative to help artists in Palghar, Maharashtra, become financially independent started with them. They can display their work while receiving guidance and criticism from seasoned artists and industry experts.
SAMTA FOUNDATION
VANSHAKTI
RAAH FOUNDATION
Vanshakti is a charitable environmental organisation. This organisation created a project that enables warli artists to impart their skills in public gatherings and schools. Finding a younger generation with whom to continue the tradition was their aim. Instead of giving them low-paying jobs, they sought to provide them possibilities relating to Warli art.
5. Analysis
Warli paint may be made at home with inexpensive materials and simple tools. It simply needs red clay, cow dung, and rice paste.
UNAWARE
No one in the community, especially youngsters, are aware that warli art may be pursued as a serious career. Instead, the majority of people understand it as an auspicious custom observed throughout the wedding and festival seasons.
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Warli art, which has just been popularised in the last 20-30 years, is still in high demand around the world. Some artists have travelled abroad to demonstrate their talent.
LIVELIHOOD
Due to the lack of education in the majority of artists, they have communication issues while trying to market their skill.
INEXPENSIVE RAW MATEIALS
EASY ARTFORM
The motifs and figures are all simple stick figure drawings that are easier to create.
WORLDWIDE DEMAND
LACK OF COMMUNICATION
ECO-FRIENDLY
Since all the raw materials for traditional Warli paintings are organic, it makes this artform one of the most sustainale ones, thus posing less threat to the environment.
Farmers, who depend on agriculture for their livelihood, make up the majority of the tribal pop ulation. Few people actually understand how to pursue this craft seriously. Moreover, living in a secluded area makes it difficult for them to connect with people.
.
O T
LOW WAGES
Many artisans receive extremely low wages, which makes it difficult for them to support their families. They were therefore forced to quit performing it and to perform other types of labour.
Because of the growth and dissemination of technology, internet access is now possible anywhere in the world.
COLLABORATION
The warli painters can sell paintings and disseminate their art by using social media. Online image sales by some artists have already begun. This form of communication can aid in promoting and preserving this indigenous art form.
INTENSE COMPETITION
Many artists were forced to leave their jobs due to the rising demand for automated goods. These technical advancements even reached the Warli diagram. As a result, the mechanical world of today presents intense competition for this traditional skill.
USE OF TECHNOLOGY
Warli is becoming more and more well-liked everywhere in the world. In order to meet the global demand and raise awareness of this indigenous craft, the government and artists should collaborate.
TO TRADITIONAL ARTISANS
Although they live in a rural location, the contemporary artisans have a strong setup. We suggested them for a studio opening in an urban place.
We asked them if they would consider creating an NFT collection as part of their explorations. They are currently working on a similar idea. The matter remained disclosed.
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Some traditional artisans wished to explore the artform on various surfaces. However, only canvas and Manjarpath (Muslin cloth) were readily available in the market. They mentioned that they had started using internet and wanted to try the artform on glass bottles and mirrors. We proposed them to pur chase the materials online and told them to check some websites.
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Conclusion
TO CONTEMPORARY ARTISANS
AGNIBHA DAS MANASI WITHSAACHIMOHD.SAWAIRAMANASGOLWALKARSARIKANAIRSTUTIKUMARRAMESHHENGADI
The Team
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KNITWEAR DESIGN DEPARTMENT (BATCH OF 2020-2024)
FACULTY : MRS TULIKA TANDON
Image 1 (Coverpage)- Illustration made by Vayeda Brothers Image 2 - Illustration made by Vayeda Brothers Image 3 - Illustration made by Vayeda Brothers Image 4 - Illustration made by Vayeda Brothers Image 5 - Illustration made by Vayeda Brothers Image 6 - Warli painting by Hengadi Brothers Image 7 - “Sunset at Dahanu beach” by Vishwatej Gade Image 8 - “Evening near the Suru Trees“ by Agnibha Das Image 9 - “Suru Trees“ Illustration by Saachi Golwalkar Image 10 - Map of Dahanu by Agnibha Das Image 11 - Map of Dahanu to Bapugaon by Agnibha Das Image 12 - Map of Dahanu to Ganjad by Agnibha Das Image 13 - Illustration made by Vayeda Brothers Image 14 - Illustration made by Vayeda Brothers Image 15 - Illustration made by Vayeda Brothers Image 16 - Warli Painting by Vayeda Brothers Image 17 - Warli Painting by Vayeda Brothers Image 18 - “Horse carriage“ Illustration by Saachi Golwalkar Image 19 - “Horse carriage by the Beach“ by Vishwatej Gade Image 20 - Illustration made by Vayeda Brothers Image 21 - “Crab Hole“ Illustration by Saachi Golwalkar Image 22 - “Brainstorming of Vayeda Brothers“ by Manasi Sawairam Image 23 - “Warli Illustrations“ by Hengadi Brothers Image 24 - “Warli Illustrations“ by Hengadi Brothers Image 25 - “Warli Illustrations“ by Hengadi Brothers Image 26 - “House of Ramesh Hengadi“ Illustrations by Agnibha Das Image 27 - “Traditional Warli Paintings“ by Agnibha Das Image 28 - “Harvest“ Warli Painting by Rajaram Hengadi Image 29 - “Tarpa Dance Spiral“ Warli Painting by Rajaram Hengadi Image 30 - “Tree of Life“ Warli Painting by Rajaram Hengadi Image 31 - “Marriage Ceremony“ Warli Painting by Rajaram Hengadi Image 32 - “Traditional Raw Materials“ by Manasi Sawairam Image 33 - “Modern Raw Materials“ by Agnibha Das
Image 34 - “Warli Painting of Rajaram Hengadi“ by Agnibha Das Image 35 - “Rice grinding“ by Agnibha Das Image 36 - “Sieving of flour“ by Agnibha Das Image 37 - “Adding water to the flour “ by Manasi Sawairam Image 38 - “Filtering“ by Manasi Sawairam Image 39 - “White Paste“ by Agnibha Das Image 40 - “Laal mitti“ by Manasi Sawairam Image 41 - “Cow Dung“ by Agnibha Das Image 42 - “Painting“ by Manasi Sawairam Image 43 - “Traditional brushes“ by Manasi Sawairam Image 44 - “Warli Painting“ by Agnibha Das Image 45 - “End products” by Manasi Sawairam and Saachi Golwalkar Image 46 - “Beach Walk“ by Vishwatej Gade Image 47 - Image from gaoncollection.com Image 48 - “Hengadi Family Tree“ Illustration by Saachi Golwalkar Image 49 - “Grandma“ by Agnibha Das Image 50 - “Rural Kids“ by Agnibha Das Image 51 - “Ramesh Hengadi Portrait“ by Agnibha Das Image 52 - “Rajaram Hengadi Portrait“ by Agnibha Das Image 53 - “Mayur Vayeda Portrait“ by Agnibha Das Image 54 - “Tushar Vayeda Portrait“ by Agnibha Das Image 55 - “Crab“ Illustration by Saachi Golwalkar Image 56 - “Fishing Net“ by Vishwatej Gade Image 57 - “Contemporary Warli“ by Agnibha Das Image 58 - Illustration made by Vayeda Brothers Image 59 - “Kids“ by Agnibha Das Image 60 - “Sunset“ by Vishwatej Gade Image 61 - “Sunrise“ by Sarika Nair Image 62 - “Team spirit“ by Shubham Basankar Image 63 - “Calf“ Illustration by Saachi Golwalkar Image 64 - Illustration made by Vayeda Brothers Image 65 - “Dried Bombay Ducks“ Illustration made by Saachi Golwalkar
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6. Picture CreditsImage 63
Bhagats- Priests Bhakari- Bread
Talukas- Administrative office for taxation Tarpa- Musical pipe
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V
T
Kansari- Corn Goddess
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Aoj- A small leather drum with two triangles intersecting at the apex
Adivasi- Tribesman
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C
Pooja- Act of Worship S
J
Zari- Thread made of fine gold and silver
Gavatri- The cow
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Dhanainar- Lady of Corn
Mahua- Indian tree that bears fleshy edible flowers and yields oil-rich Mandapa-seeds
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B
H
Himru- Fabric made of silk and cotton Halad- Turmeric
Geru- Earthy red colour
Narandeva- God of rain Nagali- Black Beauty Narandeva- God of rain
Kansariyabal- Child of corn
Vaghyadeva- Tiger god
D
Jiva- Soul/Life force
Chauk- Square courtyard
Pavilion for public rituals
Satvi- Different clans of warlis Suvasinis- A married women Supa- Winnowing Basket
Jovar- Sorghum
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947. GlossaryImage 64
95 https://openart.in/history/tales-folk-west-warli-painting/https://www.homesciencejournal.com/archives/2017/vol3issue3/PartF/3-3-70-220.pdfhttps://exclusivelane.com/blogs/handmade/warli-painting-the-history-of-a-tribal-art-formhttps://www.exoticindiaart.com/article/warli-art-the-indigenous-tribal-art/https://mediaindia.eu/culture/warli-art-journey-from-walls-of-tribal-homes-to-household-goods/https://byjus.com/free-ias-prep/warli-paintinghttps://www.memeraki.com/blogs/news/warli-paintings-different-types-styleshttps://www.jetir.org/view?paper=JETIR2008358https://www.researchgate.net/figure/2-Devchauk-Lagnchauk-Motif-in-Warli-Art-Source_fig1_358495735https://www.catterfly.com/blog-detail/the-themes-of-warli-arthttps://mumbaimirror.indiatimes.com/mumbai/other/warli-motifs-come-alive/articleshow/16141657.cmshttps://www.artzolo.com/warli-paintingshttps://www.memeraki.com/blogs/news/warli-art-tribal-art-of-indiahttps://en.wikipedia.org/wiki/Dahanu
8. BibliographyImage 65
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