ilkal saree - cause for depletion

ILKAL SAREE: A traditional garment as an icon of a place | i

ILKAL SAREE: A Traditional Garment as an Icon of a Place

MEGHANA S B. ARCH 1AN19AT015 GUIDE – AR. WAQAR ABID

ILKAL SAREE: A traditional garment as an icon of a place | ii

Contents ABSTRACT ........................................................................................................... 1 1. INTRODUCTION ............................................................................................ 1 2.RESEARCH BACKGROUND ............................................................................ 2 2.1.AIM .............................................................................................................. 2 2.2.OBJECTIVE ................................................................................................ 2 2.3.METHODOLOGY ........................................................................................ 2 3.LOCATION ......................................................................................................... 2 4.HISTORY ........................................................................................................... 3 5.DISCRIPTION ON ILKAL SAREE ...................................................................... 5 5.1.TECHNIQUES ............................................................................................. 5 5.2.TOOLS AND RAW MATERIAL USED ......................................................... 6 6.OBSERVATION.................................................................................................. 9 6.1.BEHIND THE FAILURE TO PROTECT HANDLOOM’S IDENTITY ............. 9 CONCLUSION .................................................................................................... 10 REFERANCE ...................................................................................................... 11

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Figure 1division of karnataka- source:https://www.elections.in/karnataka/politicalregions/ 2 Figure 2: location of ilkalsource:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 3 Figure 3 craft centre w.r.t ilkal – source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 4 Figure 4:silk reelingsource:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 6 Figure 5:detail of warp yarn at joints source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 6 Figure 6:joinery detail Source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 6 Figure 7:prepration of hanigikolusource:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 7 Figure 8:pit loomSource:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK. pdf ......................................................................................................................... 7 Figure 9: raw materials and tools- source:https://www.dsource.in/resource/ilkalsaree-ilkal-bagalkot-karnataka/tools-and-raw-materials........................................ 8 Figure 10: raw materials and tools – source:https://www.dsource.in/resource/ilkalsaree-ilkal-bagalkot-karnataka/tools-and-raw-materials........................................ 9

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ABSTRACT Heritage must be preserved since it serves as a cultural spot. People, geography, and time all play vital roles in making a location a cultural hub. Heritage includes performing arts, architecture, food, clothes, and way of life. The study paper discusses traditional ILKAL SAREE, a traditional garment, as an icon of a place, namely NORTH KARNATAKA. How clothing can be a part of one's heritage.

1. INTRODUCTION People's identities are defined by the inclusion and exclusion discourses they form with places or representations of places. These fabricated locations are influential elements of individual and social practises, changing the tangible environment into cultural and economic domains of meaning and lived experience. Individual and societal creative imaginations produce senses of place, whereas people attach identities to locations rather than consciously absorbing them. People frequently believe that identities are fundamental aspects of landscapes and cityscapes, however this is not the case. Individuals establish place identities, generating diverse narratives of belonging for different reasons, thus places are more than just imagined entities. Place pictures are determined by the user, polysemic, and unstable over time.

Socio-cultural contributes to play a vital impact in any type of developmental activity. In this way, innovators strive to understand them in accordance with their societal contexts. Only through fitting into their cultural matrix would the inventions have a shot at survival. Revenue growth is mediated by ethnicity. It is measured by indications of individual beliefs and values, such as esteem and regard for one another and belief in one's own ability to make decisions. Because culture is inbuilt to monetary growth, assessing its underlying cause is tricky. As a result, we must identify some inherent and external sources of variation in order to prove a causal relationship from culture on financial growth and the other way around.

The preservation and recovery of aboriginal cultural heritage, as well as local revitalization, have become increasingly significant in the creative sector and sustainable development as a result of the various effects of globalisation, ageing society, and COVID-19. The purpose of this study is to describe how weaving culture is passed down from generation to generation through entrepreneurship education in the weaver family. The weaving culture of the NEIKARA people must be conserved as a local wisdom in order to maintain its authentic character and cultural traits. This work used a qualitative study with the assistance of a case study of academics. The findings revealed that the educational process in the family of weaving craftsmen was not structured; rather, children got their education through initial experiences with regard to everyday asks carried out by generations before them. Knowledge about entrepreneurship is carried out by establishing authority, setting an example, and modelling

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2.RESEARCH BACKGROUND 2.1.AIM To understand how people, place, and time all play a role in shaping a place's exceptional heritage.

2.2.OBJECTIVE to learn about the custom, how it defines the place, and the issues that the community faces(weaver’s is takten as example), as well as the importance of preserving the cultural tradition of the place.

2.3.METHODOLOGY by considering people and location, and attempting to determine how people and place contribute to the rich culture. The location is determined by understanding the location and the lives of the people who live there. Based on case studies of research papers from gulegudda, badami, bagalkot district, and betagi, gadag district, the richness, depletion, reasons for depletion, and the need for culture survival are highlighted.

3.LOCATION The state of Karnataka is classified into three regions based on their levels of development: Bombay Karnataka, Hyderabad Karnataka, and southern Karnataka. Belgaum, Bijapur, Bagalkot, Dharwad, Gadag, Uttara Kannada, and Haveri are the seven districts that make up Bombay Karnataka. Hyderabad Karnataka is divided into six districts: Bidar, Gulbarga, Raichur, Yadgiri, Koppal, and Bellary. South Karnataka includes the remaining seventeen districts.

Figure 1division of karnataka- source:https://www.elections.in/karnataka/political-regions/

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4.HISTORY Ilkal, in Bijapur, derives its name from 'Illekallu1' is home to approximately 60,000 people, one-third of whom are involved in sari weaving. The migration of weavers from Maharashtra, as well as the availability of raw materials, can be credited to the growth of Ilkal sarees. Ilkal saris took pride of place in festivities and weddings in north Karnataka and cities in Maharashtra bordering Karnataka long before they found their way to the outside markets.

Figure 2: location of ilkal-source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

1 Illekallu – the slope down the hill in kannada. The name is given due to its geographic location.

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Badami (once a bastion of the Pallavas2) was conquered by the Badami chalukyas3 in the sixth century.The cave temples at Badami and Aihole are unique, and they provide witness to the monarchs' and their descendants' strong interest in art and building. Their tutelary deity is claimed to be the goddess Banashankari, whose main shrine is located in Bdami. It would not be farfetched to hypothesise that the art of weaving was widely prevalent in this surrounding area even during those early days of known history and that it enjoyed royal favour in as much as badami and the areas surrounding it had an abundance of weavers, such a surmise grains support from the fact that Hatgars, i.e. devangas, who form the main community of weavers in the district, regard Banashankari in of Badami as their patron godess. They are divided into Shivachara4 and Kulachara5 depending on their allegiance to their Lingayat faith6 or the Brahmanical7 Hindu faith. They are referred to as the wealthiest and most influential class of cotton cloth weaver's.

Figure 3 craft centre w.r.t ilkal – source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

2 Pallavas : The Pallava dynasty existed from 275 CE to 897 CE, ruling a significant portion of the Deccan, also known as Tondaimandalam.

3 Badami chalukyas : was a Classical Indian dynasty that ruled large parts of southern and central India between the 6th and the 12th centuries.

4 Shivachara: Shivachaar is the practice of treating all devotees of Parashiva as equal. In

Basava's time discrimination between followers of Lingayathism on the basis of their castes (or occupation) was in vogue.

5 Kulachara : Kulchara means family tradition.

6 Lingayat : Lingayatism or Veera Saivism is a Hindu denomination based on Shaivism. Initially known as Veerashaivas, since the 12th-century adherents of this faith are known as Lingayats.

7 Brahmanical : the complex sacrificial religion that emerged in post-Vedic India ( c. 900 BC) under the influence of the dominant priesthood (Brahmans), an early stage in the development of Hinduism.

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5.DISCRIPTION ON ILKAL SAREE The serigu8 composed of red silk with white designs is the Ilkal sari's distinctive feature. The uniformity is broken up by varied style spokes at the pallu's extreme white band. These spokes are named after their shapes, which include hanige 9(comb tooth), koti kammli (fort ramparts), topu tenne 10(jowar shape), and rampa11 (mountain range). The pallu and body are linked by a technique known as kondi12, (locking), which is performed expertly with the hand.

During their heyday, local chieftains in modern-day Bellary and nearby territories fostered this craft. The rise of the industry also resulted in the development of Kasuti embroidery, which is commonly seen on Ilkal sarees. Kasuti embroidery was popular among women, especially those working on temples.

Temple themes and decorations influenced the design patterns on the sarees, and the pallu of the sarees frequently contained designs of temple towers. Most sarees are nine yards long, and young people like to wear blouses with Kasuti13 motifs over their trousers. While other traditional handloom types have gained popularity, Ilkal remains popular, with Ms. Sonia Gandhi a fan.

5.1.TECHNIQUES 1. The connecting of the body warp with the pallu warp with a series of loops known locally as the TOPE TENI method is what distinguishes a saree.

2. Due to the above TOPE TENI approach, the weaver will only gait 6 yards, 8 yards, and 9 yards warp.

The KONDI Technique is utilised for weft by inserting three shuttles.

3. Design of the Pallau portion: "TOPE TENE SERAGU" Normally, three solid pieces of tope teni seragu would be red, with two white portions in between.

4. Tope Teni seragu was revered and revered as a state symbol at festival occasions.

5. Traditional Borders: (i) Chikki, (ii) Gomi, and (iii) Gadidadi, as well as current Gaythri, are distinctive in Ilkal sarees, with widths varying from 2.5" to 4"

8 serigu : that part of a sari (a garment worn by women), which is draped over the head or over

one shoulder, (pallu).

9Hanige: that part of a loom which the threads pass through.

10topu tenne :The peculiar characteristic of the saree is joining the body warp with the pallu warp, he technique is used exclusively at Ilkal. Warp threads for body, border and pallu are prepared separately.

11Rampa:at or towards a lower point on a slope.(ಇಳಿಜಾರು) 12Kondi : hook 13Kasuti: the art of embroidering.

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5.2.TOOLS AND RAW MATERIAL USED

Figure 4:silk reeling- source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

Figure 5:detail of warp yarn at joints source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

Figure 6:joinery detail - Source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

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Figure 7:prepration of hanigikolusource:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

Figure 8:pit loom-Source:http://lsi.gov.in:8081/jspui/bitstream/123456789/6194/1/29183_1981_ILK.pdf

Silk yarns

Are one of the main materials used for weaving of the Ilkal sarees.

Art silk yarns

Art silk or artificial silk yarns are specially made from the synthetic fiber.

Cotton yarns

Cotton grown in the neighbouring places made to yarns are generally preferred.

Mud pots

Specially used for colouring the hank of yarns.

Fly shuttle

Used to insert the weft thread as per the pattern.

Phirki (bamboo swift)

Are mostly preferred for winding the silk yarns.

Bobbins

Are mostly used for winding the yarns for additional process.

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Charkha

It is equipment where the yarns are wound on the pirns.

Plastic pirns

Are used for winding the yarns for weaving.

Brush

Used to spread the yarns for colouring.

Scissors

Are generally used to cut the unwanted threads.

Table 1:raw materials and tools- source:https://www.dsource.in/resource/ilkal-saree-ilkal-bagalkotkarnataka/tools-and-raw-materials

Figure 9: raw materials and tools- source:https://www.dsource.in/resource/ilkal-saree-ilkal-bagalkotkarnataka/tools-and-raw-materials

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Figure 10: raw materials and tools – source:https://www.dsource.in/resource/ilkal-saree-ilkal-bagalkotkarnataka/tools-and-raw-materials

6.OBSERVATION Handlooms' sociopolitical status and annual contribution to the economy cannot be stated objectively. The reasons are veiled in productivity and efficiency tales, which are fuelled by the discourse of progress and growth. These challenges have impeded handloom sector growth and pushed it to the margins. According to textile ministry figures, the rise of power looms, which today supply more than 70% of Indian textiles, followed on the heels of a systematic eradication of the handloom industry. As years of fieldwork have revealed, this included power loom users claiming handloom subsidies in the early decades after independence.

Then there was the unlawful infiltration of handloom markets with exact replicas of handloom products. Handloom weaving is usually found in rural areas and is primarily a domestic industry. It does not, however, mean that weavers are selfsufficient producers. Some weavers operate as shareholders in cooperative groups. When these associations fail to supply labour, weavers’ approach local master weavers who manufacture and trade handlooms. Weavers are usually supplied with yarn and colours by the cooperative group or the master weaver.

Either the cooperative group or the master weaver has access to the market. A small third group of weavers do not own looms and operate in sheds organised by the master weaver.

6.1.BEHIND THE FAILURE TO PROTECT HANDLOOM’S IDENTITY A brief examination of the different legislations enacted to preserve handlooms reveals the state's shifting priority for the industry. When India established a republic in 1950, the federal government 14declared that the production of numerous handloom items was the exclusive prerogative of the handloom industry. Handlooms were the sole source of traditional items such as border saris, dhotis, and bedsheets. The reservation order attempted to retain handloom identity while making cloth for the public by combining the unique character of 14 federal government: constituting a form of government in which power is distributed between a

central authority and a number of constituent territorial units (as states) a federal government.

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handloom production with its demanding of labour nature. Unfortunately, ineffective enactment of the order led to the explosive growth of power looms in the unregulated sector, which produced exact duplicates of handlooms.

Meanwhile, the state maintained a conscientious attitude by forming many committees that were established to investigate concerns impacting the handloom sector. In 1964, the federal government created the Ashok Mehta Committee15, which recommended that the production of saris be limited to the handloom sector. A decade later, the high-powered Sivaraman Committee 16noted in its report that each new power loom rendered six handlooms obsolete, resulting in widespread rural unemployment.

CONCLUSION To revert these processes and restore ownership, we must abandon the notion that large-scale manufacturing of pure handlooms in India is merely an emotive concept. We can see that it is a good business proposition if we monitor handloom firms around the country. Pure handlooms (in cotton, silk, and wool) are in high demand both internationally and domestically. No other country in the world can meet this demand because no other country has as many working handlooms as we do. Rather than squandering this great tradition, we should revitalise it as a proud national enterprise.

15 Ashok Mehta Committee : Its goal is to develop a system of democratic decentralisation and

citizen engagement in order to promote swift and equitable socio economic improvement.

16 Sivaraman Committee : which was created by the Reserve Bank of India (RBI) to review the Arrangements for Institutional Credit for Agriculture and Rural Development (CRAFICARD).

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